Archive for the ‘London Festival Fringe 2010’ Category


The Dummy Tree, by Conor Mitchell

Monday, 27 September, 2010

London Festival Fringe – Tristan Bates Theatre – 24-28 Aug and 31 Aug-4 Sep 2010

The stage is blank all except for a park bench, placed at a diagonal to the front of the stage, and a large tree festooned with notes, children’s dummies and ribbons.  There is a dark blue light over the tree to highlight it in the dimly lit space.

The tree is The Dummy Tree of the title of the play.  The Dummy Tree is a tree somewhere in a small town.  It is where people hang their baby’s dummies on, after they have persuaded them to part with this comforting treat.  Dummies and notes have been plastered over this tree for years and it has become a piece of art showing the history of the town.  It also shows the many children who have grown up there.

The story is about a young mum who makes a hard decision when she finds she cannot cope with her little baby.  She comes to the tree to think things through and talk to her son.  She rationalises things, tells him all she wants and makes up her mind about what she will do.

The majority of the play is sung.  The play itself is not very clear.  It revolves around a young mum talking to her baby on the park bench while a group of young people join her and discuss an imminent wedding.  It is not until near the end that it is clear that the young mum and the baby are a memory from the past.  The young people from the present relate to her.  It does seem, throughout the play, that they are simply ignoring this woman in distress with a baby.  This is especially the case when she chucks the baby on the floor and they do not take any notice, as if this is a regular occurrence in their area.

The mum prematurely takes the dummy from her baby and tells him not to be nervous.  He is not yet a year old but apparently this is the ideal time to stop giving babies their dummies.  Young men and women enter wearing wedding clothes and discuss the groom’s nerves.  Various bridesmaids and guests enter and exit with various stories to tell and advice to give.  They are quite crass at times and just talk about drinking, smoking and other vices.

The mum sings well with touching emotion.  The groom and his best man sing well in cockney accents and make some amusing comments and observations.  The groom acts well throughout the play and you feel for him in his situation and want him to resolve it all and come out happy at the other end.  A nice surprise is the groom’s sister.  She enters near the end and reveals a beautiful clear singing voice.  Chris de Wilde’s design is simple yet effective.  The tree is impressive and the attention to detail is appreciated.

Conor Mitchell’s writing is not nice to hear in this instance.  The young people are given all the stereotypes you could think of and it is horrible to see them portrayed in this way yet again.  Marriage is compared to ‘sexual suicide’.  One bridesmaid is called ‘Binge’.  One other is told to stop doing something because she looks “ a handicapped herring”.  Surprise surprise, another bridesmaid holds a bottle of spirits in her hand, one she just happens to keep in her bag.  A final insult is when they answer yes and no using ‘woofs’ and ‘quacks’.  Sexual diseases, lewd remarks and pure silliness fill the gaps.  It ends with one of the crass bridesmaids taking her old dummy, one that has been hanging there for years, from the tree and places it in her mouth.  Try to picture this if it was real and …yes, there you have it…that little lurch coming from the stomach.

The Dummy Tree is what it is.  It could be good if the young people were portrayed positively.  However, as it is, it is like the old dummy taken from the tree.  It makes you cringe, wince and feel just a bit sick.

Cast Credits: Ben Boskovic.  Richard Hodgson.  Kayleigh McKnight.  Katie Spencer.  Emma Tansley.  Rebecca Turner.  Michael Wells.

Company Credits: Music, book and lyrics – Conor Mitchell.  Director – Stuart Harvey.  Musical Director – Chris Huntley.  Designer – Chris de Wilde.

© Chantal Pierre-Packer

Reviewed Saturday 28 August 2010


A Date to Remember

Wednesday, 15 September, 2010

London Fringe 2010 – The Horse – 23-25 August 2010

Speed dating.  Some people enjoy it.  Some would never do it again.  Some have never tried it.  Whatever your experience of it, this is one date that you need to keep.

The stage is set with a group of chairs in the centre of the room, put in pairs facing each other.  There are various chairs and sofas lining the perimeter of the room and it is an enjoyable task to decipher where to sit.  Then it is time to play ‘spot the actor’ as the various characters mingle with the audience.

Most are easy to identify such as a well-spoken woman who sits down and starts to talk very loudly, laughing and hitting her leg with a riding crop.  Another woman sits down and turns to ask, in a melodic Australian accent, if one has done this before and how nervous she is.  She has little faith in this dating game that she never seems to win.  Further characters include a blonde lady wearing very little and speaking quite vacantly.  Another character is a man who sits as far as he can from everyone and huddles into the chair, darting mistrusting, nervous looks around the room.  It is so exciting and the play has not even started.  One character is well disguised and remains elusive until the play begins. She is the character of Michaela.  She is a woman of little words but many disapproving looks.

Each person had been given a number as they entered and now numbers are called for ‘daters’ to take their places and start on their speed date with the characters and others.  What?  No preparation and forewarning of the participatory nature of the play?  No time to concoct a wonderful story about your life and career to sell yourself in the best possible way in sixty seconds?  No way.

Susie, the host of the dating event, and all round lovely lady, introduces it all and gets us started.  We are given pencils and scorecards to rank each date and write comments after.  Here is the speed date for you.  Each character in (about) sixty seconds:

Ricardo:  his profile picture would show a handsome man in a suit, dark brown hair and facial hair.  He is smiling knowingly and staring into your eyes with a certain charm.  He looks like he wants to love you and everyone else too.  The date: he has a sweet Spanish accent and loves the ladies.  He kisses your hand and can make a lady feel quite flustered.  Favourite sayings include “Do you know the body has 256 bones?” with the reply of “Would you like one more?”

Tillly:  her profile picture would show a pretty woman with long brown hair, smiling a wide smile with a flick of the eyebrow that says “Hey, you.  Hey. You like horses eh? I do! Haw haw haw haw.”  She has on tweed and a firm grip of a riding crop that she keeps handy.  The date:  she is a feisty lady with a fun personality.  Horses are her life and she can dance on a chair with her riding crop in an hilariously unique way that has to be seen.

Lydia: her profile picture would show a pretty woman with long blonde hair.  She has a sweet small smile and the hint of something not quite right in her eye.  Her ‘Little House on the Prairie’ farm girl dress should not fool you as she harbours some hidden emotion about dating that you may not want to mess with.  The date: she has a harmonic Australian accent and is friendly.  She acts like butter would not melt in her mouth but when a female dater hones in on a man she is interested in, that butter has boiled and turned to caramel.  She wants a man to take her to the other side of the world.  Definition – he must want to live in Australia with her.

