The author gives details to his background that help readers to understand his personality. We learn what it takes to thrive in the army, to see and survive conflict and to recover from the immense physical and psychological trauma of warfare. Having put military life behind him, Pinner was motivated to volunteer his services with the Ukrainian Army due to his wife’s Ukrainian nationality. But as he admits, he had also struggled to find career satisfaction outside of the camaraderie and excitement of army life. Repeatedly throughout the book he emphasises that during life-threatening situations he didn’t feel fear. It’s hard for the civilian reader to understand this, but easy to take him at his word throughout an authentic account that needs no exaggeration for dramatic effect. Put simply: men like Pinner are a breed apart. By helping in the fight to liberate Ukraine, we can only be thankful that there are soldiers with both conviction and the courage to act on their principles.

If you’re looking for an insight into what it’s like to be at the heart of modern warfare, then ‘Live, Fight, Survive’ is a compelling first-hand account. There isn’t much that Pinner doesn’t experience. He describes the friendships he forged with Ukrainians and how he doesn’t have time to grieve for one young man whose death in conflict he learns of at a crucial moment. Having explained how essential it is for a British national, likely to be considered a mercenary, to avoid being caught, he is nevertheless captured by Russian soldiers during the siege of Mariupol.

The bulk of the book is taken up with the aftermath of Pinner’s incarceration inside an unnamed black site in occupied Ukrainian territory. There are many efforts on the part of the Russian military to destroy his morale. He is driven through local towns that he knew in peacetime that have been reduced to rubble. There is also the constant threat of torture and illnesses such as dysentery that come with malnourishment and ill-treatment. There is the mundanity of a life in confinement that could drive any person crazy too. In describing how to pass time and try to keep spirits up during months of imprisonment in brutal conditions, the book is like a modern day version of Solzhenitsyn’s ‘One Day in the Life of Ivan Denisovich.’ One difference is that now, captured soldiers’ phones are confiscated and their photographs and social media accounts scoured to find ways to compromise them. The author paints a vivid picture of some of his tormentors, including ‘Mr Balaclava’, who comes across like a Bond villain’s henchman.

The final part of the book gives an account of the part of the story that gained considerable media attention and brought Shaun Pinner’s name to international prominence. He stands trial in a Donetsk People’s Republic courtroom, accused of many things including treason. He knows full well that the kangaroo court is interested in finding him guilty, where the likely punishment would be execution. It is a stunning example of how, in warfare, the battlefield isn’t the only place where you can find yourself in mortal danger.

‘Live, Fight, Survive’ is a detailed insight into modern warfare and an eyewitness account of the impact of the Russian invasion of Ukraine. It will appeal especially to any reader who has a keen interest in current affairs and military operations. Necessarily, it is a male-dominated story and one with some choice language: two factors which may limit the book’s target audience. As a piece of writing, it is fascinating, and Pinner’s strength is in sketching out his emotional reactions to events, as well as giving readers a good idea of the characters of the men he was serving with or imprisoned alongside. It is fair-minded too. There is no attempt to demonise ordinary Russian soldiers. Pinner reserves his ire for those in authority.

In capturing a broad chronological sweep of his experiences, ‘Live, Fight, Survive’ does become repetitive at times, especially once Pinner has been captured and is moved between prisons, each time establishing a new and frustratingly limited routine. However, the final chapters are the strongest and most eventful in the book, and they come with a rewarding emotional pay-off. Readers will have these passages fresh in their minds as they reach the final page.

The audiobook version is narrated by Shaun Pinner himself. His no-nonsense and clear tone of voice is authentically militaristic, and therefore the ideal choice to convey the story. An actor would probably have made the prose too flowery. The downside is that there are fewer nuances in his vocal delivery than is common for audiobook readers. Nevertheless, the dramatic events of each chapter ensured that our attention held throughout ‘Live, Fight, Survive’.

Publisher: Penguin Random House UK audio Narrator: Shaun Pinner Publication date: 28th September 2023 Buy ‘Live, Fight, Survive’

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Presenter James Richardson will be joined by some of the country’s finest football writers at the Epstein Theatre in Liverpool in March and the Leeds City Varieties Music Hall in April.

The Totally Football Show Live will feature the podcast’s trademark puns and punditry, football tales far too risque for the regular show, and the audience’s opportunity to win prizes for putting their footballing queries to the panel.

James will be joined on stage in Leeds by Rory Smith alongside European football experts James Horncastle and Julien Laurens (BT Sport, ESPN).

The Totally Football Show Live is at Leeds City Varieties Music Hall on Monday 15^th April 2019 at 8pm. Book online at cityvarieties.co.uk or call the Box Office on 0113 243 0808.

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Now Jamie is set to bring his brand new show, Making Magic, to Theatre Royal Wakefield – exploring how magicians do what they do.

