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Review: Stand Up and Slam 17/09/13

In Performance Poetry on October 3, 2013 at 9:22 am

– reviewed by Lettie McKie

stand up and slam

Stand Up and Slam at The Comedy Café, Rivington Street

Poetry vs Comedy

At this inventive and energetic new monthly night Chatback Comedy Club and Canterbury’s Poet Laureate, Dan Simpson,  have teamed up to create a slam concept with a difference. Pitting the best of London’s Stand Up and Poetry performers against each other they hope to create a compelling hook to get audiences from both scenes involved.

They have also bagged themselves a fab monthly venue in the heart of Shoreditch. The Comedy Café, tucked away on Rivington Street , is cosy and fairly unintimidating.  So far, so good. This event is definitely the sort of thing you can feel very cool inviting people to. Trendy bar. Tick. Plenty of folks in rolled up jeans and chunky knits. Tick. Overpriced beer. Tick.

But what about this Poetry vs Comedy idea? It sounded good enough to give it a go, but to be honest I was dubious as to how hosts Dan Simpson and Paul Sweeney were going to pull it off. My main reservation was how can you compare two art forms that on the surface are so different? Surely the audience will simply see the good in both performances and be unable to choose between them?

As the night got underway however it was clear that however successful or otherwise their slam concept proved to be in the end, Dan and Paul were definitely going to entertain us! Playing to a packed and enthusiastic crowd, Dan was the straight man to Paul’s quirky tongue in cheek character (a loveable prat). The two hosts were slick, well prepared and quickly built a witty rapport with the audience, playing off each other’s exaggerated onstage personas.

The Heats

The event was split into 3 rounds, each with a nicely timed bar break between them. Round 1 was between Canadian comic John Hastings and rapper/poet Charlie Dupré. John was charismatic with a relaxed storytelling style of comedy, he combined fresh capricious punch lines with effortless charm.  As I had predicted to myself all three poets decided to perform work with a comedic edge.  Charlie’s laid back performance allowed for the dry humour in the pieces he chose to come across naturally and the audience appreciated his clever pairing of comedic stories with pithy rhymes and metric wisecracks.

At the beginning of the evening a member of the front row had been picked out to decide a winner at the end of each round based on the audiences’ reaction. The hosts used this feature to ham up their links, competing with each other to impress her through gifts and well- timed compliments. However when it came to the  actual judging she was asked, in front of the whole crowd, to choose between each act and this felt uncomfortable. By the end of round 1 I already felt like there was little point to the slam element of the evening, with such good performances and a great atmosphere in the room why bother picking a winner based on such a flimsy judging idea?

As the evening progressed the quality of acts continued to be extremely high however. The line-up was carefully balanced and showcased a range of different styles across both art forms. Next up was poet Rob Auton and impressionist Anil Desai. Bang said the Gun poet Rob’s poetry is brilliant and he has a unique onstage persona; he’s naturally hilarious and never does what you’d expect.  If you have never seen him before, he’s quite simply wonderful.  Fresh from winning Best joke of the Fringe, Rob is quietly confident on stage and is a master of the well timed pause; the only downside to his sets is that if you have seen them before you are unlikely to encounter much new material. Rob was a great addition to the line- up because his work genuinely crosses the borders between the two art forms.

Anil  was totally different but equally talented and this was definitely the most inspired pairing of the night. Asking a member of the audience to read out names from a pack of cards he romped through his take on these different personas at an impressive rate. He was great to watch as he had the ability to make himself look like each character as well as speak like them. He combined this talent with witty material which was a little hit and miss but generally a great crowd pleaser.

After another break I noticed the audience had started to dwindle and this was a shame. I felt like this was another bad mark for the slam concept, because if they had not been confined to rounds the event could have been shorter, allowing Dan and Paul to distil the best elements of the night into a tighter format.

As it was, although I enjoyed comic Dan Schreiber’s engagingly geeky set and Keith Jay’s articulate, rhythmic poetry, I was quite glad when it ended a little before 11pm. Again, however, what made it worth staying for was the satisfying pairing of two completely different performers which was thought-provoking as well as entertaining.  Dan’s style was very relaxed and cerebral for a comic and Keith managed to successfully bridge the gap between making a few jokes and retaining the integrity of his own poetic style.