Nigel: his profile picture would show a handsome man with hair with so much gel in that it looks greasy, combed over to one side.  He is wearing glasses and not smiling.  He is dressed all in greys, creams and browns and has glanced up from his usual position of staring at the floor.  The date: he is awkward to perfection. He talks from a hunched, self-conscious sitting or standing position and never looks at you much.  That, or he looks at you too much, and you can no longer tell who is supposed to be uncomfortable here.  He tells you his mum made him come to the speed-dating event and he does not want to be here.  He likes Xbox.  He is the most interesting of all.

Michaela: her profile picture would show a pretty woman with dark hair fashioned in a 1920’s hairstyle, red lipstick and a cunning side smile.  She sits with a straight back and looks at you with a smile that hides the fact that she thinks you are a reprobate.  Do not worry.  The lies in her eyes and disdainful glares will be back once she catches you catching a glimpse of her secret.  She has few words but scans each and every person with minute detail.  She does not like to help, does not like to exhaust much energy but really wants a date with a certain charming man.

Kimbaly: her profile picture would show a pretty blonde woman smiling a smile that lights up her whole face.  Her head is cocked to the side and she is a little puzzled as to why she is smiling and what it is for.   However, she knows she is happy about something anyway.  She wears lots of gold jewellery and pink and tight clothing.  The date: she flits around clicking her high heels and trying to stay balanced.  Pouting and leaning forwards are her special moves.  She walks around like the place is a mirror and it is looking at her from all sides.  She likes this admiration and gets annoyed if the mirror is not looking and taking notice of another.  She is sweet and sometimes innocent.

Susie: the hostess with the mostest.  She does not do the dating herself but she does offer her body for use after the event is over.  Her profile picture would show a pretty woman with bright copper hair.  She is smiling madly holding a butterfly hairclip in one hand and a whistle in the other.  The butterfly clip is the ‘Butterfly of Beauty’, which she uses to land only on beautiful people in the room with humorous consequences.  The whistle is to keep tight control on the timings, the daters and every little aspect of everything going on.

The actors are all superb.  Bobby Coello plays Ricardo brilliantly.  He is charming, funny and very naughty in his pick-up lines.  He is fascinating to watch.  He stays in character even when faced with a rude line proposed back to him, even though there is a hint of a smile just from him and not his character.  He delivers the lines so seriously and sincerely like Ricardo truly believes that this is the way to get women.  He kisses the hand holding it firmly but affectionately and brings it to his mouth slowly as he looks up into the eyes of the receiver.  He has a confidence that exudes a sensual allure.  He plays each woman with the same lines and gets frustrated when he messes up his words.  Bobby Coello becomes Ricardo expertly.

Rachel Copsey is wonderful as Tilly.  She plays the woman who loves horses and laughs like one too.  It is applaudable that Rachel Copsey is able to keep up the accent and energy throughout the play.  She is humorous and engaging.  She slowly allows Tilly to unravel in various ways.  She loosens in her manner, loosens her hair and loosens her body.  Rachel Copsy performs an inventive routine on a chair whilst eating and smothering herself in a thick red liquid and using her riding crop.  It has to be seen.  The use of the riding crop on others is funny to watch too.

Sasha Delaney is so cunning and sweet as Lydia.  You get the sense that something does not quite fit her ‘sweeter than honey’ demeanour.  She says the right things and laughs at the right times initially but the threat of people stepping on her territory brings out the real Lydia.  Sasha Delaney uses a skilful Australian accent for Lydia.  It has an interesting musical twang to it.  She cleverly puts her head to the side or smiles a certain way or offers to help, to project a certain image of herself.  It is amusing to see her switch to real Lydia and get in a fight with Tilly.

Hester Kent is splendid as Susie.  She is the host that everyone would like to meet but not get to know beyond the event.  She releases bursts of madness now and again and plays it like a hospital matron in a Carry On film at times.  Hester Kent’s action of using the ‘Butterfly of Beauty’ was hilarious to watch.  She moves around flitting about like it is a real butterfly rejecting the bad flowers.  She ensures everyone is having a good time but yearns for some love of her own.  It is a nice contrast to experience.

Jeremiah O’Connor is wonderful as Nigel.  He plays him so well and completely takes on the persona of Nigel.  He shies away from people, looks at them accusingly and with terror also.  He does not trust them but is scared of having to talk to them.  He is the most interesting speed date.  While watching the play, the focus kept going back to him.  There was the contemplation of what he was thinking and feeling.  There are so many levels to Nigel.  He likes his mum.  He likes playing his Xbox in his spare time.  He is lovely.  Take him home and help him get him confident enough to go out in public with you.

Charlotte Tallack is striking as Michaela.  She plays her as a sophisticated lady who knows what she wants.  She wants a man.  She does not want to have to work hard for him.  She wants to judge everyone around her and is happy doing so.   She walks tall and confidently.  Charlotte Tallack is funny as Michaela.  There is a moment when all the daters are clearing away the chairs and other items.  She looks at a chair with disgust and makes a humorous and feeble attempt at helping.  She pushes the chair to the side with a sharp push that moves it only a little.  This simple action is great.

Naomi Todd is skilful as Kimbaly.  Initially it is hard to see where her character is going or if she is developing.  Then there is a beautiful point in which she states what physical harm she would do to Susie if she said what she thought she had said.  It is funny and switches Kimbaly from an immature and unthinking woman into a capable woman.  One who has maturity and knowledge but chooses rather to just be herself, be nice and be all cookies and cream.  Naomi Todd performs two outstanding dance routines in the manner of Kimbaly.  One routine is Beyonce’s ‘Single Ladies’.  Every move is perfect but they have the Kimbaly edge to them so the pouting forward leaning flicks are thick and fast and enhance the performance.

Matthew Parker has directed this play with skill, humour and originality.  It is a great and different concept and a fun participatory experience.  Theatre like this needs to continue.  Each character is well developed and has their own signature.  They work well individually and collectively.  The speed-dating event is wonderful.  The after party is wonderful.  It is all wonderful.  The lighting complements the action and the set has just the right amount of interest in it not to detract from the actors.

Catherine Gerrard has assistant directed this play skilfully also.  She was part of the play behind the bar helping with various aspects of it.  It seems like the whole process has been an enjoyable experience with a lot of laughter.

