Brighton Rock – Derby Theatre


Brighton Rock is one of the great 20th century British novels first published in 1938, later adapted for film in 1947, and again in 2010. This stage adaptation by Bryony Lavery is a timely reassessment of the work set in 1930’s Brighton. A “Peaky Blinders” for the South Coast. Ostensibly, the story is a crime noir, a thriller, visceral, brutal and unforgiving. Lavery offers us a literal and metaphorical noir, with dark space between spotlights, edgy, and riddled with angst. Episodic and jarring. Underpinning it is Greene’s Catholic world view, something rarely given a 21st century outing, a religious prologue, and epilogue, bookending the production.

There is a moment in the second act when seventeen year old anti-hero Pinkie Brown (Jacob James Beswick) pauses from his path of psychotic mayhem, his eyes staring out into the distance distant beyond, but simultaneously looking inwards into his own soul. He leads life on the edge, each vicious encounter a dramatization of the real life Russian roulette which Greene used to dabble in. Brown is a thug on the up, a Brighton Face who has stepped into the shoes of his erstwhile boss. But a revenge-murder is witnessed by a young waitress, Rose, whom he decides to marry to avoid the possibility of adverse testimony. An unlikely, love hate, Romeo and Juliet plot evolves. He loves her, he hates her, he loves his life, he hates what it makes him do. Sarah Middleton’s, Rose is naïve, but sound, she understands she is being manipulated, but has no idea of what love is. She is a girl thrust into a bleak adult world. Brown, for all his brash bravado, is a boy struggling in a man’s world. If in doubt- lash out.


The entire play is a prolonged contemplation of the melancholy of Brown, a transcription and translation of his despair and the pain of his uncertainty. Moral failure is not only inevitable for Brown; it is also necessary for redemption. The world of sin finds its release in knife pulling, acid attacks, attempted murders, and turf wars. And it is here, amidst these sordid exploits, that Greene searches for Divine Grace. The play revels in social realism, good and evil, and the line between.


Brown is counterpointed by “tart with a heart” Ida, (Gloria Onitiri), who is the star of the show. Her understated beauty itself counterpointed by a mellifluous, doleful, versatile voice, her statuesque figure swathed in crimson and leopard print.Ida, looks out for Rose, her humanity an antidote for the brutality around her, a beacon of hope. Defiant, it is she who wants to uncover the true circumstances of the death of a man with whom she was fleetingly acquainted. Her face to face confrontations with Brown are highlights as her dominating presence dwarfs that of her rat like opponent. Her relationship with companion Jack, sensitively played by Chris Jack, is a tantalisingly explored sub-plot.

Artistic director, Pilot Theatre’s Esther Richardson, offers us a wonderful period vision. The stage is dominated by an iron walkway, looming above the stage. Sara Perks’ stage design enables it, spot lit to becomes a pier, a bedroom, a nightclub and bar. No brash seaside colours intrude, just an all -pervading sense of gloom. Hannah Peel’s insistent musical score is omnipresent, manifested live by two onstage musicians, driving the tragedy on.

Brighton Rock is a visual delight, the longer second half more satisfying than the first. I was uneasy about the dramatization of the climax, which convention dictates I cannot reveal. A bolder showdown was called for. Continues until 19th May, before finishing its nationwide tour in Manchester the following week.

Gary Longden


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Mountains: The Dreams of Lily Kwok – Derby Theatre



A play, playwright, and story, that were all new to me, adding a large dollop of intrigue on the opening night.

The playwright In -Sook Chappell is a Korean-born, London-based playwright and filmmaker. She studied dance in New York at Alvin Ailey before moving into acting. Her first play won the Verity Bargate Award. Her work for theatre includes; This Isn’t Romance and Tales of the Harrow Road at the Soho Theatre; Absence at the Young Vic; P’yongyang at Finborough; and Mountains at the Royal Exchange. Her work in film includes Full , and Kotchebi , and has made work for Film4 and BBC Radio 3.

The play is based upon a story by Helen Tse, MBE,” Sweet Mandarin”, a memoir of three generations of Chinese women, beginning with her grandmother, Lily Kwok, establishing themselves in Manchester . Before she became an author and restaurateur, she studied law at Cambridge University and then worked in finance and law .

book m

Director Jennifer Tang graduated from UEA in 2004 and is in demand across the country. She specialises in multi-disciplinary work which for this production involves on stage cooking! As a British born woman of Chinese descent she is well placed to present the story.

