Animus - Review

Laban Theatre, London

***

Music by Michael Webborn

Lyrics and book by Daniel Finn

Directed by Simon Grieff

The company of Animus

Set amidst family strife in 1700’s London, three children bicker and squabble over their inheritance after their father has mysteriously died. Charlotte, the eldest, a headstrong and determined young woman who’s been bequeathed her father’s wharf business is determined to prove to the patriarchal society around her that she is their equal, however deadly the consequences. 

In what is the second collaboration from British writing team Webborn and Finn, Animus delivers a cleverly constructed plot including complex characters and a chilling mystery that keeps one guessing.

There was fine work here from the students of Trinity Laban who gave the piece a 3-show outing. Animus is no easy beast to tackle comprising a dark subject matter, challenging score and multifaceted characters. Played out on Amy Yardley’s sparse set, the audience had to use their imagination to envision the settings. This may have been another hurdle for the students to climb but they did so with precision and confidence. While no doubt well intentioned, Yardley’s projections of 18th century London were at times an unnecessary distraction, failing to fill the backdrop that they were intended for.

Three specific names must be mentioned for their performances. Danielle Whittaker as Fanny Penhaligon, the powerhouse madam of the local brothel was a joy to watch. She brought an excellent comic timing that lent itself so imperatively to the nature of the character and her voice while powerful was delicate enough to suit the style well. Similarly, Harvey Westwood as Joe Grey, the loveable cheeky street urchin/thief, who helps Charlotte, track down her enemies was very easy to watch. Westwood brought a welcome, relaxed vibe to the piece that lifted the mood continuously. Resembling something of a young Ralph Fiennes, he’s an honest actor with an impressive vocal range that comfortably met Webborn and Finn’s challenging melodies.

The most striking performance however came from Laura Barnard as Lily Donne, Charlotte’s younger sister. In an incredibly complex role she simmered quietly throughout the show as the chaos ensues around her. Hovering in the background until her true motives are revealed in the second half proved effortless for the young actress and was truly the highlight of the evening. Barnard has a soaring and emotive voice and her visible turmoil had one ensnared throughout.

The students of Trinity Laban should be proud of their achievements. They have tackled a monster of a piece with professionalism and skill. It will be intriguing to see what else this year has to offer, later down the line.

Reviewed by Charlotte Darcy

The Clockmaker's Daughter - Review

Trinity Laban, London


****


Written by Michael Webborn and Daniel Finn
Directed by Michael Howcroft

Spindlewood, like most towns, has its time old traditions. But no tale is so firmly adhered to as ‘The Turning of the Key’. Every year, on the last night of winter, as the first day of spring unfolds, the Northern townsfolk gather to take part in a strange ritual to honour its oldest legend.

Spindlewood was once home to a clockmaker, Abraham Reed. A tormented genius who, stricken with grief over the loss of his beloved wife and through methods hidden even to himself, created something much, much more than a machine. Every year the Townsfolk now meet in the centre of the town square, where a statue bearing the likeness of a young girl stands, poised and still. This is Constance and she has stood in the square for as long as any can remember.

With direction from Michael Howcroft and a minimalist but highly effective set design from Amy Yardley this epic new musical has been visually scaled down and made more simplistic, though this does not deter from the stunning score, story line or performances given by the students of Trinity Laban. What it may lack aesthetically has been more than made up for with intricate costume, creative staging and the sheer blossoming talent on stage.

The ensemble did a phenomenal job in creating the feel of the ‘stuck in its ways’ town, Set in the North of England as opposed to its original setting in Ireland, it gave the townsfolk more of a working class feel that helped differentiate the class divide. Note must be given to Jenny Arnold for her stunning choreography, her use of movement in the final number of act one, Raise A Glass, was a joy to watch and showed true vision.

Alexandra Davies gives a hilarious performance as the vicious and wholly self-centred Ma Riley. Her delivery and comic timing of the witty dialogue shows the makings of a truly fabulous actress. Despite her negative attitude to her work life, her employees and even her own son Will, Davies’ delivery makes this a character that you cannot help but love to hate and hate that you love.

Similarly, Leo Rowell in his performance of The Clockmaker showed a maturity beyond his years with an emotional delivery of the tragic storyline and a rich, beautiful voice that suited the dramatic composition.