Why does magic work? How are our hearts fooled into believing something that our brains know simply can’t be true?

Find out the answers and more in Making Magic, a show which culminates in a random member of the audience – with absolutely no performing experience whatsoever – being turned into a magician.

Making Magic is at Theatre Royal Wakefield on Wednesday 26th September at 7.30pm. Book online at theatreroyalwakefield.co.uk or call the Box Office on 01924 211 311.

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The story centres on a young couple of the present day, Saima and Ranjit, as they prepare for their wedding day in Leeds Town hall. Their love is absolute, however, a history of division exists between their ancestors; a 70-year-old rift between some Sikhs and Muslims, with wounds which remain profoundly raw for their parents. Can a brave new generation overcome the long, dark shadow of India’s partition?

Nick Ahad’s script is a distilled and energetic drama with rapid, cross-cut scenes common to the shorthand style of radio. Within the confines of a 55-minute running time, a 70-year-old story is told with a tightly focused view on the individual. This is a tale about people and families, rather than politics, brimming full of a domestic reality which breathes life into a large, complex historical event. Partition is also a play which celebrates cultural diversity, reveling in rich accents and regional humour, punctuated with pathos and underpinned by a simple love story.

Stefan Escreet directs a hybrid production between BBC Radio Leeds and West Yorkshire Playhouse with a playful simplicity. Whilst the show can be enjoyed without visuals, Escreet has carefully choreographed and theatrically lit his performers with movements which expand Partition beyond a live script reading. In short, there’s as much for the eye to enjoy as the ear.

Live foley effects are created on stage, whilst performers also adopt numerous roles, particularly Darren Kuppan who demonstrates superlative range playing both young and old in the same scene. Balvinder Sopal is equally impressive, capturing the clucking intensity of a doting mother coupled with a broad Yorkshire cafe owner. Mez Galaria shines as bride-to-be Saima, who handles some particularly expositional dialogue surrounding the history of partition with convincing naturalism and emotion. It’s also always a delight to see the exceptionally talented Dominic Gately in any production and he delivers no less than a tide of charismatic and hilarious characters in Partition.

The British partition of India had huge ramifications for the people who were living in villages on the Radcliffe Line – the boundary which drew the distinction between India and Pakistan. Clumsily dividing a complex, ancient nation by religions, communities were thrown into a typhoon of confusion, insecurity and ultimately civil war. Ahad’s play is a remarkable study of healing and forgiveness, bravely exploring horrors which shouldn’t be forgotten, whilst offering much optimism for the future.

The very best theatre educates as well as entertains and Partition triumphs, proudly, in both categories. The collaboration between West Yorkshire Playhouse and BBC Radio Leeds is an undoubted cocktail of success and will hopefully lead to more co-productions in the same vein.

Cast: Mez Galaria, Darren Kuppan, Balvinder Sopal, Dominic Gately. Director: Stefan Escreet Writer: Nick Ahad Theatre: West Yorkshire Playhouse Duration: 55 minutes Dates: Friday 8th to Saturday 9th September 2017.

Book online at wyp.org.uk or call the Box Office on 0113 213 77 00.

Partition can also be enjoyed through the BBC IPlayer until Wednesday 13th September.

The post Partition review appeared first on Entertainment Focus.

Set on a dreamlike Greek island, Mamma Mia follows Sophie’s plight to discover the identity of her absent father. Determined to be walked down the aisle on her wedding day, the girl secretly invites three strong contenders from her mother’s diary. A romantic farce ensues as Sophie battles with her mother to uncover the truth before the big day.

As a musical, Mamma Mia has the distinct advantage of showcasing chart-topping numbers by one of the world’s most successful and popular bands. Hits such as Voulez-Vous, Thank You For The Music, Waterloo and Dancing Queen are anthems anchored in the public consciousness. They’re also floor fillers at wedding parties – a plotline coincidence? – instantly provoking a warming nostalgia whenever played. But does this musical live up to ABBA’s enduring legacy? The short answer is yes.

One of Mamma Mia’s greatest strengths is its bravura musical arrangement by Martin
Koch, offering an expanded adaptation of the original ABBA hits whilst also retaining the distinctive studio sound. Synth and conga drums are particularly prominent in the mix, ensuring numbers have a period wall-of-sound feel, whilst a dynamic bass gives the whole production a bold disco flavour. A delightful addition is the inclusion of a vocoder – essentially a robot-like harmonizer – which roots its musical influences firmly in the late Seventies. In a nifty bridging motif, the distinctive xylophone phrase from Mamma Mia tensely underscores the whole production like a ticking clock, building through dramatic scenes before bursting into song.

The book manages to transition from drama to musical interlude reasonably seamlessly, punctuating scenes with a brisk pace. Some numbers do feel a little shoehorned in and the direction acknowledges this with some tongue-in-cheek performances, ensuring the show doesn’t take itself too seriously. Quite rightly, Mamma Mia is all about song and dance, with a plot serving as an entertaining vehicle to get from one number to the next.