Laura Harling is astute to have taken this play and produced it.  It would be good if this play could be put on in a bigger venue for even more people to see and enjoy.  It is something to go home and tell your friends about.  Everyone involved deserves another round of applause.

There you have it.  Speed dating done.  Tick.  The first half of the play is a funny account of the highs and lows of speed dating and the people you could meet and be forced to spend time with.  The audience is relieved not to be involved for the whole event as they conveniently get voted off for not getting enough points to go through to the next round.  Phew.  The second half further delves into the dating game and the characters and a post-speed-date party.  There is dancing and some truly amazing dance routines that must have taken a while to perfect.  There are some interesting moments in the play when the lights go down and the spotlight is on one character and they do a speech and a performance to further reveal aspects of their character and tell their story.  Then the action goes back to normal as if it never happened.  A beautifully directed montage of dancing by all the characters also occurs, done to the music of ‘Love is a Battlefield’ by Pat Benatar.  There are a set of movements each character completes amidst one another and then the whole thing repeats with subtle changes and increasing intensity.  It is mesmerising to watch.

The whole play is brilliant.  There is plenty of fun and laughter throughout.  If all speed dating involves this much humour, intrigue and dance routines, more people should definitely try it.  If not for the experience of laughing until you cry, then purely for the pleasure of meeting Ricardo, Tilly, Lydia, Susie, Nigel, Michaela and Kimbaly.

Cast Credits: Bobby Coello – Ricardo.  Rachel Copsey – Tilly.  Sasha Delaney – Lydia.  Hester Kent – Susie.  Jeremiah O’Connor – Nigel.  Charlotte Tallack – Michaela.  Naomi Todd – Kimbaly.

Company Credits: Director – Matthew Parker.  Assistant Director – Catherine Gerrard.  Producer – Laura Harling.

© Chantal Pierre-Packer 2010

Reviewed Tuesday 24 August 2010


End of the line: Tales on the Tube

Thursday, 9 September, 2010

Didn’t want it to end!

London – The Roadtrip Bar 23rd – 25th Aug 2010 – 19:30 1 hour (no interval)

new short drama

Tales of the Tube, in less time than it takes to get from Hainault to almost anywhere

The downstairs room at Roadtrip Bar was converted into a makeshift tube carriage by Rumi Begum so the audience sat cosily facing each other on benches watching the action unfold all around and amongst them.

The action kicked off with ‘Inconvenient Revelations’ by Rumi Begum. A short, sassy piece that showed secrets between girls never really stay secret. The ‘Tube’s a Racist’ by Triska Hamid was a short piece loaded with colour–coded comedy. ‘Closure’ by Mediah Ahmed was a touchingly awkward piece about bumping into your ex on the tube with a perfectly restrained portrayal of heartbreak from Gabriella Schmidt.

‘Going Under’ by Fenar Mohammed-Ali was a quirky tale about tube suicides featuring a sweet portrayal by Fenar Mohammed-Ali himself as the caring mouse who can tell a man is about to jump but is powerless to stop him. ‘A Revealing Man’ by Rumi Begum was a delightfully frank piece of physical comedy about the invasion of personal space on the tube and ‘On Your Feet’ also by Rumi Begum exposed the nightmare of travelling on the tube for a man with an overwhelming fear of feet.

‘What Goes Around’ by Amber Mun was an intriguing piece about justice stalking the law whilst on a very enclosed tube carriage and ‘A Bit of a Mouthful’ by Rumi Begum delved into the weird rules of bulimic socialising.

‘Identity’ by Zainab Hasan was a futuristic piece about the confusions of controlling the public through ID cards with an incredibly gentle performance from Lelo Majozi in the face of blatant prejudice.

‘That Boy’ by Sabrina Mahfouz was a delicate, honest piece about how easy it is to reveal too much about your self on a long tube journey. David Ajao had a cheeky charisma and Rhoda Ofori-Attah had enigmatic innocence that made it very easy to care about the characters in this tube tale.

‘Sloane Square’ by Triska Hamid was a hilarious piece about the type of girl everyone wants to live like but no one wants to be like with Lydia Rose Bewley almost stealing the entire show with her portrayal of the well meaning, but incredibly politically incorrect, Sloane girl.

And finally ‘Neil’ by Zia Ahmed was a light, comic piece about two friends who decide to create a tribute to Art Attack’s Neil Buchannan after mistakenly hearing that he’s dead.

All in all this was an impressive fringe debut by knocked for six which had some genuinely brilliant theatrical moments. Based on this experience I can say with confidence that when I see any of their future projects I won’t think twice about jumping on board.

Cast Credits: Performers – Alexander Aplerku, David Ajao, Fenar Mohammed-Ali, Gabriella Schmidt, Lelo Majozi, Lydia Rose Bewley, Jim Tanner, Rhoda Ofori-Attah, Zainab Hasan, Zia Ahmed

Company Credits: Writers – Amber Mun, Fenar Mohammed-Ali, Mediah Ahmed, Rumi Begum, Sabrina Mahfouz, Triska Hamid, Zainab Hasan, Zia Ahmed. Directing Adviser – Natalie Ibu. Graphic & Audio Design – Zia Ahmed. Stage Hand / Announcer – Jack Dormer. Executive Producer – Sabrina Mahfouz. Website –
(c) Hannah Rodger 2010

reviewed Tuesday 24 August 10


2:2, by Dilek Latif

Tuesday, 31 August, 2010

University of the Dark

London Festival Fringe:  The Lost Theatre, 24th-26th August, 19.30 (1.40)

2:2 is a new play by first time writer/director Dilek Latif.

Four close university friends, Kerry (Elizabeth Campbell), Sean (Oliver Hurst), Dee (Lauren-Jean Reeves) and Guy (Tom Squires) go into the law department to get their final degree results together.  They have laughed, cried, partied and lived together for three years, and they set off to meet what they see as a pivotal moment together.  When they are just metres away from their destination, they are diverted by their favourite tutor, Richard (Stephen Malyon), who invites them for a glass of celebratory champagne in his office.  As the mood changes from congenial to strained, the girls try to leave only to find that they are all locked in with an increasingly unstable Richard.  It transpires that one of the four has taken something from Richard and he is intent on eliciting a confession.  In the process he sets the four friends against each other, bringing out their secret longings and jealousies and using them to unsettle the group.  Driven by his own dark past, Richard plays a game that gets more and more frightening.