Ostensibly this is the familiar, but specific, story of an immigrant’s fight to establish herself in a new country. But as it unfolds, the reason for the touring success of this production becomes apparent. It is an Everyman tale which everyone should be able to empathise with, as well as a tribute to the play’s eponymous heroine. Its focus is food and family.

In an era of Brexit, the writing celebrates the qualities and resilience of refugees and immigrants and the contribution that they can make as demonstrated by Lily’s Sweet Mandarin restaurant. Food is used as a connecting theme, the onstage aromas drawing the audience in with real dishes prepared and cooked onstage, uniting cast and audience. Family recipes are offered as a badge of identity and a unifying cross- generational device.

Tina Chiang beautifully unfolds the character of Lily, an ordinary woman doing extraordinary things, an anonymous face which demands prominence. She is the standard bearer for several diverse themes, migration, identity , assimilation, colonialism, faith and superstition, amongst them, as well as the roles and expectations different societies, and cultures, have of women.


Helen (Siu- See Hung) has been brought up in the UK by her Chinese family. She has always felt that a part of her story, and her, her identity, were missing. Thus she heads out to Hong Kong to visit her mother’s birthplace for the first time. However when she swaps Manchester’s Deansgate for Hong Kong she not only finds her grandmother, Lily Kwok, she also discovers things which will change her destiny.

Characters, time and locations do shift in a dream like way, meaning that you do have to pay attention, and sometimes work a bit harder than usual to work out what is going on. It is also narrative driven, told as a story. To illustrate the mix of old and new, samples of traditional Chinese songs are mixed with a modern electronic score, courtesy of Elena Pena, composed by Ruth Chan. Amelia Jane Hankin’s stage set is a marvel featuring a platform that can be deconstructed and reconfigured, Transformers style, into pretty much anything, lit pleasingly by Amy Mae, part of an all -female creative team.

“Mountains” IS different. Pleasingly so. It is also very good, taking the audience on a journey that tugs on the heart-strings, and tantalises the nostrils in equal measure. A set menu to savour- runs until Saturday 12th May.

Gary Longden




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Crazy for You – Wolverhampton Grand Theatre

This was the first time I had seen this show. It seems as though it has been around forever, with the songs familiar by a process of popular osmosis. Yet upon conducting some dutiful pre-review research, I was surprised to discover that I was mistaken. It was written as recently as 1992. Ken Ludwig rewrote the book of a 1930 Gershwin musical, “Girl Crazy”, but retained only five of the original 19 numbers. The balance amounts to George and Ira Gershwin’s greatest hits. Thus, in some respects, “Crazy for You” can lay claim to be the first modern Jukebox musical.



Billed as a romantic comedy, we follow the fortunes of Bobby and Polly. Bobby Child is sent to close a failing theatre in 1930’s Deadrock, Nevada. He falls for Polly Baker and, assuming the persona of an Hungarian impresario, Zangler, decides to save the theatre by putting on a show. Mistaken identity, love heartbreak and joy await. The plot utilises a theatrical favourite, the show within a show, but the cast breathe life into the device. Tom Chambers, as Bobby, and Claire Sweeney as Irene, offer the star billing, but it is Charlotte Wakefield’s Polly who dominates the proceedings with a wonderful virtuoso performance.

18. CRAZY FOR YOU. Tom Chambers 'Bobby' and Charlotte Wakefield 'Polly' and Company. Photo Richard Davenport.


The show is vibrant, packed with great songs and awash with a feel-good mood, courtesy of Paul Hart’s direction and Nathan Wright’s choreography. The best known song is,“ I Got Rhythm” , a wonderful set piece of movement and colour. A battery of percussion provides a visceral, as well as a cerebral highlight, enhanced by the onstage musicians, framed by impressive sets designed by Diego Pitarch . Obviously, much work was required to convert the well- appointed, sumptuous Grand Theatre in Wolverhampton, into a ramshackle dive in Nevada!


