Reviews of the Ephemeral

Posts Tagged ‘Dean Atta’

Interview: Come Rhyme With Me

In Interview, Saboteur Awards on May 16, 2013 at 9:30 am

interviewed by James Webster 

come rhyme

With the Saboteur Awards results to be announced at the Awards Party in just two weeks, we interview Best Regular Spoken Word Night nominees Come Rhyme With Me about their event and its unique food-themed format.

Let’s start with the basics: how long has Come Rhyme with Me been running and when/where does it take place?

Come Rhyme With Me will have been running for 3 years in July. Come Rhyme With Me takes place twice a month.

On the 3rd Friday of each month we travel to The Writers Place (9-10 Jew St) in Brighton and on the last Friday of each month we are based at Cottons Islington (70 Exmouth Market) in London.

How did Come Rhyme with Me come into being? Was it done with a particular ethos or mission statement in mind?

In 2010, Naomi Woddis put out a call for an event to take place at Cottons Islington. Dean and Deanna had previously curated events together at Lyric Hammersmith and were keen to establish their own independent event, one that promoted quality spoken word and poetry. They wanted to create an event they would pay to go to.

Come Rhyme With Me has a really unique spin on it with its “set menu of performers” and focus on food. What led to that decision?

Upon seeing the space and the restaurant the idea for a food and poetry night was formed. They pitched the idea to the owners (Beverley and Andrew) and Come Rhyme With Me was conceived!

You run nights in London and Brighton, do you find there’s difference in style/flavour between the events in different areas?

In 2011 Dean was invited to curate an event for New Writing South, an organisation that promotes writing and writers of all types in the South East of the country. Dean decided to bring Come Rhyme With Me, the event was a part of Brighton Fringe Festival and was a success. New Writing South invited Dean and Deanna to launch a regular Come Rhyme With Me at The Writers Place and so Come Rhyme With Me Brighton was launched!

Who have been your favourite performers that you’ve had at Come Rhyme with Us? What have been the other highlights?

There have been so many amazing performers at Come Rhyme With Me not to mention the performers that come through the appetiser (open mic) section. The Christmas party where we had an array of performers has been a highlight. Not to mention the successful collaborations between Come Rhyme With Me and Oval House Theatre and London Liming at Rich Mix.

What do you look for when you book performers for your “set menu?

The menu is chosen with flavours in mind. What style the performer is and how they would fit in a holistic sense. Very few acts are rebooked though Starters are brought back as Mains or Desserts.

What have been the challenges of running a regular spoken word event?

Not so much challenges as standards. Come Rhyme With Me is all about quality of experience.

What is your opinion of the state of spoken word and performance poetry in London and the UK?

It’s strong and getting stronger each year. Events such as Come Rhyme With Me, Bang Said The Gun and Chill Pill are constantly bringing in new audiences and showcasing emerging talent.

If you’re trying to convince someone who’s never heard of Come Rhyme with Me to come to your events then what do you say?

The food element is a massive draw as are the unique line ups and open mic aspect. Dean and Deanna have also been praised for their ability to create a warm and welcoming environment for all audiences. Why don’t you Come and Rhyme With Us!?

And finally, have you heard of Sabotage before (if so, what?) and are you pleased to be nominated for a Saboteur award?

Come Rhyme With Me is very pleased to be nominated for a Saboteur award. It’s a first of hopefully many. Massive thanks to all those who nominated and have voted.

Come Rhyme With Me is run by Dean Atta and Deanna Rodger. They’re cool, check them out.

Advertisements

Keats House Poets’ Forum 11/12/11

In Performance Poetry on April 12, 2012 at 1:59 pm

– reviewed by James Webster

The Keats House Forum is a unique kind of poetry event. Keats House is the museum-cum-memorial to John Keats, where he lived for two years, wrote some of his most memorable poetry and met his fiancée Fanny Brawne (who was apparently something of a creative proto-punk). I know this because those of us who were there early were given a guided tour, saw all the Keats memorabilia and were given a potted history of his time in the house. It made for an appropriate start to a poetry event (even if it was odd to be at a show where there was no bar).