The Result

This event worked despite the slam element being, for my money, unnecessary. The pairings were interesting to compare and contrast each act, but to assume the audience needed a competition felt like dumbing it down, when the night was entertaining enough to move between the two genres, soaking up the enjoyment to be found in both.  The slam also meant that the poets had to compete with the comics for laughs and the line-up reflected this. The poets chosen were all very funny as well as good poets, but there are plenty of amazing poets out there who aren’t good at jokes and I’d love to see some of them on this stage!

This event was extremely good fun and succeeded because of the interesting mix of high quality performances which allowed the hosts to showcase  talent and variety across the two art forms.

My opinion? Ditch the slam and continue to book great artists for this fresh, highly entertaining midweek event! And with the next Stand Up and Slam coming up tonight (Thursday 3rd October), why not give it a go?

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Edinburgh Fringe Review: Charlie Dupré – The Stories of Shakey P

In Performance Poetry on August 29, 2013 at 1:00 pm

– reviewed by Lettie McKie

charlie-dupre-presents-the-stories-of-shakey-p_31393

The Stories of Shakey P – Shakespeare Remixed

The first piece in this hour long Shakespearean remix see’s Charlie Dupré present the world’s most famous Elizabethan playwright as a rapper. Leaping onto the stage with characteristic energy, Charlie goes straight into his first story with very little preamble. He presents Shakespeare as the underdog in a playground rap battle against an older bully, Marlowe. Shakey P ultimately triumphs because of better insults, tighter plot lines and more enduring posthumous popularity.

Thus begins an intense hour’s retelling of some of the bards most famous plays including Othello, Richard III, Macbeth and Hamlet.

A Cerebral Approach

It is a well-known fact that much of Shakespeare’s verse is written in iambic pentameter. The five beats to the bar rhythms were develop by early writers because they closely mirror the natural pace of speech and this form of metre is one of the most popular forms for verse to take; period.

In this fast paced poetic romp Charlie uses this fact to his advantage by cleverly contrasting the iambic pentameter with its four beats to a bar alternative the iambic tetrameter, commonly used as a basis for much rap music.

The result is an immediately accessible performance. Intersecting his stories with helpful explanations and insightful asides the show feels, at times, like a GCSE English class, albeit the coolest one you’ve ever had.

Multiple Characters

Charlie slips effortlessly between multiple characters and voices to tell his stories. He hooks each retelling on a different premise, Richard III is told through his ‘counselling sessions’, Othello compared to Eminem’s stalker hit ‘Stan’ and so on. Some poems are more polished than others but all command attention for the original way they tackle very familiar storylines. Reminiscent of the comedic Reduced Shakespeare Company, these poems distill the key themes and plotlines of the plays into witty vignettes.

The Music

In another interesting twist Charlie is accompanied by Oliver Willems and Oktawia Petronella on strings. The double base and violin are used throughout the piece to create a soundtrack to the pieces, the contrasting tones of the two instruments used to differentiate character and mood. This both helps Charlie to build on the drama of his performances and also takes the idea of Shakespearean rap that one step further, imagining what sort of instruments available in the 16th Century could create the right backdrop for spitting rhymes like a modern day MC.

The Verdict

Teachers all over the country should know about Shakey P! A fantastically entertaining, energetic and fresh account of Shakespeare’s oeuvre, not to be missed! So if you did miss it at the Edinburgh Fringe this August, keep track of his website, Facebook or Twitter for future gigs.

Star Rating: 4/5

Edinburgh Reviews Day 7 (07/08/12) part 1: Oddlie, Charlie Dupré Presents the Tales of Shakey P, Perle, Other Voices: Alternative Spoken Word

In Festival, Performance Poetry on August 10, 2012 at 10:51 pm

– reviewed by James Webster and Dana Bubulj

These are the last of the Edinburgh reviews from Sabotage’s Performance Editor James Webster and his stalwart reviewer Dana Bubulj. We had a great time in Edinburgh, saw some amazing spoken word artists and reviewed 35 shows. And although this means we mightn’t  have new bumper-reviews every day, we’ve got some people on the ground at the Fringe, ready to catch the things we’ve missed (although, still no competitive crop dusting).

If you haven’t checked out the previous reviews then you can find them here: Day 1, Day 2, Day 3, Day 4 part 1, Day 4 part 2, Day 5, Day 6 part 1, Day 6 part 2.