The student foursome each represent classic ‘types’:  Guy (Tom Squires) is a burly jock who likes the ladies, Sean (Oliver Hurst) is the sensitive boffin, Kerry (Elizabeth Campbell) is the spoilt posh girl while Dee (Lauren-Jean Reeves) is the tom-boy with a secret crush.  Their favourite tutor, Richard (Stephen Malyon) is unrelentingly creepy.

The young team on this project obviously put a lot of enthusiasm into it. The extremely well thought out set and props really do evoke the university world, and director Dilek Latif stages the piece competently within the space.  It is unfortunate that, while there are some promising moments, as a piece it doesn’t really come off.  The concept itself is sound and offers great possibilities that may have been realised in a slicker, more exciting fashion if the show was half the length.  As it is, the characters flounder in a script that labours through the repetition of a few underlying threads towards an ending which is is pretty far-fetched.  While many of the conversations and group scenes  lack dramatic drive, the script gets a real lift whenever there is a monologue.  The actors follow suit and deliver most of their best work at these moments where they show genuine commitment to the thoughts and emotions of the characters and often raise their energy to match.

On the whole, this is a nicely staged piece with some promising moments which is a little too studenty for the demands of the fringe.

Cast Credits (alpha order):  Elizabeth Campbell – Kerry, Oliver Hurst – Sean, Stephen Malyon – Richard, Lauren-Jean Reeves – Dee, Tom Squires – Guy.

Company Credits – Writer/Director – Dilek Latif, Production Photography – Mark Taylor & Nahla Ibrahim, Lighting Designer – Mark Hensler.

(c) Jennifer Skapeti

Reviewed 25 August


The London Awards 2010

Tuesday, 31 August, 2010

The Palm Court at the Waldorf Hilton

London Arts in Focus

The Waldorf Hilton Hotel, Aldwych, London, Thursday 26 August 2010

It’s wet outside, so there’s quite a queue for the cloakroom at the Waldorf Hilton, the venue for Awards Night at the London Festival Fringe 2010. The sensible ones have of course gone inside the strikingly elegant Palm Court room with its white marble décor and have collected a glass of wine before queueing. Those of us who haven’t, stand and fret.

Fortunately, Cheryl Moskowitz, a poet and novelist, is prepared to tell me about the world of poetry and its economics (of lack of them). Despite this, it seems, poetry still survives. Anne-Marie Fyfe, who heads the judging panel of the New Poetry award and later hands over the prize to award-winner Carrie Etter, has a big hand in this, running the famous Troubadour café in London’s Earl’s Court, home of many a poetry reading. The fact that 77 poets were entered for this prize (and to be eligible, a poet had to have published a collection) gives you some idea of the scale of this quiet piece of the London arts scene.

Anne-Marie’s partner is Cahal Dallat, also a writer, musician and poet, and we just have enough time to reminisce a little about old times in Belfast (where we both attended Queens University, round about the time when dinosaurs walked).

Together there are ten awards to be given. They are for (amongst others) jazz, and poetry, for music and art and these Awards have been one of the real successes of the London Festival Fringe, the idea of Greg Tallent and the man who has persuaded and cajoled so many people to do things – sponsoring and judging awards, hosting events, providing venues, publicity and help of all kinds.

One of these is Rachael Dalzell, whose Bedfordbury Gallery in Soho has been the base for the London Festival Fringe Art Award. This award was also amazingly popular, with no less than 87 artists entering and 22 being shortlisted. (The winner was Andrew Hladky).

Above all, Greg has gathered 220 people to help celebrate the winners’ achievements in these grand surroundings, so at least one venue for a London Festival Fringe event is something quite other than ‘Fringe’. Here, award winners rub shoulders with sponsors, award entrants, shortlisted artists and there are performances too, compered elegantly by actor Derval Mellett and directed by Simon Hipkins.

Leanne O’ Loughlin, who, in the short time she has been in London, has become a doughty reviewer of fringe performance, tells me she attended one of the evenings at which judging took place for the music award, and that award winning band, New Cut Gang, are well worth their accolade. David Shepherd, who books bands for the Leicester Square Theatre, and is here tonight, may well take some notes.

The Awards themselves, which award-winning comedian Don Biswas somewhat unkindly (but perhaps appropriately) likens to a chair leg, are handed out a la the Oscars, with much mentioning of friends, supporters, comforters and others. Perhaps the most poignant note is that struck by actor Jane Lesley when accepting the Award for Best Play (on behalf of A Christmas Carol, which she co-wrote with Joe Fredericks). She accepts the Award with a special note to the actor who played Scrooge (Jonathan Battersby) in the original production and who died earlier this year.

But perhaps we should leave the final note to Greg Tallent himself, without whom none of this would have happened:

‘London is the theatre capital of the world. This city has the best playwrights, actors, directors and theatre professionals. It also has a great theatre audience. To celebrate this and to offer recognition to artists and creatives working in the capital we have set up the London Awards.’

No one could doubt the energy and enthusiasm that is in evidence throughout these – now established – Awards. Come forward, next year’s sponsors.

People here include: Charles Wahab, Andy Powell (Artist), Tracy Keeling (Playwright), Leanne O’Loughlin (Writer), Stephen A Brown (Opera singer), Kasia Tallent , Richard Helliwell (Film Special Effects / Alternative Fringe), Michael Tallent , Jane Lesley (Director, MokitaGrit), Jonathan Hansler (Actor), Gillian Best Powell (Artist, Cor Blimey Arts / Core Gallery), Greg Tallent (Director, London Fringe), David Shepherd (Music Director, Leicester Square Theatre), Zoë Powell (Knitwear designer), Stephen Keogh (Global Music Foundation), Tracy Howl (Photographer, London Press Pix), Ewa Jaworski (Actor), Victoria Silverman, Michael Spring (Writer; Director, WildWest), Kenneth Liu (Musician, Grimhilde), Anna Tallent, Jackie Stirling (Actor), Skye Crawford (Editor, Fringe Review), Diana Thomas (Director), Nolia Devlin (Director, Nolia’s Gallery),


The London Awards comprise:  London Art Award, London Jazz Award – Best Vocalist, Best Jazz Instrumentalist, London New Comedy, London New Music, London Photography, London Short Fiction, London Theatre Writing, London 48 Hour Short Film, London Best Play, London Poetry Award.  Details as follows:


London Art Award

‘An award exclusively recognising an Artist whose work pushes the boundaries of art, inspired by the phrase “Quick before we come to our senses’”.’