A large cast showcases extraordinary talent in song, dance and drama. Lucy May Barker and Phillip Ryan make a cute pair as Sophie and Sky, providing some genuine onstage chemistry in addition to combining a romantic vocal harmony. As much as Sophie’s character anchors the show, the story is geared towards the history of the mature cast; Emma Clifford is hilarious as the saucy and sexy Tanya, whilst Gillian Hardie delivers some irresistible knockabout slapstick in a bubbly performance as Rosie. In a superb leading performance, Helen Hobson demonstrates an outstanding vocal range as Donna, coupled with genuine pathos in her dramatic scenes to bring some welcome gravitas to the story. Of the contending fathers, Jon Boydon showcases a strong solo befitting a leading man whilst Jamie Hogarth and Christopher Hollis provide plenty of strut and swagger to lighten up the production no end.

A specific note should go to the superlative ensemble in this production, who drive forward the penetrating choral, harmonic soundscape of ABBA. There is a broad, bold richness to the chorus who ensure that the roof is fully raised in every ensemble piece.

Staging is purposefully simplistic yet effective, mirroring the Greek flag with whites and pastel blues, allowing the flamboyant and outrageous costumes to pull full focus. Opening up the space also allows the energetic choreography to take centre stage: A sequence with a troop of men in wetsuits is incredibly funny, in addition to a boisterous routine set to Voulez-Vous which is innovatively cross-cut between a stag and hen do. In a showstopping number, Louis Stockil performs a mind-blowingly athletic routine to Does Your Mother Know – a definite highlight where music, dance and comedy combine in perfect harmony.

Irresistibly kitsch, camp and colourful, Mamma Mia fulfils every expectation as a truly uplifting, fun-filled jukebox musical. Each number hits home with a palpable disco drive, accompanied with lustrous choreography and non-stop spectacle. Climaxing with an explosive encore which is straight out of Top of the Pops 1974, Mamma Mia triumphs as a celebration of a much-loved band and much-missed era of popular music. Losing none of its original energy in this dynamic touring version, Mamma Mia is truly the place to go when you’re feeling down. Take a chance; go see.

Cast: Lucy May Barker, Fia Houston-Hamilton, Blaise Colangelo, Emma Clifford, Gillian Hardie, Helen Hobson, Phillip Ryan, Louis Stockil, Brad Veitch, Jamie Hogarth, Christopher Hollis, Jon Boydon, Peter Saul Blewden. Director: Phyllida Lloyd Writer: Benny Andersson & Bjorn Ulvaeus Theatre: Leeds Grand Theatre Duration: 140 minutes Dates: Tuesday May 30th to Saturday 8th July.

The post Mamma Mia! review appeared first on Entertainment Focus.

Millie Dillmount is a Kansas girl with ambitions for fame and fortune in the Big Apple. After losing her possessions in the city, she falls into a sinister hotel run by the bizarre Mrs Meers. Joining a troupe of other aspiring modern girls, Millie seeks to find a wealthy husband to secure her success. Meanwhile, Mrs Meers is secretly abducting residents one by one in a fiendish underground slave exchange. Can Millie find her man, or will she end up on the shelf in Hong Kong?

A dark runabout comedy punctuated with upbeat jazz numbers, Thoroughly Modern Millie scores big laughs in a substantial production, showcasing roaring Twenties arrangements and energetic dance routines.

Rob Wicks’ musical direction is bright and dynamic, driven with blasting brass exclamations and a frantic ukulele rhythm, perfectly complimenting a plethora of lighthearted slapstick. Standout numbers include The Speed Test, an impressive exercise in rapid-fire dialogue, in addition to Only in New York which provides Jenny Fitzpatrick the opportunity deploy a stunning showstopping solo.

Racky Plews’ direction ensures there is an authentic quality to song and dance numbers, which smoothly transition between scenes of knockabout comedy and light romance. Graham MacDuff excels in raising the roof as the perfect inebriate; milking a perilous swagger and indistinguishable slur for all its worth. Lucas Rush as Mrs Meers is also an irresistibly evil delight, edging towards pantomime in his grotesque parody of a Chinese hostess.

Sam Barrett is a dependable and arresting cad as Jimmy Smith and the perfect partner to Joanne Clifton’s Mollie, who excels in leading the ensemble with meticulous form in dance and a bright vocal clarity. Perfectly cast, Clifton’s command of slapstick and charm as the bubbly and volatile Millie Dillmount is wonderfully pitched between clumsy, cute and cool.