Oddlie

From Bag of Beans Productions, this was a stunning piece of one woman (with occasional instrumentation as background) spoken word/poetry/theatre, narrated, sung and performed by Aleshea HarrisSet in a “city of garbage heaps”, we follow a quiet girl grown up an outsider compelled by seeing some particularly great oration in the town centre very reminiscent of the civil rights rhetoric to find her own voice/magic. She does this with the help of another outcast, Sasha, an old woman suffering from the “disappearing disease” (an AIDS analogy) who used to be a Griot herself (“I was a tsarina of rhyme, a princess of powerful plosives”). The characters are compelling, with fantastic and distinct voices and mannerisms and the acting is brilliant, not to mention a wonderfully lyrical script.

It had some fantastic commentary on the process of finding a poetic voice, a process not for the faint-hearted, and the cathartic finding of expression that evolves from finding the “imperative” in life (rather than the simply “important”), writing and performing as separate steps does not make this piece a simple poetry version of training montage: it does not come easily, and the resolutions are painful but right and beautiful. The characters served as good contrasts to each other, particularly as the play progresses. Oddlie’s final soliloquy is a thing of beauty, dedicated to life, to poetry and to her friend that mustn’t be missed.

Star Rating: 5/5

Oddlie is on at 11.45 at Venue 13 from 9-18th August (not 13th). GO SEE IT.  

Charlie Dupré Presents: The Stories of Shakey P

Rap is just a form of poetry, right?

Well, yeah, but there’s often reluctance on both sides of the Spoken Word/Hip-Hop divide who see poetry as stuffy or who look down on rap as ‘not proper art’, so it’s refreshing to hear Charlie Dupré point out the similarities between the forms (highlighting the similarity between 5-beat bars in rap and iambic pentameter) in this rap-infused poetic history lesson.

Dupré’s lyrically inventive re-imaginings of Shakespearean plays (and one Marlowe play) are really well done; his spitfire rhymes and rhythms make the theatre of the pieces come alive and give them a modern relevance. He teases out parallels between the subject matter of ‘Shakey P’ and modern hip-hop with a light touch, especially effective in his take on Othello (covering Eminem’s ‘Stan’), the classic tale of obsession, rivalry and sexual jealousy transferring very well to a hip-hop context.

There are some dips though: his takes on Much Ado and Macbeth are still good fun, but compared to his other pieces come across as a little prosaic, mainly just recounting the plot, albeit with excellent lyrics and interesting framing devices (Much Ado is done as a wedding speech, while Macbeth recalls all the decisions that led to his death in a clever take on causality).

But the rest of his material really lifts the show, from the amazing rap-battle between Shakespeare and Marlowe that is incredibly effective and hilarious in the way it recreates them as rival school MC’s, with amazing Shakespearean insults and theatre jokes (‘hate to break it to you mate, but no-one really rates The Jew of Malta), to his awe-inspiring take on Hamlet (where Hamlet’s madness is personified in an aggressive and cocky rapper-style voice, pouring lyrical fire into Hamlet’s ear), the show breathes life into these timeless tales.

Star Rating: 4/5

Charlie Dupré presents: The Stories of Shakey P is on at 12.30pm at The Banshee Labyrinth, 4th-25th August

 

Perle

Dancing Brick’s ‘live comic book’ was part mime, part play, part comic book, part interactive theatre and a truly touching tale of loss and grief. Myself, I think of it as an ‘Unspoken Word’ show.

A slightly oblique take on the medieval poem of the same name by the Gawain Poet, the tale was told entirely by a silent character using narration, sound and cartoon from chunkily retro television set to tell his fractured narrative. He uses some really inventive and well timed physicality, hands disappearing behind the TV to be shown on screen, and an incredibly fun scene where he makes a sandwich on the screen.

He also used effective written instruction to lure the audience onstage, using them as characters in the narrative, and even converses with an audience member using dialogue on the screen (hilariously mismatched).

This funny and forlorn show may not be for everyone, the oddball silent character and disparate narrative could put a few off, but the audience on the day found it enchanting and heartbreaking and I couldn’t agree more.