Visual Arts Organiser:  Gillian Best Powell

Judges on the selection panel:  Jason Brooks, Artist, whose work is included in many of the world’s finest public and private contemporary art collections.  Nick Kaplony, Artist and Freelance curator, Artsquest & Pumphouse Gallery.  Zoe Whitley, Curator Contemporary Collections, Victoria & Albert Museum.

Final shortlist: Ingrid Berthon-Moine: ‘Rouge Pur and Rouge Star’.  Andrew Hladky: ‘It Was Not There’.  Yoonjin Jung:  ‘Seeing the Unseen’.  Paula MacArthur: ‘Deluxe’

Winner:   Andrew Hladky


London Jazz Award – Best Vocalist, Best Jazz Instrumentalist

Jazz Award Organisers:   Stephen Keogh / Ross Dines

Judges: Peter King.  Tina May, Voice.  Guillermo Rozenthuler, Voice (Latin).  Gilad Atzmon, Multi instrumentalist, sax, clarinet, ethnic wind.  Jean Toussaint.  Pete Churchill – Royal Academy of Music.  Mark Hodgson.  Jim Hart.  Barry Green.  Brigitte Beraha.  Asaf Sirkis.  Charles Alexander.  Julian Joseph.  Joe Paice – Jazz Services.  Paul Pace – Ronnie Scott’s.  Ross Dines – Music Director, Pizza Express Jazz Club, Soho.  Stephen Keogh – Global Music Foundation.

Best Vocalist joint winners:  Norma Winstone  and  Cleveland Watkiss

Best Jazz Instrumentalist:  John Turville


London New Comedy

Organisers:  Louise Ayling & Imogen Crouch-Hyde

Judges:  Lynne Parker, Director of Funny Women.  Debbie Chazen.  Laurie Lewin

Finalists:  Jeff Leach, Joe Wells, Gemma Beagley.  Commended: Christian Manley.  Runner-up: Katie Lucas

Winner:  Don Biswas


London New Music

Organiser:  Patrick Lyons

Votes were made online and by the audience on the final music night.

Bands in competition: New Cut Gang from the Dublin Castle.  Frisky Holler from the Old Police Station.  Kalakuta from E1ectric

Winner:  New Cut Gang


London Photography

Organiser:  Tracy Howl

Judges on the selection panel: Edmond Terakopian, award-winning photojournalist.  Kate Day, Communities Editor, Daily Telegraph.  James Sparshatt, Photographer, Capital Culture.

Finalists:   Ben Graville, Ben Westwood, Colin Hampden-White, Daisy Meadows, Hady Bayoumi, Jola Mroszezyk, Liz West, Mish Aminoff, Nadjib Lefleurier, Rashida Mangera, Siddhartha Tawadey, Xiaoxiao Sun

Winner::  Daisy Meadows


London Short Fiction

‘Fictional stories, no more than a 1000 words that are inspired by the phrase: “Quick, Before We Come to Our Senses”.  The phrase did not need  to be used as a title, and was intended only as a starting point to work from.’

Judges:  Dr Anna Beer, University Lecturer in Literature, Fellow of Kellogg College, Oxford.  Dr Michael Sayeau, Lecturer in the English Department, University College London.  Dr Tara Stubbs, Stipendiary Lecturer in English, St. Peter’s College, Oxford.

Shortlisted:  Bahar Oona Brunton.  Carolyn Thomas.  Claire Louise Norton.  Eley Williams.  Geraldine Taylor.  Jennifer Thorp.  Kate Kerrow.  Mike Wendling.  Robert Pickles.  Sarah Day.  Scott Morris.  Tara Isabella Burton

Winner:   Jennifer Thorpe; The story: Coming Into Senses


London Theatre Writing

‘This Award gives a platform to the most promising piece of new writing or devised work to have arisen from a writer/s or theatre group.  It is intended for writers/actors to showcase their work to a large audience and to the industry.’

Organiser:  Maude Laflamme (London Playwright’s Collective).  David Bottomley (London Playwright’s Collective).  Kerry Irvine (ScenePool)

Judges:  Ola Animashawun, Associate Director of the Royal Court Theatre, Director Euphoric Ink.  Skye Crawford, General Manager, King’s Head Theatre.  Ria Parry, co-Artistic Director of Iron Shoes/

Finalists:  Aurora – Louise Monaghan.  Drawing the Curtains – Benedict Fogarty.  Snap. Catch.  Slam – Emma Jowet.

Highly Commended: Sultan’s Battery by Kathy Rucker

Winner:  Benedict Fogarty – Drawing The Curtains


London 48 Hour Short Film

‘The competition tested the creative and technical skills of writers, directors, film crew and actors.  The team will be given a title and a genre to work from and have 48 hours to finish the movie.’

Judges:  Phil Wood, Manager & Programmer, Roxy Bar & Screen.  Nathan Theys, Director, Film Creatives.  Enrique Rovira, Director, Producer,  Kathy Hill, Director, Writer, ‘Down and Out in Cannes’.

Entries: (Genre / Title / Team):  Romance – Three Lives – Alma.  Sport – A Woman’s Life – Argentum.  Suspense – The Well of Loneliness – Art is Useless.  Biography – What Maisie New – Avocado.  Fantasy – A Day Off – Spontaneous Skamp.  Crime – Miss Lonelyhearts – Water Rats.  Mystery – She – Yardie Style.

Winner Three Lives – by Team Alma


London Best Play

Organiser:  Kaye Conway

The 3 plays with the most votes are, in alphabetical order:

A Christmas Carol – Joe Fredericks, Jane Lesley

Angela Unbound – Andy McQuade

Alice’s Adventures In The New World – Rebecca Dunn, Sarah Sigal

Winner:  A Christmas Carol – Joe Fredericks, Jane Lesley

(Ellie Collyer-Bristow collects on behalf of Joe Fredericks, with Jane Lesley)


London Poetry Award

Organisers:  Cahal Dalat.  Anne-Marie Fyffe

Judges:  Daljit Nagra, Poetry Tutor in Faber Academy.  Tamar Yoseloff, teaches creative writing with The Poetry School in London.  Adam O’Riordan, the youngest Poet-in-Residence at The Wordsworth Trust in Grasmere.