Two specific mentions must of course, go to the key characters Constance and Will, played by Christy Bellis and Jack McNeill. The writings of Webborn and Finn are not simple, but with a powerhouse voice and a stunning, emotionally involved display of acting, Bellis shows real intelligence in her depth of character. She hits all the marks, not missing a beat, whether it be comedy, heartbreak or sheer elation. Her final number in Act 2 was suspense-filled and mesmerizing. 

Likewise McNeill is definitely one to watch. Easily embodying the charm and playfulness of Will, he is desperate to escape the mundane nothingness of Spindlewood and you do not doubt for a second his adoration for Constance. He is a constant presence on stage and is a joy, not only to watch as a clearly skilled dancer, but to listen to. His clear quality of voice makes him a stunning tenor whose overall performance was faultless.

The future looks bright for Trinity Laban’s graduating year!

Reviewed by Charlotte Darcy

The Way To Get A Girl - Review

St James Studio, London


****

Michael Webborn and Colin Savage

In a new and novel cabaret set, Colin Savage attempts to teach Michael Webborn, through quick witted comedy and song, the way to get a girl.

We discover that pianist Webborn has struggled throughout his life to hold down a relationship with a woman. To counter this romantic ineptitude, Savage (in his own opinion a noted success with the fairer sex) attempts a masterclass - and as the evening pans out we watch Webborn reveal his failures in love, as Savage tries to pass on his wisdom and show him everything he’s been doing wrong.

It turns out that the duo are quite simply hilarious! They have a genuine banter and chemistry between them, together with a set list that ranges from contemporary ballads through to older musical theatre gems, some of which have been re-written for the occasion. There’s even the odd pop song in there too. 

Opening with Let Me Be Your Star, the number proves as big a smash as its show’s namesake and aside from being a fantastic pianist and composer, Webborn proves to be a stunning singer! The 29 year old has a voice way beyond his years with wonderful control and precise technical strength. The same can be said for ladies’ man Savage, a fantastic tenor whose high notes seem to just go up and up, with a very pleasing contemporary tone.

As the night progresses we learn more and more about Webborn’s disastrous romantic past, a particularly tender subject being his most recent quest, a Brazilian nun who he’d spent a week wooing on a nudist beach!

The pair deliver a number of hilarious and impressive duets including an edited version of We Can Do It from The Producers and from City Of Angels, I’m Nothing Without You. Their wit and timing are spot on, creating an almost Book of Mormon-esque vibe, with Savage as the suave, confident front man and his partner proving to be the loveable yet bumbling sidekick!

The biggest accolade of the night has to go to Webborn. From the outset he allows himself to be the object of ridicule, with personality, looks and even his beloved (and, to be fair, acclaimed) new musical The Clockmaker’s Daughter being mocked, almost bringing him to breaking point. However when he launches himself into I’d Rather Be Sailing from William Finn’s A New Brain, Webborn surprises and impresses with a vocal performance full of strong high notes and a beautiful falsetto, bringing the entire St James’ audience to an acute silence.

An occasional fumble in the script is nothing that can’t be ironed out in a gig that sparkled with verve, wit and some truly enchanting singing. A one-off performance on this occasion – we can only hope the pair bring this show back soon. It’s great cabaret!

Guest reviewer: Charlotte Darcy

The Clockmaker's Daughter - Review

Landor Theatre, London

****

Jennifer Harding

Written by Michael Webborn and Daniel Finn

Directed by Robert McWhir

As Carrie The Musical closes in Southwark, so another show about a misunderstood young woman, who's blessed with supernatural powers, opens south of the river. But where Carrie was the re-imagining of a classic modern horror story, The Clockmaker's Daughter in Clapham’s Landor Theatre is a boldly written new fairy tale.

There are hints of Alan Menken, Stephen Schwartz and Howard Goodall in the music as we learn how many years ago clockmaker Abraham made himself a clockwork young daughter named Constance (geddit?) to replace his young dead wife. Notwithstanding the potentially "mechanically incestuous" complications that the scenario suggests (and which need to be ironed out in the inevitable future re-writes), the very best of fairy tales, on close examination, are all horror stories and there are distinct nods to Mary Shelley's Frankenstein as a starting point for this fable. We see Constance, like Dr Frankenstein's creature before her, learning to reason and to feel emotions and going on ultimately to be shunned by the world around her.