Star Rating: 5/5

Perle is on at 1.45 at the Assembly Roxy, 2nd-25th August (not the 13th)

 

Other Voices: Alternative Spoken Word Cabaret

Today’s Other Voices had:

Fay Roberts in her absolute element with a gorgeously sensuous poem to a mermaid lover, for whom she’d “turn sailor”. It had some lovely imagery, such as casting nets to “catch the moonlight” and the rhythm of the sea that throws itself again and again; this was a delight. Her later poem ‘Thanatos and Eros’ was a fabulous short lesson in the difficulties of various insults to carve into a car in runes and her last, ‘Dedication’, on struggling with queer stereotypes and finding her “own colours” was a nice way to address lesbian culture.

Sarah Thomasin had a great take on David Starkey’s racist comments on the riots with ‘Mind Your Language’, with some nice commentary on the evolution of spoken word (“language RIP as we RP”). ‘Going Nowhere’ was another nice take on community dialect (cab drivers using transport metaphors) that sadly fell for easy jokes (“friends all had ride [on bus/girlfriend]”). Her ‘Stand off at Cashpoint’, with yells of “Withdraw!” was a cute modern Western. ‘Normal’ was another similarly simplistic subversion: where the dysfunctional families were not as “strange” as families where people could be trusted. She ended on a battle rap response to defend her fondness for poetic structure, in a witty reminder that raps are forms too, despite people’s aversion to learning at school as it wasn’t cool.

Alison Brumfitt had some comic poems that could have been a bit more fluid. She had an exuberantly filthy take on chocolate vs sex (where she’d “rather have a shag”) and a serious point on the absurdity of sex-ed classes both coming too late and with no focus on mental health, coupled with the useless analogy of condoms on brooms (whose constant rigidity make poor stand-ins). Unfortunately, the point of emotional wellbeing/healthy relationships was lost in the advice on having “shagged a nutter” (sigh). Her other poem had the strongest content, although was a bit stumbly. It took on gender stereotypes and their use solely as creating insecurity and thus markets for advertisers, calling on us to truly own our own body.

Mika Coco argued that any music/poetry was effective (be it “Dylan or Bieber”) if it reached people and elicited emotions. That said, his introduction was somewhat offensive (and against the event’s raison-d’etre) and as such, didn’t endear himself to me (or the audience).

Chella Quint finished the night with a Sesame Street style sex ed song on menstruation, with a trip through the cycle that included “they float on your vagina on a RIVER OF BLOOD” in the chorus. Just a bit cheering.

And some familiar voices:

For the occasion, Harry Baker performed his Man Poem on traditional masculinity and James Webster‘s somewhat primal love story ‘Long Ago’ suited the catacomb venue. Lucy Ayrton‘s ‘Fuck You Corporate Land’ was appropriately full of repressed frustration, ‘Al is not really a Vegetarian’ was sad about nice mackerel being dead and Tarquin (from her show) is still a great set piece.

Performers Star Rating: 3/5 for a mixed bag, but certainly a fun event.

Other Voices: Alternative Spoken Word Cabaret is on at 2.50pm at the Banshee Labyrinth from 9th-25th August (not Wednesdays)

Hammer and Tongue National Slam Final: The Individuals 31.03.12

In Performance Poetry, Seasonal/End of year on April 22, 2012 at 5:44 pm

@ Wilton’s Music Hall

– by Dana Bubulj

Part two of the Hammer and Tongue Final: this review concentrates on the Individual slam at the beautiful Wilton’s Music Hall. 18 Poets that had qualified through the Hammer and Tongue Regional Slams were now pitted against each other. While we saw many during the Team Battle(!) earlier that day, with mostly different poems under their belt and a packed, enthusiastic audience made this a fantastic evening. (Also, Cat Brogan fulfilled her promise to do cartwheels on stage whenever anyone got a 10.0, which was surprisingly under-exploited).

Scoring in slams are often tricky to explain. You have to factor in individual biases, take into account direct comparison between the preceding poet, bumper scoring to offset potential time penalties, and, of course, score creep (more likely for comic poems). That said, it was refreshing to have such disparate scores, with judges showing a range of tastes for different kinds of poems.

Rounds: Three heats of six poets, two each heat qualified to a semi final, then three went on to the final. Sam Berkson & Steve Larkin hosted the heats. Weirdly, there was a large break between the first two heats and the third, but we resumed with new judges.