Shortlisted Poets:  Abi Curtis.  Agnieszka Studzinska.  Carolyn Jess-Cooke.  Carrie Etter.  David Briggs.  Ellen Phethean.  Grace Wells.  Hilary Menos.  Howard Wright.  Katrina Naomi.  Maureen Jivani.  Patrick Brandon.  Sam Willetts.  Tom Chivers.  Eleanor Livingstone.

Winner:  Carrie Etter, who reads from The Tethers


© Brent Crude 26 August 2010


Zelda, by Kelly Burke

Tuesday, 31 August, 2010

Fitzgerald’s Muse

London Fringe.  Leicester Square Theatre, 19th – 31st August, 19:00 (1.00)

The original Zelda

Zelda (Kelly Burke) is already deep in concentration when the audience enter the space.  She sits at a table in a simple and flattering blue chiffon dress surrounded by books, paintings, papers and shoes that are collected in untidy piles on the floor.  She is deeply absorbed in writing something, and it is so interesting to watch that it takes up the next ten minutes until the whole audience is seated easily.  When she speaks, we realize she is doing so from a mental hospital.  It is from this point that Zelda’s story unfolds through soliloquies delivered in ‘the present’ and frequent trips into the past via vivid reveries and excerpts from letters.  The story is that of the creative, outlandish and ultimately unhinged Zelda Sayre and her passionate, tumultuous relationship with the famous American novelist, F Scott Fitzgerald.  We see not only the couple’s glamorous lifestyle but also the struggle of a woman desperate to express herself from the creative shadow of her husband.  It features enough highs, lows and witty anecdotes from the 1920s American party scene to ensure that this one woman show is entertaining as well as touching.

Kelly Burke’s Zelda is immediately likeable with her engaging smile and open, conversational manner.  As the show progresses through it’s thrilling structure of rapidly changing settings, events and moods, she is really able to strut her stuff, giving a performance in which physicality and emotions turn on a sixpence.  The detailed characterization, physical skill and utter commitment of this actress are a pleasure to watch.  With no set changes to help to differentiate between past and present, the clarity of the piece is an achievement for both Writer/Actor Kelly Burke and Director Robert F Gross.

The scene is set simply effectively by the planning of Art Designer Kate Williams and Lighting Designer Sean Salinas and execution of Stage Manager and Lighting Operator Clare Woodruff.  The tone is perfect for a play that aims to showcase a well written story through a skillful performance where the actor’s relationship to the audience is paramount.

Zelda is a really excellent one woman show.  It achieves everything in exactly an hour with no wasted moments, and it feels like time well spent.  Well structured and impeccably executed, this is a thoroughly enjoyable show.

Cast Credits:  Kelly Burke – Zelda

Company Credits:  Writer – Kelly Burke, Director (Edinburgh Fringe 2006) – Robert F Gross, Stage Manager and Lighting Operator – Clare Woodruff, Lighting Designer – Sean Salinas, Art Designer – Kate Williams.

(c) Jennifer Skapeti

Sunday 22nd August


Creekside Artists at the Fringe

Tuesday, 31 August, 2010

Seven Dials Club – 2 Aug to 18 Sept – 26 Aug – 11:00 – 21:00

The exhibition consists of 45 pieces by 14 separate artists.  The works displayed are in three interconnecting rooms, on the walls surrounding the Seven Dials Club in Soho.  Mediums range from oil on canvas, digital illustration and prints, charcoal and ink on paper, and spray paint on canvas among others.  Throughout the dates of the exhibition, the Creekside Artists have teamed up with local musicians and poets, and have even featured a life-drawing event during the showings in order to create a multi-faceted artistic experience.

Necole Schmitz’s ‘Madonna of the Sorrows’ is 54 x 74 cm oil on paper.  It is an inventive re-imagining of Renaissance paintings portraying the Virgin and infant Christ.  In Necole Scmitz’s piece, a haggard and broken woman with sorrowful eyes clutches an expressionless child to her breast.  In contrast to the perpetually glowing images of youth and beauty usually seen in this context, ‘Madonna of the Sorrows’ invokes feelings of pain and uncertainty.

Emma Louise Fenton’s ‘Not Again’ and ‘The Morale of the Story’ show brief insights to lives of modern, city-dwelling children.  Both pieces have been created using digital illustration and are 156 x 110 cm.  In ‘Not Again’, a small boy sits in his bedroom, surrounded by numerous forgotten gadgets, engrossed in a book while his mother scolds him from the doorway.  In ‘The Morale of the Story’, the same boy stands amidst the technological clutter, his arms and legs sprouting branches as he morphs into a tree.  By the window, an abandoned telescope focuses on the world outside, a bleak and grey urban landscape.  They imply an increasing isolation from nature as we simultaneously yearn for it.

Paul Coombs’ ‘Why the Long Mask?’ is 30 x 24cm acrylic on canvas.  It shows the dark visage of an unknown man covered in a white mask.  The piece is both fascinating and very disturbing.  It has the feel of a cold and degenerate sexuality together with mysteriousness, and is deeply unnerving.

Brenda Brown’s ‘Jazz’ is a colour burst of vitality against a dark backdrop.   At 40 x 44 inches and in oil on canvas, red and vibrant yellow pop as the texture creates an interesting focal point.  There is the impression of motion and sound together with a subtle hint of the curvature of a saxophone.

Victoria Trinder’s ‘By a Hairs Breadth’ and ‘JP’ are round, 120cm diameter creations in oil on board.  They are gorgeous, fantasy like glimpses into a brightly vivid dream.  Exotic flowers blend with a myriad of colours to create a stunning and wistful experience.

All of the art featured is the work of members of the Creekside Artists, a not-for-profit co-operative based in Deptford, which provides affordable studio space and a unique, creative community for artists working in all disciplines.  The Creekside Artists hold Open Studio events three times each year, in June, September, and December.

Artists:  Brenda Brown, Paul Coombs, Emma Louise Fenton, Alex Glen, Rachel Hale, Siobhan Keane, Henrietta Loades-Carter, Daryl Mohammed, Sofie Pinkett, Dave Ravenswood, Mat Rochford, Necole Schmitz, Victoria Trinder, Caz Underwood

(C) Megan Hunter 2010


The London Theatre Talks 2010: Banks are More Important to Society than Theatre

Tuesday, 31 August, 2010

London – The Phoenix Artist Club – 24 Aug – 19:00 (0:40)

As a stimulating addition to the London Fringe Festival, the historic Phoenix Artist Club in Soho hosted ‘The London Theatre Talks 2010’.