The format’s simple and effective; hosted by Simon Mole (one of the Keats House Poets) who made a point of asking what everyone wanted for Christmas (recorded bold in brackets), the open mic spots were interspersed with performances from the Keats House Poets. Then Kat Francois headlined and closed the show.

Keats House Poets

  • Simon (road bike with drop-down handles) started us off with a piece (inspired by Human Planet), about a guy who can hold his breath for a really long time. It was a breathy performance, filled with verdant language describing an underwater world. By piling on the language and increasing speed Simon builds up a real sense of pressure, which he breaks occasionally with a fun call and response.
  • Laila Sumpton (Mary Poppins powers): previously seen at the Beaconsfield Reading Series, she started with a piece on Ear Worms (medically described as a musical hallucination). It was cleverly put together: you could feel the song entwining itself into your brain as she describes it.
  • And ‘Viral Times’ managed to make the personification of the common cold seems super-cute.
  • Anthony ‘The Hurricane’ Hett (socks that don’t fall down) gave a calm, but captivating performance of ‘For John’, emotionally drawing on the awkwardness and heart-rending nature of visiting sick friends. The words tipped over each other as he struggled to speak as it finished with a powerful monologue to his dying friend.
  • Paul Sherreard and Stephanie ‘Sonority’ Turner performed some re-workings of Keats’s poems:
  • Sonority turned Keats’s ‘Solitude’ into the contemporary ‘I Go Solo’, an engaging piece on a late night walk that made its words sound out like footsteps on a quiet street.
  • And ‘Song’ is translated by Paul into ‘I Got a Dog’, which was an adorable piece on feeling abandoned by the death of a pet.

Open Mic

  • Janice Windle (gallery desperate to sell her paintings) read ‘Beginning a Painting’ which described frustration and procrastination with nice intricate language.
  • While ‘His Name’ was an utterly gorgeous and magical (in an age-old blood magic kind of way) poem about finding a bone good luck charm.
  • Wizard of Skill (radio) performed ‘My Radio’. His performance is always full of quirky energy, but his idiosyncratic delivery swallows a lot of his language, the poem lacked focus, and he repeats his chorus far too often. That said, he did have the audience chanting along to the chorus.
  • Kaori (date with a special someone) captured the audience completely with a lovely tale of nostalgia for Godzilla destroying people on TV, contrasted with a touching family story of an earthquake.
  • Deanna Rodgers (headshots and membership of spotlights) read a roaming, rough-and-tumble of a poem, filled with the energy of her youth, riding over London with friends with ‘jackets on inside-out because we are Fresh Princesses’ on the old Routemaster buses (she also runs Come Rhyme With Me with Dean Atta).
  • Ed Mayhew (best free thing you can find) gave a lively performance of a hugely enjoyable poem on a protracted rap battle with the Mayor of Lime Regis. Some entertainingly clunky rhyme, and a superbly fluid, eloquent spoken word monologue, made for an ace poem.
  • Jess (little person in my life) based a poem on her ‘wish list for life when [she] was young and stupid’. Her younger self’s aspirations were a joyous mess of the hedonistic, anarchic and bohemian. Best line: ‘being thrown out of this establishment will be the best thing I’ve done all day’.
  • Donall Dempsey (Janice Windle’s filtrum) gave us his super sweet ‘Love Potion’ dedicated to his partner’s filtrum.
  • And also a ‘Love Song for Emily’ (Dickinson that is) that was beautiful on Dickinson’s ‘perfect embroidery of knowing’ and ‘The Present Moment’ was terrifyingly cute account of his daughter giving him a present of stone, grass and twigs.