Having musician as actors on stage is a shrewd move. It reduces the headcount for the tour, but brings an immediacy and zest to the music, ‘They Can’t Take That Away From Me’ and ‘Nice Work If You Can Get It’ come alive spectacularly.


Tom Chambers clearly loves his role, preening and prancing, and showing himself to be an accomplished comic actor too, particularly in a mirror routine with the real Zangler, early in the second half, when Child and Zangler are together, dressed identically, each playing their role to great humorous effect, “I am beside myself”. Chambers can dance too. What he lacks in vocal prowess he compensates for with energy, charm and brio.

Claire Sweeney and Tom Chambers


The female chorus line is a joy, boasting gorgeous costumes, sharp dance steps, and musical instrument playing prowess. The big dance numbers are also sumptuously lit by Howard Hudson. Director Paul Hart, musical arranger Catherine Jayes, and musical director Benjamin Holder have produced a magical alchemy in which all the parts of musical theatre come together in a joyful celebration of the genre.


The first half of the show belongs to the star turns as individuals, the second half belongs to the company. Sweeney is a hugely accomplished actress, her role here slightly underwritten, but being the professional she is, she demonstrates a determination to eke the maximum out of every opportunity she is given to shine.



Claire Sweeney


The audience comes to see Tom Chambers dance, and hear the big Gershwin numbers. Director Hart delivers what is required. Narratively the end of the second act is a bit of a mess, compensated for by a big production finish. A very satisfying night which was enthusiastically received by a well- attended opening night house. Last but not least, do buy the large format programme, it is the best I have ever seen for a touring production.

Crazy For You UK TourPhoto Credit : The Other Richard

Crazy For You UK Tour Photo Credit : The Other Richard


“Crazy For You” UK Tour is running until 9th June 2018. For more information, venues and tickets see


Gary Longden



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Sarah Brigham – Derby Theatre



Sarah Brigham


As theatre reviewers we tend to focus on the script, score and cast of the shows we see. Production Directors are as anonymous to an audience as they are omnipresent to the cast during rehearsals. Yet their role is pivotal to a production’s success. Their insight, their vision, is what the audience has laid before it. Artistic Directors, as well as invariably producing and directing some shows personally, also welcome visiting productions and one nighters. They determine what the audience sees in their theatre.

Derby Theatre’s renaissance in recent years has coincided with the tenure of Sarah Brigham as Artistic Director. From relative regional obscurity she has established the theatre as a learning, and community, hub in conjunction with Derby University, and a place that offers the best of touring productions, as well as a formidable roster of in house productions. She has made a difference.

Sarah has found herself in the unwelcome position of being diagnosed with a rare form of cancer. Notwithstanding the best efforts of the NHS, a treatment not available in this country is required. Unsurprisingly, the professional and personal esteem in which she is held has resulted in a campaign to raise funds to assist her. The details follow. If you are able to help, please do via her crowdfunding page:
Weʼre raising £60,000 to get Sarah Brigham the cancer treatment she needs

What is crowdfunding?
Crowdfunding is a new type of fundraising where you can raise funds for your own personal cause, even if you’re not a registered charity.
The page owner is responsible for the distribution of funds raised.
Hello there!
As lots of you now know, our friend Sarah Brigham has been diagnosed with a rare form of cancer. She has a 6cm tumour in her trachea. The cancer is adenoid cystic carcinoma (ACC) and only two in a million people have this type of cancer in the UK. The cancer is slow growing but relentless, and so it’s important that it is stopped in its tracks as soon as possible.
The best way to treat Sarah’s cancer would be surgery. Unfortunately, due to the size and location of Sarah’s tumour, this is not an option for her. This type of cancer doesn’t respond to chemotherapy and has limited response to normal radiotherapy.
There’s no escaping the fact that this is all devastating. But in true Brigham fashion, she is dealing with it like a bad-ass superhero. The amount of research, questioning and chasing of medical professionals that Sarah has done, whilst coming to terms with all of this, whilst also running a theatre and continuing to support artists, young people, friends and colleagues around her, is admirable… incredible… unbelievable… (there is no word big enough here to sum up her response thus far to this outrage of an illness).
And she remains very much herself. To quote Sarah:
“On the positive side (there has to be one right!) I physically feel ok and I remain positive. If you see me you wouldn’t know I have this 6 cm tumour in my windpipe. I’m still working, still laughing, still putting the world to rights and still talking in a broad Hull accent. So Cancer is not winning!”
But Sarah cannot and should not fight this on her own. Here’s where you all come in…
The best treatment option is Carbon Ion Therapy, which will hopefully stop the cancer from growing or spreading and may offer the best long term prognosis. But here’s the spanner in the frankly crappy works: this treatment is not funded by the NHS. Sarah will have to travel to Germany to receive the treatment, and to do this, she needs to raise £60,000. *Gulp* *Pause* *Gulp*
It’s a huge amount of money, but so many people have been in touch to say how much you want to support her, so we’re actually going to try and make this happen.
How do I help raise the money?
60k is a lot of money right? But what if 100 people pledged to raise £600 each? What if 1,000 people pledged £60 each? What if you donate an hour’s wages? A day’s wages? A week’s? Cut out a coffee a day for a month and donate that money! Feeling sweary? Get a swear jar on the go! £1 for slightly bad words and £5 for the really bad ones.. and so on….