The talks were a series of panel discussions which featured prominent cultural experts in conversation about issues currently affecting the arts. On Tuesday, August 24th, the topic was: ‘Banks are More Important to Society than Theatre’.

The panel consisted of Nina Caplan, journalist and former Arts Editor of ‘Time Out‘, Shaun Hutchinson, the Editor of ‘New Black Magazine‘, and journalist and actor Ben Holland, who also used to work in the City. The talks were chaired by critic, journalist, and regular chair of the ‘Platform Talks’ at the National Theatre, Aleks Sierz.

In discussing the connection between theatres and banks, the panel paid particular attention to new theatrical works which dealt with the subject of corporate and economic corruption. Lucy Prebbles’ ‘Enron’ was a major point of discussion. Other topics focused on why theatre remains popular, what it should aim to achieve to be classed as successful, which of the two (theatre or banks) had brought society more honour throughout the course of history, and how the current economic crisis would impact the way that each does business going forward.

Thankfully, none of the panellists were biased in their responses and all were, as expected, articulate and well informed. In considering the talk prior to attending, I had feared that the ‘debate’ would in fact be a funding rally in response to the recent governmental cutbacks to the arts. While I obviously disagree with the arts-focused budget cuts, I was interested in hearing a balanced argument for both sides and was pleasantly surprised to find just that. The responses were well rounded and provided interesting insight into how we measure ‘success’ and ‘value’ in modern Britain.

As Shaun Hutchinson said, we go to the theatre to be inspired, entertained, to learn, and to seek answers about ourselves. Nina Caplan added that since the beginning of the financial crisis, the theatre has attempted to provide answers to the questions of what went wrong and why, while the banks have remained largely silent and insular. Likewise, Ben Holland pointed out that the visual medium of the theatre has provided an entertaining way for the general public to gain some understanding of a particularly complicated issue which is considered to be dull and dry. In this way, people have flocked to productions like ’Enron’ for answers, even when they are not specifically related to the topic of the global recession.

However, we have also constructed a society which is wholly reliant upon finance. Major financial institutions regularly back commercial theatrical productions, primarily on the West End, and because of this the relationship between the banks and theatres is incestuous. Still, one of the main differences between the two is their attitude towards profit. While banks are concerned only with their bottom lines, much of the theatre is actually loss-making. As funding cuts continue and with banks less likely to lend financial support to riskier artistic endeavours, the area of the theatre predicted by the panel to suffer the most was the Fringe. The conclusion of an interesting evening was that both financial institutions and artistic outlets are necessary in society. While I agree with that assertion, I know which of the two I prefer.

Panellists: Nina Caplan, Ben Holland, Shaun Hutchinson

Chair: Aleks Sierz

(c) Megan Hunter 2010


Danny and the Deep Blue Sea

Tuesday, 31 August, 2010

Love in the Bronx

London – Phoenix Artist Club – 27-31 July, 10-21 August (excluding 15 and 20)

Two small round wooden tables, surrounded by four wooden chairs, keep each other company on the small stage.  Roberta (Amy Tez) strolls in wearing cream high heels, denim hot pants with a leopard print belt and a chequered blouse with the sleeves rolled up and few buttons done up.  She sits down and flirts with the room and drinks beer from a bottle.

Danny (Andy Jones) then bounds in wearing black jeans, beige suede shoes, a white vest top and a white striped top, kept open.  He has blood all over his face and hands, as if he has just been in a fight, and has a large black eye.  He gets a jug of beer.  He lights a cigarette and puts a piece of material in the beer and cleans his cut hand with it.  The perfect scene has been set.  The intrigue is firmly placed and the anticipation is brimming, all this without any dialogue yet being exchanged.  What follows is an heart-warming, tragic, beautiful and bittersweet tale of love.

Two strangers looking for love, a connection and a missing piece of their lives, find each other.  They bend, twist and struggle their way through opening up their hearts and discovering themselves before they can open up and discover each other.  It is an emotional story.  They reveal difficult past and present times.  They explore a hurried love like children at play.

Roberta and Danny live in the Bronx.  They are used to fighting for everything and standing on their own two feet.  As strong willed as each other, it is hard to let their respective guards down to soften and become a bold and beautiful body as one.  Danny solves everything with his fists but hides a kind heart that needs to be nurtured.  Roberta is a loving mum who projects the image of strength and bravado to all.  However, inside she is as kind and sweet as Danny and also needs nurturing.  They are perfect for each other.

Andy Jones is excellent as Danny.  He maintains a perfect Bronx accent throughout, and is reminiscent of Al Pacino in Taxi Driver.  Andy Jones plays Danny through a series of emotions including being paranoid, loving, and angry.  Danny’s journey unfolds superbly.  Andy Jones has his actions and facial expressions to match absolutely on point.  It is fascinating to watch.  He throws darting paranoid looks around the room, at Roberta and inwards to himself.  He puffs out his chest with confidence and at other times closes in on himself, wanting to be held.

He sits on the chair in an attractive manner, slouched over it, nonchalant yet also very aware of his allure.  He has his forearms exposed, hair tousled up and looks strong and fit.  Andy Jones is skilful on stage.  He acts out a panic attack, cries and fiddles with his hair then lights a cigarette to shrug the whole thing off.  An example of when Andy Jones captures the humour of a moment perfectly is when Roberta says to Danny “Touch me.  Put your hand on me nice and talk to me.”  Andy Jones has such an expression on his face, pauses and then slaps Amy Tez on the arm in a matey kind of way.  It is great.  Andy Jones gives Danny a nervous laugh that he brings out throughout the play at opportune moments.  It gives Danny that tender side.  It is quite cute.  Even the way he swears makes Danny the kind of man that you just want to look after and give him all the love he never had.

Andy Jones seems to know how to use each situation and prop to enhance the action and his character.  He sits in a chair and plays with a doll whilst telling the story of a wedding.  He plays with its hair, he has nervous twitches and plays with his ear, his face and holds his chest.  He crosses his feet over and closes into himself like he needs protecting and plays with his neck.  It is captivating viewing.

Amy Tez is excellent as Roberta and also maintains a perfect Bronx accent throughout.  She is flirtatious and sultry.  Amy Tez holds Danny’s eye well and constantly challenges him verbally or physically.  It is interesting to see how next she will do it, whether it is the way she sits near him or the way she stands and talks to him.  Amy Tez shows her humour when Roberta talks to Danny about the false moon they see and shows him her own moon and wiggles herself at him.  He howls in return as he is howling at the moon.  Such hilarity.