The plot is simple - and as Constance goes around the village performing acts of kindness, she represents a wholesome focus for the story to pivot upon. Her craving a human mortality only adds to the story's poignancy and with the inclusion of an appropriately boo-worthy villain, the show offers some gorgeous potential.

That this story works at all is largely due to the outstanding performance of Jennifer Harding in the title role. Robert McWhir has coaxed from her a subtly portrayed reality that convinces us of her soulless plight. Her robotic movements are just right, not too pronounced and Harding's gold-painted face defines her as being not of this world. Her singing is gorgeous too, making fine work of her big solos A Story Of My Own and the climactic Clockwork.

Jo Wickham hams it up magnificently (though she could shout a bit less) as the wicked Ma' Riley, out for Constance's downfall, Alyssa Martyn convinces as a charming young bride Amelia, whilst elsewhere the large company numbers again demonstrate Robbie O'Reilly's ability to achieve impressive ensemble work in the Landor's compact space, with both Keep It To Yourself and Market Day being cleverly staged numbers that were easy on both eye and ear. 

David Shields' stage design works wonders with a set that's a combination of trucks, projections and ingenious contraptions and credit too to Richard Lambert's lighting work that for the most part enhances both ambience and location.

This ain't the finished product yet, but it's a damn good work in progress. The show needs to lose at least 30 minutes and its script would benefit from some expert treatment too. But make no mistake, The Clockmaker's Daughter is a charming show that celebrates the ingenuity of today's new writing - it's fun to watch and a bit of a tear-jerker too. This wonderful story deserves a future life, possibly as a Xmas show somewhere or who knows, possibly on screen? There's enough potential in the story to hook even the most Disney-fied of today's audiences and I wish it well.

Runs until 4th July 2015

Picture credit: Poppy Carter Portraits at www.poppycarterportraits.com

Damn Yankees - Review

Landor Theatre, London

****

Words and music by Richard Adler and Jerry Ross
Book by George Abbott and Douglass Wallopp
Directed by Robert McWhir

Poppy Tierney

There is genius at work in Clapham North as the Landor Theatre’s creative powerhouse of Robert McWhir alongside choreographer Robbie O’Reilly, again combine to make theatrical magic from a once charming tale of Faustian compromise, set in 1950’s Washington DC.

In a time when the New York Yankees dominated US baseball, Damn Yankees explores the frivalous scenario of Joe Boyd, a middle-aged overweight fan of rivals, the Washington Senators, striking a pact with the Devil to be transformed into a youthful athlete, get signed by the Senators and lead his team to victory over the (damn) Yankees. This slight story, often ridiculous, fails to pass muster in the modern era however, but as can be so often the case, the devil really is in the delicious detail of this show.

Satanically stealing every scene is Jonathan D Ellis' devilish Mr Appleyard, For a fringe production, Ellis' immaculately tailored shiny suit is worth the ticket price alone. His presence, voice and charisma are just a delight, whilst in his solo, Those Were The Good Old Days he single-handedly re-defines the eleven o'clock number. Partnering Appleyard is his infernal accomplice Lola played by Poppy Tierney, herself only recently seen on this side of the Styx in Newbury’s The Witches of Eastwick. Tierney, whose lipstick and outfits are as red as her name, looks as good as she acts, as good as she sings. Appealing to every red-blooded male in the house, she drapes herself around Boyd, desperately trying to lead him into temptation as her big solo, a tango-themed Whatever Lola Wants is not far short of meriting the great Charles Spencer's description of "pure theatrical Viagra".

For those whose preference is to gaze upon the well formed male physique, there is talented eye-candy in abundance. The act one reprise of Heart, set in the Senators’ locker room and sung by the team clad scantily only in towels, is delivered with such polished provocative gusto that one wonders if it had been rehearsed in a Chariots sauna.

The company work is a delight throughout. Nova Skipp is tenderly and plausibly menopausal as Joe's deserted wife Meg, whilst veteran newcomer Gary Bland gives a solid performance as Joe, coming to realise he ultimately loves his devoted wife more than his beloved baseball team. Amongst the newly graduated cast members Alex Lodge as the transformed "younger" Joe makes the best of a sugary-sweet role, whilst Elizabeth Futter puts in a fine turn as a journalist who suspects that there is more to young Joe than meets the eye.