Feature

  • Kat Francois (a new front-left tyre)
  • She starts with a description of someone who ‘used to dance in her not so long ago days’, using repetition to create a rhythm of music, it becomes all the more upsetting when things change and the woman’s limbs ‘hang useless’, but ends inspiringly with the affirmation that ‘in her mind she travels to places that in reality are absolute impossibilities’.
  • Next, a piece that describes a woman’s body and her issues with it; from her ‘inviting mango-calves’ to her dress that turns into a ‘crimson whirlwind of wonder’ with a gust of wind. Again it’s a triumph of freedom over frustration as she’s ‘sick and tired of hating herself’ and steps out to dance.
  • Her ‘West Ken Blues’ was performed imaginatively, using the space and props perfectly, she weaves the images of ‘the days when innocence reigned’ in the air for us. Starting with larger than life characters, moving to tragedy and pain, she movingly evokes the atmosphere of this troubled and low-income neighbourhood. A superb socially conscious performance piece.
  • Her final ‘Poetry Addict’ is another great performance. An explanation of all the reasons she performs, where you can hear her gasping for the breath that poetry gives her, it’s both intimate and performative.

Conclusion: A really strong afternoon of spoken word. The standard of the open mic (with the possible exception of Wizard of Skill), the Keats House poets and feature Kat Francois was incredibly high. One of the most consistently quality afternoons of poetry I’ve attended, with a variety of styles and themes to entertain and inform, whatever your tastes. Keats would be proud (probably).

Sage and Time @ The Charterhouse Bar 22/02/12

In Performance Poetry on March 19, 2012 at 6:00 pm

– Reviewed by Dana Bubulj

Perhaps it was the weather that kept this night to an intimate gig of fewer people than usual, which is a shame, as it was another event of the fantastic standard that we are used to with Sage and Time.

Hosts

The hosts opened each half with their own poems, setting the tone of the evening with effusive introductions to both the open mic poets and the excellent features.

  • Richard Marsh’s take on the bizarre love between two people at the gym, each embodying each other’s ideals was a nice opening to an evening whose theme seemed love-bent. It’s a shame he forgot sections, but with asides like “basically, it turns out she likes him too” to continue the narrative, he acquitted himself admirably.
  • Anna Le‘s All The While was a tender take on love whilst the world continues. She acknowledges politics and injustice (“teachers not renumerated”) and in doing so, the declaration becomes more powerful for not being rose-tinted. There’s a beautiful calm, amidst the “commotion” of the world, where the poet is “inescapably falling in love with you”.

Features

  • Dean Atta has a great stage presence, performing his confessional poetry with confidence. His sensual first poem was about Grindr in Italy, where “new technology found intimacy…in an ancient city”. His second, My Love, (5th Draft),was a delicate portrayal of feelings not ready to be pinned down. As a “manifesto of love”, I Don’t Want To Write You Poems, also sought to define feelings with a lovely mix of ephemeral messages left on mirror steam and physical demonstrations.
  • Mother Tongue is an interesting one about not sharing his mother’s first language (Greek), leaving him an outsider when “forgetting to translate”. I loved the line: “our mother has swallowed her tongue”.
  • This is not supposed to be Therapy was a great take on the expectations placed upon us by both society and ourselves. Congenially taking us through familiar doubt (“I am a leader… right?”), Atta turns away from what we’re “supposed to do” as a way to define the self, vowing instead to do so individually by “any app necessary”.
  • He finished with the poem that brought him most into the public eye via Youtube (& now iTunes), “I am nobody’s nigger”: a commentary on language (“don’t tell me it’s a reclaimed word”) in relation to racially incited violence (“that’s one of the last words Steven Lawrence heard”). It’s performed passionately, with stirring references to ancestry and the slave trade, finishing elegantly: “call me nigger cause you’re scared of what brother means”.
  • Deanna Rodger was an exuberant performer whose work is very rooted in her past.  My favourite begins: “I always get asked, where’re you from?”. It’s a great take on the frustration of growing up in London, steeped in British culture while also (and more visually apparent) “a product of miscegenation”.
  • Her main focus is her youth, mostly in its innocence. In her 22 Now and 22 to 19, she we see her hanging out after school, mooching with friends on routemaster buses like “fresh princesses” with a breathlessly sincere nostalgia that that certainly took a few of the audience back. Young love doesn’t escape her canny gaze: from the plausibly confused 1432, complete with premature declarations “slipping out as easily as he slipped in” to the obsessive Love Ambitions (I liked wanting to be their student ID  “so you need me to get into the library”, and that she peppered her delivery with interjections like “I feel like a stalker!”)
  • Turning to the present were two poems: If Chloe Can and Nowadays. The former, about a young girl’s shattered self esteem, was earnest and hopeful. Nowadays tackled contemporary apathy in a heartfelt plea for people to once more pay attention to the world around them (“who cares about voting nowadays?”) While not new in content, it was passionately performed and a great close to her set.
  • Peter Hayhoe and Sarah Redington performed Dalston, a poem accompanied by music. Descending into Someone Like You worked, but could have been more effective in a smaller dose for those inured to Adele. I enjoyed most the poem’s performative aspect: its emphasis on the act of story-telling (“I say, ‘your coffee is getting cold'”), complete with distinctions between on truth and might-have-beens: “Pause. This is not a true story…The real story involves…”