Amy Tez plays the flirt confidently.  She kneels on the bed in his shirt and tells her story with anguish.  She holds the tension in the arguments and holds the tension in the intimate moments.  Amy Tez carries herself in a fearless manner when necessary.  She crumples and cradles herself when there is nowhere aggressive to go to and she needs Danny to rescue her.  She is tender towards Danny and cares for him with kid gloves intuitively.  She also cares for him with boxing gloves at other times when he needs that too.

Both Andy Jones and Amy Tez play the sexual tension between their characters well.  It is easily believable.  They complement each other well as actors and as characters in love.  There is a moment where they both stand up and she slaps him.  Then, there is a skilful series of movements where he grabs her round the neck and pins her up on the wall with his hands and his body.  It has been done carefully and effectively.  It could obviously be quite dangerous if not done properly.

John Patrick Shanley has written a well-rounded piece of work.  The interactions between Danny and Roberta are humorous and touching and the story flows well.  The journey of the couple has a good pace.  There is a funny line where Roberta makes a comment to Danny about him not being so scary: “I seen worse than you crawling round my sink!”  There is another part where Danny howls at Roberta’s moon.  There is a nice mix of humour and serious introspection.  There is one horrible line however where there is an ignorant mention of a phrase used referring to people from another country.  If it were not for this, the play would be faultless.

Dominic Cazenove’s direction is very capable.  Danny and Roberta interact well and move around their world in a unique way. Roberta has a feminine fluid movement.   She sexualises everything, as that is how she can relate to the world.  Danny has a mixture between arrogant and humble.  He has a confident countenance and also an uncertain fidgeting and self-conscious manner.  His world is a constant battle and he is always alert.

The music and lighting by Rock N Roll Theatre complements the whole play.  The lighting is subtle when it needs to be and lights the actors and the set appropriately.   There are some familiar songs such as ‘I Put A Spell On You’ sung by Nina Simone, which sets the scene for the second half.

The play makes you hope for love and smile with the joy of all the good in the world.  You may want to run out and find your own love story straight after if you don not already have one.  The acting is excellent, the direction is excellent, and the play is nearly as good.  If you go and see anything in the future, go and see this first.

Cast Credits:  Andy Jones – Danny.  Amy Tez – Roberta.

Company Credits:  Writer – John Patrick Shanley.  Director – Dominic Cazenove.  Executive Producer – Amy Tez.  Producer – Kay Bridgeman.  Sound Designer – Rock N Roll Theatre.  Lighting Designer – Rock N Roll Theatre.  Art Work – Bradley Kemp.

© Chantal Pierre-Packer 2010

reviewed Monday 16 August


Poetry and Spoken Words

Friday, 27 August, 2010

Hearing secret harmonies

London – Seven Dials Club – 26 Aug 10 – 19:30 (2:30)

The mics don’t work.  The Seven Dials Club is bustling so microphones would help.  Brenda Brown and Kathrin Kirrmann leap into action, assisted by a flood of eager poets.  A wall is created seemingly from thin air, separating the general bar populated with a curious but not invested public from the Poetry and Spoken Words event of the evening.  The room is mixture of poets, fans, reviewers, artists and those who encompass all of the above.  The camaraderie and excitement is tangible.  The performers soldier on; some still hold the dysfunctional mic like a familiar blanket, some eschew it entirely and, in a memorable final act, one builds a poem around the technical difficulties.

First to grace the stage is a rag tag class of poets, led by the indomitable Emile Sercombe.  Though their delivery is often hesitant and hushed the genuine enthusiasm for poetry and how it expresses the everyday in carefully crafted language radiates.  Gary Stephens’ ‘Panic Attack’ co-opts the familiar rhythm of ‘The Night Before Christmas,’ but usurps its magical subject, replacing it with a medical lament.  Charles Brown’s poetry also stands out in its simplicity of language and the powerful images it creates, particularly in ‘Looking Through.’  Their fearless leader, Emile Sercombe, sets the room alight with gasps and riotous laughter, as he dons various costumes over his Where’s Wally top, rainbow suspenders and checked trousers and leads us through the world of vengeful worms and meticulous werewolves.

The second half of the show is devoted to a series of more professional poets, who are quick to note their books for sale in the back.  The poetry and delivery is more polished, but happily the enthusiasm remains.  A particular highlight of the evening is the Perunika Trio, whose aching and pure voices blend into stunning harmonies and dissonance.  The spirit of the songs translates, even though the words do not.  That Bulgaria lies on the great divide of East and West shines though the music, as Eugenia Georgieva’s voice rises in what feels like a call to prayer.  A quick succession of brilliant and energetic poets follows.  Elizabeth Darcy Jones unleashes her vendetta against St Ives, painting herself as a seductress and witch, though her BP poem is slightly out of touch following the recent disasters.  Julie Mullen, accompanied by Cathy Flower, captures the rhythm of sex and the waves of climax in She/She.  The evening comes to a close with Alan Wolfson, a man with an astonishingly fabulous moustache and a wit to compete with the best.  Immediately he launches into a poem about the evening’s technical difficulties, calling out the broken mics, the strangely off-centred paintings and even the wall-colour.  He then parades mischievously through a series of poems with dazzling wordplay, particularly in ‘Cat Slam Rhyme Off,’ about a battle of rhymes with his cat, Otis.  The evening ends on a high and the now sated audience dashes off into the wet streets.

Cast Credits:  William Ball – poet, Brenda Brown – emcee, Charles Brown – poet, Peter Cox – poet, Sasha Dee – poet, Dònall Dempsey – poet, Elizabeth Darcy Jones – poet, Paul Eccentric – poet, Cathy Flower – poet, Lizzie Grayling – poet, Kathrin Kirrmann – emcee, Julie Mullen – poet/emcee, Perunika Trio (Eugenia Georgieva, Dessislava Vasileva, Jasmina Stosic) – a cappella music, Emile Sercombe – poet, Gary Stephens – poet, Jan Windle – poet, Alan Wolfson – poet.

Company Credits:  Director and Events Coordinator – Brenda Brown, Company – Cooltan Arts (  Organising Company – Creekside Artists (

(c) Molly Doyle 2010

Reviewed 25 August 2010