But away from the stage and aside from Ellis and Tierney, the real stars of this strangely enchanting piece are McWhir and O‘Reilly. With more than a nod to Fosse and confidently underpinned by Michael Webborn’s three piece band this production's dance work, already Offie nominated, is a breathtaking delight. The plot of Damn Yankees may be unremarkable, but these performances are unmissable.

Runs until 8th November 2014

Meet Me In St Louis

Landor Theatre, London

****

Songs by Hugh Martin & Ralph Blane
Book by Hugh Wheeler
Directed by Robert McWhir

Robert McWhir directs a polished tribute to Vincente Minnelli’s classic movie with his Landor company staging the UK premiere of the 1944 movie’s more recent Broadway spin-off. Meet Me In St Louis starred Judy Garland (who was to meet Minnelli on set, marry him in ’45 and give birth to Liza one year later) and was to prove MGM’s biggest hit to date, eclipsed only by Gone With The Wind. Its tales of youthful love and petty family squabbles may be as whimsical as a World Fair candy-floss, but the film’s lavish budget and frivolous spectacle clearly proved a welcome distraction to a nation embroiled in WWII.

Based around the loves and passions of the Smith family daughters at the turn of the century, Emily Jeffreys plays Rose, the eldest of the girls, chasing a beau from New York, with angst, romance and sisterly giggling in a performance that is perfectly weighted for the era. Driving the narrative though is second daughter Esther, (Garland’s role in the movie), literally in love with The Boy Next Door. The movie was conceived as a Garland showcase and hence her character was also given the show’s two signature tunes, The Trolley Song and Have Yourself A Merry Little Christmas. Georgia Permutt’s Esther is a charming professional debut with a presence that commands our focus, gels the company and sounds delightful. The lyrics of Have Yourself A Merry Little Christmas carry significant history written whilst so many US troops were away fighting. The song's message resonates with Vera Lynn’s We’ll Meet Again and with conflict even today in Afghanistan Permutt’s elegant rendition, amidst falling snowflakes, is poignant. 

Also notable in the cast are Carolyn Allen’s delightful Irish maid Katie and Rebecca Barry’s petulant infant sister Tootie, whilst Bryan Kennedy’s Alonso Smith, the head of the family, affectionately demonstrates that the challenges of fatherhood are timeless. 

Robbie O Reilly choreographs with verve. The cakewalk number Under The Bamboo Tree proves a well drilled hoot, whilst The Trolley Song, Christmas Waltz and The Banjo are ingeniously spectacular routines given the Landor’s intimacy. Michael Webborn's direction of the four piece band maintains his usual high standard of musical accompaniment. Credit too to Francisco Rodriguez-Weil whose sliding screens and immaculately painted backdrop make for clever scene transitions.

Meet Me In St Louis will appeal to those who want to relish a contemporary tribute to a Hollywood classic. It’s a beautifully crafted production and whilst the trolleys may no longer run to Clapham North, audiences should. It’s a shining star of a show.

Runs to 18th January 2014

[title of show]

Landor Theatre, London

****

Music and lyrics by Jeff Bowen

Book by Hunter Bell

Directed by Robert McWhir

(l-r) Sophia Ragavelas, Simon Bailey, Sarah Galbraith and Scott Garnham

One of the most talked about arrivals on London's fringe, [title of show] opens at that powerhouse of musical theatre, Clapham's Landor. Using the modern buzz-phrase, it is a "meta-musical" (a show that is written around the business of shows), about two guys who write a musical and the two actresses who hang with them and inspire them through the show's development. Musicals don't come more "meta" than this and [title of show] isn’t so much a show that eats itself, as a one that gives birth to itself. The plot is a broad representation of the two writers’ real life journey, composing an entry for a musical theatre competition and their story is one long, knowingly wry, look at the harsh aspects of both writing for and acting on, the musical stage.

By its very nature, the plot would suggest echoes of Merrily We Roll Along, recently seen at London’s Menier and then in the West End. In fact, the only similarity between this show and that Sondheim piece is the outstanding quality of the actors. McWhir's cast is only four strong, but he has selected some of London's finest talent who offer a masterclass in comedic musical theatre. Perfect harmonies, solos, duets and meticulously rehearsed ensemble work are a joy to behold. But where Sondheim's piece focused on the human frailties of vanity and greed in show biz, [title of show] is a far lighter piece, sometimes perhaps too light, that is no more than a sharply written piece of satire, often brilliant even if occasionally over-indulgent and shallow.