If it’s legal, do it, if you can have fun at the same time – even better!
You can help as follows:
1. Contribute directly to this fundraising page
2. Donate via PayPal, fee free:
3. Give cold hard cash to Nicky or Heidi in the Derby Theatre offices
4. Want to put on your own event? Great! We’ve put together some guidelines
Most importantly! Share, shout and shout some more! We have set up a Brig-Aid facebook page, which we will use to for updates and sharing your fundraising adventures. Like the page if you are on facebook and please share far and wide across as many platforms as you can, with your networks, friends, family, neighbours, rich distant cousin…
Important: If you have any questions or ideas relating to the fundraising campaign, please send them all to rather than bombard Sarah with messages and emails. Team Brig-Aid will be monitoring emails and will run things by Sarah if we need to.
Sarah is aiming to start the treatment in June, however we have set a target to raise 60K in 12 weeks. Following that this page will be extended after the deadline if we need to continue raising funds.
Who knows what the next steps will be after Sarah’s treatment in Heidelberg, so please keep sharing and shouting. And as you’d expect, Sarah, in all of her generosity, has already started thinking about where she will donate any surplus funds to.
Team Brig-Aid assemble!
Much love and thanks,
Team Brig-Aid


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Not Now Darling – Sutton Arts Theatre

Not now

“Not Now Darling” is a 1967 farce written by English playwrights John Chapman and Ray Cooney, first staged at the Richmond Theatre, in Richmond, London, prior to a long West End run. It is  the tenth play penned by Cooney in an illustrious career.It follows the misadventures of insatiable womaniser Gilbert Bodley in an upmarket London Furriers.
Fifty one years on, inevitably, comedy has shifted. Cooney learned his craft as an actor in Brian Rix’s farces, a tradition carried on today by Torben Betts, who has worked under Alan Ayckbourn, who in turn had worked under Rix. The lineage is formidable. The danger is that the formula has outlived its usefulness. If written today, this  farce would have no hope of making it to the West End ,or to Broadway (as it did then), because it is just about as politically incorrect as you could imagine. Arch feminists and anti-fur campaigners would be in a state of apoplexy. Its short run on Broadway, just twenty one performances, is easy to explain. Its quirky Britishness gives it its appeal, and its limitations.



Angelique Runnalls – Bould, as Jane McMichael, sporting a pretty hairband for lover Gilbert



The audience was largely the one that would have been around in the 1970’s, it is also one which supports amateur theatre, which is why these farces are put on. Whether the genre can skip a generation will depend upon how effective the likes of Torben Betts are in reinventing the formula.



Fortunately, veteran Director Barrie Atchison is on hand to wrest the maximum out of the script, playing to the play’s period strengths, and not pandering to modern sensibilities. The action moves along briskly, visually there  are lashings of sauce, but no smut, and the physical gags are well acted out. It is an object lesson in producing a farce onstage.



Arnold Crouch tries to handle a tricky situation as best he can



That means plenty of pretty girls in their underwear celebrating a traditional British bawdiness with structural complication, as characters leap to assumptions, are forced to pretend to be things that they are not, and often talk at cross-purposes.  Harriet Harman was not in the audience on opening night.