The production also offers and indelible set design, brimming with Art Deco angles and innovative cutaway locations, issuing a comic strip feel to scenes. Lighting is also evocative and complimentary to the period, avoiding unnecessary anachronistic effects. A projection screen with subtitles is a smart little touch, providing something of a silent movie caption effect to the comedy. Coupled with a roaring arrangement, ambitious choreography and jewel-like costumes, Thoroughly Modern Millie is an all-round stylish and well-realised production.

Glitzy and glamorous, yet sleazy with a decidedly dark undertone, Thoroughly Modern Millie is a razzle-dazzle evocation of the roaring Twenties. Oozing charm, sass and style, this is a musical which delivers plenty of song and dance for your dollar.

Cast: Joanne Clifton, Lucas Rush, Sam Barrett, Graham MacDuff, Jenny Fitzpatrick, Katherine Glover, Damian Buhagiar, Andy Yau, Catherine Mort. Director: Racky Plews Writer: Richard Morris Theatre: Leeds Grand Theatre Duration: 145 minutes Dates: 17th April – 22nd April 2017.

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Let It Be tells the story of The Beatles through the songs which made the band a global phenomenon. Rattling through musical numbers at a breathless pace, the show covers a decade of hits in just over two hours, occasionally trimming numbers to provide a wealth of coverage.

The Beatles’ first hits remain classics of the early Sixties, establishing the invention of the teenager and all the romance and playfulness which Rock ‘n Roll opened up to a generation. The numbers remain fresh and uplifting under the musical direction of John Maher, with meticulously authentic sound and instrumentation. Early numbers such as I Want To Hold Your Hand and She Loves You, quickly establish the popular youth sound of the period, with punchy electric guitars, arresting drums and poppy, vibrant vocals.

The vast majority of modern audiences will know The Beatles’ music through radio play and albums. As such, Let It Be’s players have the unenviable challenge of recreating The Beatles’ unique studio sound in a live arena, which instantly invites comparison. The show manages to capture the nuances and inflections of the music down to the characters behind the ensemble; Lennon is purposefully nasal, Harrison deliciously droll, McCartney is relentlessly upbeat and Ringo is quizzical (and quite rightly) a tad flat.

The principals recreate a zany banter and warm likeability, establishing the Fab Four as real personalities on stage. The audience is directly addressed with fitful quips and requests to clap, scream and stomp. Whilst dancing in the aisles isn’t everybody’s idea of musical theatre, Let It Be successfully brings spectacle and engagement to its venue by pulling its audience on board for the ride.

As the show reaches the experimental and progressive orchestration of Sgt Pepper and Magical Mystery Tour, Let It Be scores highly in authenticity, with a playful stage presence from a maturing band which feels wholly naturalistic and impulsive. Dramatic interludes are dispensed with, allowing music and live performance to carry the show and tell its own tale. It’s just as a gig should be; seemingly informal and fun, concealing any of the theatrical mechanics to bring the façade to life.

An acoustic set showcases the talents of the cast with a subdued intimacy, providing a welcome interlude to the spectacle. Featuring elegant renditions of Blackbird and Here Comes The Sun, the unplugged set is a potent demonstration of the incredible writing skills of Lennon, McCartney and Harrison. A grand showstopper follows, featuring epic numbers from Abbey Road, which is progressive, bold and bravura. Irresistibly, Let It Be and Hey Jude close the concert with a sombre warmth, performed by a band which has visibly mellowed by the closure of the Sixties.

A sense of space, place and time permeates the production. Scenes in the Cavern club are smoky and suitably claustrophobic, whilst Sgt Pepper’s Lonely Hearts Club Band and Lucy In The Sky With Diamonds excel with an orchestral breadth against a kaleidoscopic light show. The production is beautifully staged with an innovative and engaging use of projection, echoing much of the stylized animation from George Dunning’s Yellow Submarine animation. Costumes are also meticulously researched, whilst hairstyles subtly evolve and important details abound, such as Paul McCartney’s infamous barefooting during the Abbey Road sequence.

Let It Be is a show as much about the Sixties as it is The Beatles, evoking memories of the Apollo moon landings, James Bond, Vietnam, Capstan Full Strength cigarettes and more besides. It faithfully resurrects the excitement of a decade of flamboyance and freedom. A theatrical concert, an immersive gig, a time-travelling journey; Let It Be is a musical odyssey which successfully recaptures the essence of a unique era.

Cast: Emanuele Angeletti, Michael Bramwell, John Brosnan, Paul Canning, Ian B Garcia, Reuven Gershon, Paul Mannion, Luke Roberts, Stuart Wilkinson. Musical Director: John Maher Theatre: Leeds Grand Theatre Duration: 130 minutes Dates: Monday 11th – Saturday 16th July 2016.

The post Let It Be review appeared first on Entertainment Focus.

Steeleye Span is at City Varieties Music Hall on Monday 6th October 2014 at 7.30pm. Tickets are priced at £21.50. Book online at cityvarieties.co.uk or call box office on 0113 243 0808.

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