Favourites of the Heats:

  • Vanessa Kisuule‘s “Playground Debt” was fantastic: the guilt (“apologies in hindsight are always profuse”) of standing by in school while a boy was bullied (“she gorged on your silence”) with racial slurs and the childhood fear of bullying. (23.8)
  • David Lee Morgan repeated his great Team Battle(!) poem about the August riots from the perspective of “the man on TV calling you mindless”, exploiting youth’s inexperience with “fingers around [their] thoughts” to serve authority’s ends. (23.1)
  • Sacrificial Poet, Michael Parker owned the stage, and had great rapport with the audience as he told us how “[we] would have loved [the poem that he’d written]”. This was fantastic theatricality, booming  “OUR POET KING” (as we would have crowned him). I believed him. (23.8)
  • Anna Freeman‘s “If History Has Taught Us Anything” was a scathing commentary on how regressive politics have become recently (“I want to be pig ignorant”). A nice twist end: imploring us to pick up our pitchforks and guillotines. (24.8)

I also particularly liked:

  • Spliff Richard‘s plea to stop reggae music’s increasing anger and homophobia (“whatever happened to one love?”) was heartfelt; with a nice juxtaposition to the multiple defences for ganja. (25.9)
  • Amy McAllister‘s “Role play” painted a believable relationship where the participants only stayed together because “London’s massive and we’re lonely”, sacrificing standards (“I only expect 30% on your part”) and kissing only because they’re “tired of talking”. (24.3)
  • Curious had a great poem about refugees who “fled to sea”, from “distant lands … far and few”. The first half, which dealt with the journey and impetus, before settling and assimilating into Western culture, was especially good. (24.2)
  • Jessie Durrant reminds me a little of Kate Tempest, both in breathy impassioned delivery of personal material and in subject matter: of a friend lost to drugs, leaving “nothing left of the boy [she] knew”. (25.6)
  • Sacrificial Poet, Pete the Temp, gave an impassioned defence of the Occupy movement, co-opting the audience in a call and response declaration of “No, I’m Spartacus”. It had a good rhythm, even with slightly odd line breaks, and certainly fired people up. (18.4 due to flagrant overtime)

Also Ran:

  • Yvo Luna‘s “I’m so glad we stayed friends” took on a very bitter, angry voice, with screams played for laughs rather than empathy. (22.3)
  • Mark Niel professed attraction to audiences in a theatrical, obnoxiously loud manner, complete with partial stripping. I admit I did like one line: “you still crave one night stanzas”. (23.5)
  • Phat Matt Baker had an ode to a kebab (“dirty doner”), complete with imaginary dialogue in falsetto and scatological humour. The audience laughed, even if I didn’t. (23.1)
  • Chris Parkinson‘s surreal delivery didn’t stick together as well as his team poem, leaving this poem confused (culminating in a boy being kidnapped by a balaclava’d Prince Philip, as you do). (22.1)
  • Mac McFadden confessed a love for “A Girl Called Sid”, which played generally off the subversion of gender essentialism in Sid and its reinforcement by the narrator. Unfortunate implications to the dismissive tone of “she thought she was a fella”.  (23.4)
  • Adam Kammerling constructed a surreal scene of working the night shift and, being penniless & hungry, being taunted by the cakes surrounding him. Could have done without “drop your slacks and lube up” threat. (26.8)
  • Tina Sederholm‘s “Keep Young And Beautiful” was standard commentary on cosmetic culture, complete with its ugly sides (eating disorders/alcoholism). I’d have been happier with it if “feel guilty as a rapist if you eat a single biscuit” wasn’t played for laughs. (22.9)
  • Charlie Dupré pleased the crowd with admissions of “having a feminine side” and the stereotypical trappings thereof. Arguing for genders being similar would be more effective were it less couched in phrases like “don’t worry lads” or “in 2012, it’s manly”. (25.2)
  • Cat Brogan gave a raucously crude story of a liaison in a lesbian bar inBerlinwith a woman named Sadie. Joyful and shamelessly explicit. (21.9)
  • Lucy Ayrton‘s “Fuck you, Corporate Land” was one of the quieter pieces of the night, a meditation on the malaise of office jobs and the importance of seeming happy, even when disappointed with how life has dashed our childhood dreams. (21.8)
  • Chris McCormick‘s “Math” detailed an argument with a teacher, calling them out on their sexism. At the teacher’s “most girls aren’t good at math”, the audience gave a pantomime-eque gasp; I think points were for sentiment rather than the poem itself. (23.7)