Simon Bailey and Scott Garnham play the real life writing duo of Hunter and Jeff respectively. Where Hunter is more the creative spark of the pair, Jeff who by is own admission spends too much time "procrastibating" either watching old TV series or porn, is quite the creative muse for the partnership. These two talented actors are wonderful with spot on timing, both in synchronised harmony and in working the script’s gags. They are a sublime double act and their take on the early number, Two Nobodies In New York suggests the potential of a modern day pairing to match that of Dean Martin and Sammy Davis Jnr. Maybe a future cabaret idea perhaps…

Sophia Ragavelas and Sarah Galbraith are Heidi and Susan the working/aspiring actresses who share the journey of the show's evolution. Susan introduces herself as a "corporate whore" resting from the stage as she works an office job. There isn't a weak song in the show, but her leading of the cast in Die,Vampire Die, an outpouring of hate against ne'ersayers, critics and her own personal self doubt is a glorious turn from the talented young American. Where Galbraith is a former Disney princess, Ragavelas is clearly current MT royalty with Fantine and Eponine already under the corsetry of her career. The expectations that surround her performance are consequently sky-high and you know what? She doesn’t just meet expectations she smashes them. This diminutive actress’ poise, presence and pitch are perfection and her solo I Am Playing Me is simply a treat.

As always, that inspired combo of Robbie O Reilly’s choreography with McWhir’s perceptive eye for nuance and interpretation, make for a polished production, with credit to Michael Webborn on piano and shaker and who also gives a very convincing turn as Larry the inner-show’s MD. That this creative team, enhanced by Ben Newsome’s casting, have assembled such a stellar company speaks volumes for their reputation and ability.

The in-jokes are frequent but not overpowering and there is more than enough witty meat on the bones of this show to please any lover of musicals, not just those “stagey-folk” connected with the industry. Go see [title of show]. To quote Sondheim : “It’s a hit!”

Runs until 14th September

Next Thing You Know

Landor Theatre, London

*****

Book, lyrics & music by Joshua Salzman and Ryan Cunningham

Directed by Robert McWhir

Bart Edwards and Aaron Lee Lambert

Next Thing You Know is a freshly styled show, first produced off-Broadway in 2011 and now making its UK arrival off-West End, at London’s landmark launchpad for new musical theatre, the Landor in Clapham.

This is a show written by and about young professionals in New York City. It tracks young lovers Waverley and Darren, hurtling towards their 30’s and frustrated with both career and love life. Waverley’s best girlfriend Lisa (played by Amelia Cormack) is similarly disenchanted with the romantic vacuum that the city has becomed for her, whilst the final cast member is Darren’s colleague Luke. With scenes set around a Sullivan Street bar, an office, and assorted apartments, it presents a fairly drawn snapshot of contemporary city life.

Jennifer Pott’s Waverley is perfectly cast. She’s a mix of frustration and feistiness, wanting “more” from life, just not too sure what that “more” is. Vocally sweet and at all times convincingly portraying a young New York woman, she wraps up an intriguing combination of fragility and determination. Luke is played by Aaron Lee Lambert, a seasoned trouper not long out of playing Shrek’s Donkey. His gorgeous voice and assured presence allow him to carry off some of the show’s lighter funny moments with confidence and great timing. And I Breathe, a song about his hard to shake off love for an occasional cigarette, is a treat, whilst his double act with Darren (Bart Edwards), The Way To Get A Girl, recalls Dean Martin and Sammy Davis Jnr.

Robert McWhir directing and Robbie O Reilly’s  choreography, as always use the Tardis-like space of the Landor brilliantly, with routines that are skilful and subtle whilst Anna Michaels’ set design cleverly evokes the Big Apple as the action flits across the locations.

The 5 piece band under Michael Webborn’s direction are wonderful. Using strings and piano only, no wind or percussion, they remarkably conjure up a New York brashness from the opening bars of the Prelude. Throughout the show they are just a delight to listen to and a fabulous reminder of how much talent exists within London right now.   Complementing  Webborn’s band is Sarah Weltman’s sound design. Unusually for a Landor show, the cast is mic’d, an expensive add on for any fringe production. In this case the money has been very well spent as the mics are perfectly balanced, faded in and out with pinpoint precision and they allow the voices and tone of the actors to be enjoyed with clarity above and alongside the big beautiful sound from the band.