Drinking, and remembering which girl is in which cupboard, is not easy

Dexter Whitehead as Arnold Crouch,and Gary Pritchard as Gilbert Bodley, lead  as co- West End fur salon owners, with an unusually strong supporting cast bringing eleven people on stage in total. The action pivots around a fur coat  intended  for Bodley’s mistress, which along with other items of female apparel, are defenestrated with great regularity, much to the bemusement of the staff on the ground floor and passengers on the No 9 bus. Whitehead captures a sense of innocent haplessness with great comic assurance, Pritchard’s swaggering Lothario-like persona unravels with delightful despair.


Richard Clarke plays Harry McMichael with impatient suspicion, while his wife Janie, entertainingly played by Angelique Runnalls -Bould, has all the fun as mistress to Bodley, displaying her shapely figure , as Gilbert’s cash figures unravel.





A rare scene in which the cast are not hidden in cupboards

Elena Serafinas  gives a brief, classy performance, as Bodley’s wife, arriving back from a holiday where she has not been enjoying the sun alone. Indeed it is the men who end up looking foolish, the women who come out on top.



The genre demands slamming doors, and girls secreted in cupboards, “Not Now Darling” does not fail to disappoint in this regard.



Arnold Crouch upon realising that the phrase “All fur coat and no knickers” is not metaphorical in this instance.



However the real star of the show does not say a single word. It is the set. John Islip and his team have excelled themselves, producing a beautifully presented, and appointed, Furriers salon, balcony with London street scene, and, naturally, capacious cupboards.



Mr & Mrs Bodley, with secrets as yet unrevealed

Amidst the Marx Brothers style mayhem, Louise Farmer, as Miss Tipdale, keeps her clothes on, and attempts to make some sense of the chaos around her with a smile. Maureen George and Phil Shaw are a delight as Commander and Mrs Frencham, the latter worrying about having sixpences for parking, the former amazed at his wife’s reported new found libido.



Miss Tipdale makes a note of the replacement clothing required for the women onstage – it is a long list.


All the players find their stride in the second act when the script and misunderstandings come to a head.



This production is a lot of fun, a couple of hours of gentle escapism, laughs and giggles, delivered with zest, commitment, enthusiasm and discipline. All involved should feel proud. The full house on the opening night showed their approval with warm and generous applause at the final curtain, the cast looking out with deserved satisfaction. Runs until Saturday 12th May.



When Barrie met Gary






Gary Longden

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Spamalot – Derby Theatre



This third UK tour of “Spamalot” opened in September 2017 in Blackpool, and reaches Derby as part of its nationwide travels. It is a brand new production of the show by Selladoor. The Monty Python team dominated British television in the 1970’s, the film “Monty Python and the Holy Grail” was a huge success when it was first screened in 1975, a cinema success which was reprised with “The Life of Brian”. In 2005, “Spamalot”, a stage play based on “Monty Python and the Holy Grail”, opened to much acclaim on Broadway, a project masterminded by Eric idle himself, rather than the whole Python team. The television series was always a little hit and miss, a luxury unavailable to a stage show. I was fascinated to see how Idle’s creation would shape up.

spam curtain


I need not have worried. The spirit of Python is ever-present, but the production is a stand- alone piece, no previous experience is required. Director Daniel Buckroyd has not opted for a nostalgia show, instead neatly fusing classic comedy with the demands of a 21st century audience, driving proceedings on at a brisk pace. Sara Perk’s set is quirky, retro, stylised, kitsch and very effective, transforming Derby into Camelot. Ashley Nottingham’s choreography is delivered with brio and enthusiasm. Favourite elements endure, the dancing nuns, the coconut shell created horse, and the dismembered Black Knight amongst them. A contemporaneous script, name checking Piers Morgan and Simon Cowell, is fresh, and funny. The deliberations about the coconut carrying abilities of European and African swallows is laugh out loud stuff.

Selladoor Productions present Monty Pythons Spamalot

Sarah Harlington as the Lady of the Lake


The songs work. Inevitably, “Always Look on the Bright Side of Life” receives more than one outing, including a sing-along end of show reprise, but Sarah Harlington’s diva strop in “Whatever Happened to my Part?” stood out for me, comic, accomplished and dramatic. Eric Idle wrote the musical’s book and lyrics and collaborated with John Du Prez on the music, except for “Finland”, which was written by Michael Palin for Monty Python’s Contractual Obligation Album; “Knights of the Round Table” and “Brave Sir Robin”, which were composed by Neil Innes for Monty Python and the Holy Grail; and “Always Look on the Bright Side of Life”, which was originally written by Idle for the film Monty Python’s “ Life of Brian”.