Individual Semi-Final
Hosts: Sam Berkson and Michelle Madsen

  • Vanessa Kisuule‘s “Bounty” was about the trouble of “society’s scalpel”: feeling “out of place” surrounded by those of her own race. However, rather than analysing the stereotypes she discusses, the poem seemed a little classist (feeling “a traitor because [she] refuse[s] to drop T’s”, or wishing her knowledge of jazz/blues held sway over hip-hop fans). (28.5 OT)
  • Curious‘s poem was inspired by Black History month, rather problematically. “The Soul of Motown, I am it”, he proclaims, after saying “Black History belongs in [him]”. The poem wished to instil hope rather than guilt into “our children”, in a time of such institutionalised racism, but the appropriation made it a bit dodgy. (26.3)
  • Amy McAllister was a bittersweet dedication to a depressed friend: hoping their road-trip was full of experiences, from food poisoning to the desert being “overwhelming, in a good way”. (27.1)
  • Jessie Durrant‘s cheerful poem “Kakorrhaphiophobia” spoke to the performers: about overcoming a fear of failure by embracing the stage, filled with familiar references aimed to inspire. (25)
  • Spliff Richard‘s “Never Alone” was an defence of marijuana and its ability to instil peace, drawing allusions from the civilisations which used it to his own personal use (I liked how music was “like the g-spot’s been relocated to [his] ear”). (23.1 OT 4:01)
  • Adam Kammerling‘s poverty piece was his strongest of the day. Taken from own experience with poverty & rooting through an M&S bin for food at night, the hunger was palpable, the rot visceral. The final (expected) line (“not just bin food, it’s M&S bin food”) was said with aplomb to massive applause. (29.1)

WINNERS: Amy McAllister, Vanessa Kisuule, Adam Kammerling

FINAL

  • Amy McAllister’s “She’s Over” was certainly a different take on moralising; a rallying cry to replace pornography’s seedy underbelly with another kind of passion: that of the “intense determination” of the August riot looters, whose “spunk is on our side” rather than against. (25.4 OT 3:41)
  • Vanessa Kisuule performed “Little Red Bow” was on a once-idolised friend: a fantastic character piece. With a recurring refrain of “laughing at a joke yet to tell” that created an air of companionable despair, Kisuule captures being on the sidelines of someone’s alcoholism. (25.1 OT 4:08)
  • Adam Kammerling went back to his rap roots in “Spitting Bars”, an amusing dialogue between an insipid young rapper, all front and no substance, and a literate objector who tears him to shreds. While the rapper was a bit of a straw man/easy target, the back and forth was great, particularly when it played with slang: “you’re killing the art” “fucking right I’m killing the art” “no, in a bad way”. The nod to Wilton’s stage on which he stood went down well, too. (29.6)

WINNER: ADAM KAMMERLING
Who treated us with another rendition of his altercation with the NYPD.

Hammer and Tongue National Slam Final: The Team Battles! 31.03.12

In Performance Poetry, Seasonal/End of year on April 22, 2012 at 5:41 pm

@ Wilton’s Music Hall

– by Dana Bubulj and Koel Mukherjee

Event: Taking the six different chapters of H&T from across the country and pitting them against each other to see which location has the best poets: 1st two qualifying heats and then a final.

Judges were chosen from the audience, with standard slam rules. (Scores noted, “OT” = if points were docked for going over time.) I was relieved to see the turns alternated between the teams of four poets, keeping it competitive.

There was also an individual slam, with many of the same poets, but that will be covered in another review, so if you feel the poets have been short-changed, they may have longer write ups there.

Venue: Hidden in a back alley near Aldgate East is Wilton’s, the last surviving Grand Music Hall in the world; rather beautiful in its stripped walls, wooden floors and curled columns; a splendour perfectly suited to the occasion.

On a positive accessibility note: the name, team, score and time were projected behind the performers.

The hosts: were excellent. Working in pairs, they kept proceedings fast paced, cracking jokes while scores were collected. They also made sure the audience knew the rules, so as not to exclude newcomers.