Open Mic

  • Richard Purnell spoke of the N word in rap music as a white fan, addressing its contribution to the vilification of black people in society. He could have been more fluid and the beginning section (“what rhymes with…”) was horrifically awkward.
  • Lettie McKie performed three sonnets of which the third, about her elderly neighbours, was the most powerful, starting from a lovely first line “before the hospital, he always slept beside her”.
  • Edward Unique‘s Valentine’s Day poem, in the interests of balance, had a clearly defined three part structure, but alas lines like “she said I’m too nice for her” and “[it was left for] the nice guy to sweep up your stupidity”, left a bitter taste.
  • Joshua Seigal‘s AA Milne-esque Kid’s Poem about bullying was appropriately simplistic with a comic twist. His adult poems displayed an extensive vocabulary, with fast paced patter strewn with literary terminology. Camden Town was my favourite, conjuring peacefully stoned hipsters with “hours to shoot from the sky like ducks”. He is up in Edinburgh this year with We all love Llamas!.
  • Ben Newberry’s character pieces were nice enough: my favourite was “Royal Oak” a nod to the old guard of traditional pubs, less transient than their surroundings.
  • Sophie Cameron‘s modern fairytale of a Prince and his poor yet “ridiculously attractive” squeeze certainly uses some visceral imagery. Juxtaposing love that “transcends all bounds” with raucous sexuality (“and by swooned I mean he wanked his dick off”) Her second poem, “I am a posh cunt” set up a familiar straw man who likes oysters “because they’re expensive rather than their taste”.
  • Jethro performed three sombre poems, only one of which was his own. His delivery suited  Tennyson better than  Keats, but was best for his own, Time Passes, a lament for his lost brother who feels “just a moment ago”.
  • James Webster performed two poems: Fate (a little spoilt by phone scrolling), about unexpectedly meeting and bonding with someone not seen in years, (“not inevitability but an extra glass of wine”). The second was nicely done, filled with entreaties to “listen” to poetry “beneath the skin”, in its beats of “iambs and trochees”.
  • Keith Jarrett, finished the evening with two poems: an uplifting old favourite that with, fluid plays on words, takes on political slogans, making them his own for people who “believe in change but [are] still short changed”. The main argument of I do not believe in casual sex was that there’s “no such thing” because “casual suggests ease”. Its playful conclusion, “however…I do believe in a damn good time…”, lightened what could have been interpreted as overt moralising.

To conclude: Fantastic night. More soon, please.

There will indeed be more, coming up soon on the 28th of March! – Ed