Next Thing You Know makes for a great “date-show”. The cast all look gorgeous, there's a soppy love story with a happy ending and it all looks and sounds a million dollars but will cost you far less. Take your squeeze to the Landor, buy him or her a large long drink and cuddle up together to enjoy the ride.

Runs until June 8 2013

Poet's Corner

Poets Corner

They fuck you up, these stagey types,

With their dilemmas and their gripes.

They kiss you to pretend they care,

Their "Darling!" greetings , just hot air.

But they were fucked up in their turn,

By castings that ignored them all

And crits who tore their work to shreds

And set them up to watch them fall.

These stageys are a fatuous bunch,

To promote themselves, their only will.

They'll sting you for a pricey lunch

And never once pick up the bill.

With apologies to Philip Larkin's This Be The Verse

And thanks to Michael Webborn , for inspiration and content!

Curtains - Review

Landor Theatre, London

*****

Book: Rupert Holmes

Music: John Kander

Lyrics: Fred Ebb

Original book and concept: Peter Stone

Additional lyrics: John Kander and Rupert Holmes

Director: Robert McWhir

This review was first published on The Public Reviews
 

Curtains is a complex yet frivolous piece of musical theatre from Kander and Ebb. Having satirised Nazi Germany and the American penal and justice system with Cabaret and Chicago, this work, in its first professional UK production, sees the writers fix their satirical cannon on show-business itself.

The show opens with a theatrical troupe performing “Robbin Hood” in Boston, en route to a hopeful transfer to Broadway. When the leading lady is poisoned on stage, Lieutenant Cioffi arrives, forbidding the entire cast to leave the theatre until the crime is solved. What then follows is a whodunnit, and several more deaths, with each member of the company’s motives and alibis in turn challenged by Cioffi. Of course as the genre demands, each cast member appears to have a troublesome skeleton in their closet for the detective to eliminate.

Kander and Ebb’s wit shines through most of the show, with an early number that sets its sights on theatre critics, What Kind of Man ? ( ie would be a critic ) causing much mirth on press night.

Leading the cast is Jeremy Legat as Cioffi. Clearly the most stagey of cops, Cioffi has a love for musical theatre, and a hilarious knack for giving notes to the company as their rehearsals continue, that prove to be spot on in improving the show within a show. Legat’s youthful experience shows and he leads the production with assured professionalism that is neither arrogant nor scene-stealing. The one regret of the evening is that more solos are not afforded to his character. Legat’s voice in Coffee Shop Nights and A Tough Act To Follow is sublime. Buster Skeggs is a convincing Carmen Bernstein a co-producer of the show. Her role calls for overstated energy and drive, and she delivers a tough New York shtick that at times leaves her breathless.

One can easily forget that this show is being staged in ‘a room above a pub’. The production calls for adult actors that span a broad spectrum of ages and generations and Andrew Keates as casting director has assembled a stunning 20 strong troupe. Some, like Bryan Kennedy who’s camp director, Christopher Belling is a masterclass in controlled understatement, have years of talent under their belt. When reminded that he is a suspect in a murder enquiry, Kennedy’s foppish reply that “its an honour just to be nominated” is a moment of comic genius. Other performers like Stephanie Parker, murdered in the shows opening and then ensemble member, are recent drama school graduates. There is not a weak link amongst them.

McWhir has again helmed a production of magical potential in this South London venue. Under his direction, Martin Thomas has produced a set that is as detailed as it is imaginative, bringing countless fly ropes and even a proscenium arch into the modestly sized performance space, yet still allowing room for dance numbers of stunning vivacity and impact that are a credit to choreographer Robbie O’Reilly. Rachel Dingle’s costumes have been meticulously assembled and lend authenticity to both Robbin Hood, as well as the shows real-time context and Michael Webborn musical director, leads his 5 piece band perfectly. One criticism is that female company voice work is at times inaudible, but there is plenty of time to set that straight.

The show’s programme runs to an impressive 24 pages and its meticulous design hints at the tremendous commitment to excellence in production values that motivate both McWhir and Keates. London is famed for its theatre, both West End and off. In this Olympian summer, Curtains contributes to that outstanding reputation.

Runs until September 1st

Find me on Twitter: @jaybeegee63