HEAT ONE: Brighton VS Cambridge VS Hackney
Hosts: Steve Larkin (Ox) & Michelle Madsen (Camd)

Hackney: Angry Sam (Captain), Adam Kammerling, Amy McAllister, David Lee Morgan

  • Angry Sam spoke wistfully of snow failing to affect the harshness of business. (25.8)
  • David Lee Morgan performed movingly on the riots from the perspective of authority. I love this poem to bits, particularly its darkness. (26.8)
  • Amy McAllister talked accessibly of falling unrequitedly for her flatmate and the drive to escape (“he forgot what he had, scratch that, hadn’t”). (26.5)
  • Adam Kammerling’s poem about an overheard conversation captured the meandering nature of everyday chatter about a day’s events (things “proper kicked off”), in a realistic tone that nonetheless maintained poetic rhythm. (26.2)

Cambridge: Fay Roberts (Captain), Jessie Durrant, Mark Niel, Hollie McNish

  • Hollie McNish performed “Wow”, a fantastic piece on body image post-baby. (26.9)
  • Fay Roberts “I want more”, a friendly rejection of female magazine advice. Wished she’d made more of the last line that questioned what the media was hiding with such a distraction. (24.6)
  • Jessie Durrant discussed notions of family in relation to seeing a picture-perfect “catalogue” example, and comparing it with her own version. (26.1)
  • Mark Niel raged at the frequent misspelling of his surname with the tightly-wound fury of a child’s tantrum. Culminating in the revelation that he was defending himself to a judge, the piece was compelling (if only compelling you to run away – ed) but also rather disturbing. (26.5)

Brighton: Michael Parker (Captain), Yvo Luna, Chris Parkinson, Spliff Richard

  • Michael Parker’s passionate “100%” built momentum with the effective repetition of “we few” and “we stand together”, combining otherwise isolated protest groups into a united movement. (23.4 OT)
  • Yvo Luna had several poems, one a great, disturbing love poem with a baby-doll voice conflating kisses with “cuttlefish bones up vertebrae” and “drowning kittens”. (25.3)
  • Chris Parkinson keyed in to the manic energy of the media with “Fashion Tips for the Last Days”. It unleashed a frenetic bombardment of clashing headlines and surreal imagery, in a hilariously tabloid-worthy tone. (“Would Gandhi have voted for Clegg? We asked Ulster, and they said no!”)  (27.1)
  • Spliff Richard: A fabulous piece dedicated to Kate Tempest, beginning with thunderstorms and ending beautifully with: “She’s the reason hurricanes have girls’ names”. Though the delivery was so fast it was occasionally incomprehensible, his rhythms and amazing flow were exhilarating. (26.1)

Compound Scores:   Brighton: 101.9, Cambridge: 104.1.  Winner: Hackney, 105.3

HEAT TWO: Bristol VS Camden VS Oxford
Hosts: Angry Sam (Ha) & Michael Parker (Brigh)

Bristol: Sally Jenkinson (Captain), James Bunting, Jeremy Toombs

  • Sally Jenkinson went twice to make up for Bristol’s reduced team, which worked distinctly in their favour. Her first, (25.9) was a moving entreaty to her sister not to lose herself in disaffection, weaving the lyrical with the everyday in a tone choked with feeling. Both her pieces effectively used evocative details to create atmosphere, whether for the complex familiarity of siblinghood or the vulnerability of insomnia, when “white bones sing awake”. (26.3)
  • James Bunting’s “Conkers” drew allusions and teased comparisons between a whirlwind romance and carefree children playing in the “rum-gold twilight”. But occasional nice turns of phrase couldn’t overcome the patchwork of clichés, repetitious imagery, and familiar lines you already knew. (26.5)
  • Jeremy Toombs’s hypnotic voice suited his wandering, Ginsberg-ian reflections. “Hangover Meat Belly” focused on the origins of the meat and alcohol in his stomach. The second, “My Asshole is Burning”, was a musing on diarrhoea and that all poets must shit. Engaging, but the humour was not for everyone. (25.4)

Camden: Michelle Madsen (Captain), Curious, Charlie Dupré, Cat Brogan

  • Curious first detailed a young black rapper’s use of violent/threatening imagery in performances, then his death at the hands of police who framed him. Vivid and well performed, but confusing and lacking an obvious perspective or message. (24.7 OT)
  • Michelle Madsen performed “We’d All Melt”, of bittersweet offerings to a relationship that’s ending. I’ve always loved the line: “I give a gift of seven lemons”. (25.9)
  • Charlie Dupré’s consummately theatrical performance animated this sweet tale of two band members, the kick drum and high hat, who fall in love, leading to solo ambitions, crushed dreams and eventual reconciliation. (24.8)
  • Cat Brogan on the origin of boycotts and filibustering in 1880s Ireland was full of facts (at the time, 100% of the land was owned by 0.2% of the people) that tied history neatly to contemporary protests. A powerful piece (if a little stilted from occasional forced rhyme). (25.5)