Derby does not often stage professional musicals. It was a pleasure to see the return of an orchestra pit, and four musicians playing live, led by Musical Director Brian McDermott. There is no substitute for the sound and dynamic, of musicians playing live supporting the cast, and the songs fell naturally into the narrative, rather than feeling awkwardly bolted on.


Selladoor Productions present Monty Pythons Spamalot

Bob Harms as Arthur



Bob Harms is terrific as King Arthur, his double act with coconut shell wielding faithful servant Patsy, played by Rhys Owen, a delight in a performance which echoed Tony Robinson’s Baldrick in Blackadder. Mathew Pennington squeezes every ounce of camp out of fey Prince Herbert, the damsel in distress. The gay Herbert, and macho Sir Lancelot, stereotypes have the potential to go horribly wrong for a modern audience, tastes and comedy has moved on in the past forty years, but they pull it off, culminating in an hilarious and entertaining song and dance number featuring silver lame hot pants which Kylie would kill to wear.

Selladoor Productions present Monty Pythons Spamalot

Selladoor Productions present Monty Pythons Spamalot


At the final curtain, the rousing reception from a very well attended first night was richly deserved for a cast who had given it their all. The show did not feel dated at all. Maybe that is because the comedy, although a feature of Python, was not quite as Pythonesque as appeared so at the time, instead it was just classic comedy, which always endures. At inception, some Pythonistas baulked at the idea of an Idle only creation, but it is that singularity of vision which is the show’s strength, there did not need to be an accommodation with the undoubted talents of other Python team members. I am very fond of the adage that a camel is a horse made by committee.


It is no surprise that this show enjoyed such success in the West End and on Broadway, enjoy a tremendous night’s entertainment, with the Knights, while it pitches camp in Derby – it runs until Sat 21st.


Gary Longden



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Cacophony of Stardust – Al Barz

A poetry collection review:


I have known Al Barz for several years, and seen him perform innumerable times. Live, he has a reputation for quirky, engaging, performance, an appearance is always an event. His first collection, Cacophony of Stardust, draws together established stage favourites, pieces from various anthologies, combined with several newer and unheard pieces. There are a lot of them, over 211 pages, made manageable in a series of chapters whose titles, such as “Pair of Dice Lost”, reflect the wry humour which is ever present.

There are short poems:

The Tench
The only remarkable thing I can say that’s concerning the tench
It doesn’t waste time writing poems of me while it sits on a bench.


There are wistful nature poems with an edge, skilfully exploring a multiple haiku form as demonstrated by the opening “Cultivation”. What struck me was how diverse this collection is. Al often performs accompanying himself on keyboards. His sci-fi interests can create an off-beat persona and subject matter. But here the depth of the man as poet unfolds, rich, subtle and with something to say.

We are offered rhyme, blank verse, form and freestyle, so there is something for everyone. It is fascinating to see how he matches subject and format. The “Health and Crappiness” chapter, which focusses on the author’s own experiences of cancer, is raw, vivid, and compelling. Unsentimental, and with a trademark dose of black humour, Al always reaches out beyond his own experience rather than looking inwards. The breadth of material is so great that this collection is several books worth in one. The overriding emotion I experienced upon completing this collection was of pleasure and relaxation, and as Seneca said:

‘The mind should be allowed some relaxation, that it may return to its work all the better for the rest’ – Seneca

Some collections can be hard work. This is not. There is something for everyone, not least plenty of smiles. At the end, I felt I had become far better acquainted with the poet. There is no artifice or pretension, no sense that he is trying to impress, just a sense of a poet whose voice deserves to be heard. I think that Al would like that.



Al responds to his publisher’s suggestion that he change a line on one of his poems…


Al himself co-designed the cover with Mathew Cash,  Cacophony of Stardust  is  published by Burdizo Bards


If it wasn’t for Venetian blinds,
It would be Curtains for us all

Al Barz

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