Oxford: Tina Sederholm (Captain), Phat Matt Baker, Chris McCormick, Mac McFadden

  • Tina Sederholm shared her cute take on a child’s understanding of sex and the euphemisms they’re told, compared to the messy reality adults know. (25.7)
  • Mac McFadden did a ‘comic’ poem on the shock of being “old enough to be [his] dad”, full of repetition and feigned outrage. The audience responded positively, though the chauvinist fantasies of making a sex tape with Paris Hilton made us cringe. (25.9)
  • Chris McCormick wants to be a pirate, free of girlfriends and beset by wenches. Much of the poem romanticised this archetype and more could have been made of its glimpses of a lonely, melancholic fantasist underneath (pirates prefer “savage lust, instead of love which they cannot trust”). (25.5)
  • Phat Matt Baker ranted against landlords shafting students in a confused revenge tale that failed to impress. (25.2) 

Compound Scores:   Camden 100.9, Oxford 102.3.  Winner:  Bristol 103.5

Note: The scores in this round seemed to be frustratingly and unfairly stuck between 8.5 – 8.8. Don’t make me graph them as proof.

TEAM SLAM FINAL: Bristol VS Hackney
Hosts: Steve Larkin (Ox) & Tina Sederholm (Ox)

Special mention to sacrificial poet Peter Hunter, whose “On Eyebrows” was masterful: painstakingly explaining the traditional sonnet form and its rhyme scheme, he then performed the piece silently, using said dextrous facial-hair.

Bristol

  • James Bunting talked of looking for the voice of his ‘Generation’, and not feeling a generational identity. Fixating on icons of prevous generations, he contrasted important voices of the past such as Dylan, with the potential of (for example) himself, or a protestor, to be voices today, and emphasised the confusion and fear of choosing such voices with quotes and cliches. While feeling lost was easy to identify with, the poem’s sense of confusion and adrift-ness was expressed in back-and-forth thoughts which made it feel muddled, and gave it the impression that it suffered from too many endings, some of which were rather trite. We also wished the piece had explored its theme with more depth, perhaps acknowledging that we tend to rose-tint the iconic voices and identities of past generations, that this whole process is a contrivance shaped by our own needs in the present, and considering what acknowledging that means for feeling lost in the here and now. Ultimately, his sometimes strong turns of phrase were not enough to draw his disparate and confused metaphors into a coherent poem. (24.9) Performing twice in this round, his ‘To the Girl Who Loses Herself in Other Peoples’ Mirrors’ received a 25.8.
  • Sally Jenkinson’s “The Gasman Cometh”, perfectly captured the way your world can shrink in the depths of despair and illness, feverishly elevating the pronouncements of visiting gasmen (“fluorescent gods” with blinding high-vis jackets) to prophesy. (26.4)
  • Jeremy Toombs‘s “Badass Bop” was a glorious, mesmerising , jazz poem with a great flow, woven with the repeated sounds of beep, bop and beat.  Listening was like falling into a dreamlike, music-induced haze. (27.7)

Hackney

  • Angry Sam‘s compellingly human “100 Greatest”, discussed our obsession with ranking/categorisation to fill voids in our lives with some lovely examples. (25.6)
  • David Lee Morgan’s trilogy on children, finished with the memorable “Dead Babies”, which hammered home a solemn point by grimly suggesting the volume of dead babies around the world could be used as time-markers (a standard TV episode is 800 dead babies long). (25.8)
  • Amy McAllister started her set with “Toilet Troubles”, about a break-up triggered by a boyfriend pooing at her house, using deliberately childish rhymes to mask underlying complex issues. Her second piece, “Burn”, was far superior, a sad, sweet poem which related a break-up in the present to her childhood propensity for burning herself accidentally. (27.2)
  • Adam Kammerling’s tale of being stopped by the NYPD for drinking in public was accessible, went down well, and ended the night on a good-natured, comical note. (28.3)

Final scores: Bristol 104.8, Hackney 106.9

Winner: Hackney. (The less-consistent Bristol still provided some great highs)