REVIEWS

The Grapevine
Trade Journal
March 2000
By: MH

The Grapevine music & opera
THOSE DAMN YANKEES!

Finally, I ventured to see Blast after a continual stream of positive 
comments from friends and colleagues nagging me to see the production for 
myself. In fact, since the opening in December, the show has received critical 
acclaim by all quarters of the press.

But even so, who in their right mind would want to endure two hours of 
listening to 40 brass players and 12 percussionists along with 16 visual 
artists, (simply a posh name for baton twirlers), all from America?

If you have not already read about the show, it is a theatrical version of 
the drum and bugle corps of America; basically the marching bands that 
entertain the crowds before a Baseball or Football game. A load of musicians 
marching around a football pitch is one thing, and sometimes very entertaining 
when the tuba section collides with the tenor horns, but on a stage in London?

What I didn't expect is that Blast would be one of the finest theatrical 
experiences that I have seen for a very long time, excluding the RNT's Oklahoma 
and Guys and Dolls.

What is even more frightening for the British actor, dancer and singer is 
that the cast is made up of musicians who have not spent 3 - 4 years training 
to tread the boards, as it were!

Stomp saw the emergence of music taking centre stage and becoming a 
theatrical event, but Blast takes this one step further as it has no gimmicks 
of dustbin lids and junk instruments - but simply musical instruments playing 
challenging music.

The musicians, of an average age of 23, were selected from colleges from 
all around America, many of whom have not completed their formal education. But 
yet they display more professionalism and commitment on stage than I have seen 
of trained actors currently in the West End. Not one of the 70 musicians and 
dancers, even when standing still at the back of the stage, let their guard 
down. They continually made eye contact and reacted with the audience, drawing 
us into the theatrical experience.

The production was not only entertaining and spectacular with new and 
innovative ideas designed to encourage the younger audience back into the 
theatre, but it did not bow to popularism for the choice of music.  The whole 
show starts with a fantastic version of Ravel's Bolero but is also splattered 
with contemporary music by composers such as Copland, in amongst more popular 
jazz, Latin and pop music.  All of which break down huge barriers between the 
younger generation who see contemporary, or any music come to that, as simply a 
performance with musicians in dinner jacks, sitting down, hidden behind music 
stands.

In fact, Blast! raises questions not only for theatre productions and how 
concerts are approached, but also for the young musicians who are graduating in 
Britain.

I was expecting, if the musicians' average age was 23 and that they had to 
dance, sing and act, that the standard of musicianship would suffer. How wrong 
could I be? Very worryingly, especially for a 23 year-old leaving music college 
in London, the standard of musicianship was incredible.

Education in the two countries, in my experience, seem very different. 
American mentality places a confidence in their musicians which makes them such 
natural charismatic performers. While the American colleges seem to say, "You 
can and will be a star", the British education system seems to say "Well if you 
work really hard you may be lucky and scrape a living together!". Music 
colleges in London seem to breed very technically proficient and creative 
musicians but who are incredibly suppressed in confidence which ultimately 
effects their performance and command of the stage. This is also compounded by 
a complacency which seems to be rife in our younger musicians; believing the 
world owes them a living. It seems an impossibility to me that there could ever 
be the British equivalent of Blast, but I would love to be proved wrong!

I see it as a necessity for any professional or student musician, actor, 
dancer, director, producer - in fact, anyone in the performing arts industry, 
to make the trip to see this production. Not only to see a great piece of 
entertainment but more Importantly to see the power and conviction that the 
Blast performers command on stage.

These very talented musicians and visual artistes also remind us all of how 
hard a performer should work when given the privilege of being on a theatre 
stage and the task of entertaining an audience!

But you'll have to be quick, as Blast has only a month left in this country 
before blasting around the world.

MH


-------------------------------------------------------------------------------


The Sunday Times, Live
February 27, 2000

The Sunday Times Live is a 24-hour priority booking service run in 
association with First Call. You can book pop and classical concerts, theatre, 
ballet, opera, dance, comedy and sports events, including most of the shows and 
events featured each week in Culture. Below are First Call's 10 top-selling                      
shows for February 20 to 25. To make a booking or to find out about exclusive 
deals and discounts available to you call 0870 842 2212 at any time.

	The Critical List
	Top 10 Shows and Events

	1. Chalaas Flower Show
	Grounds of the Royal Hospital
	London, May 25 and 26 27

	2. Hampton Court Palace Flower Show
	Hampton Court, Surrey
	July 6 - 9 from £10

	3. The Millennium Dome 
	Greenwich, London SE10
	Booking to December 31 £20

	4. The Lion King 
	Lyceum Theater, London
	Booking to March 3, 2001
	From £20

	5. The King and I
	Palladium, London W1
	Booking April 18, 2000 till January 12, 2001
	From £18.50

	6. Mamma Mia!
	Prince Edward Theatre, London W2
	Booking to March 17, 2001 from £22.50

	7. The Weir
	Royal Court at the Duke of York's
	Theatre, London W1, Booking to July 24
	£15

	8. Hampton Court Palace Festival
	Hampton Court, Surrey
	June 8 - 11, 13, 14 and 17
	From £27.50

	9. Krapps Last Taps
	New Ambassadors Theatre
	London, booking March 11
	From £22.50

	10. Blast!
	London Apollo, London W6,
	Booking to April 22, from £28.50


-------------------------------------------------------------------------------


BLAST! SNEAK PEEK 2000
By Sue Johnson, Staff Photographer
FOCUS -- The Official News of Winter Guard International Sport of the ARTS
January, 2000
Volume 14, Issue 2
Page 14-15

Star of Indiana has actually made a "dream come true" for 68 of Pageantry's 
"brightest stars" as they took their incredible new production to the stage in 
London, England.

Performers from 33 Drum Corps and 17 Winter Guards know the thrill of being a 
"Professional" in front of an excited European audience, and they provide us 
with the answer to the question of what one might do as a result of, or after, 
Drum Corps and Winter Guard. The one-of-a-kind opportunity that Star has 
created for performers from the pageantry arts may be the most exciting step to 
come out of Pageantry in its history. With an average age of 23, the cast 
ranges in age from 18-31 years old.

They physical and musical demands of this show required the cast members to be 
trained athletes as well as world-class musicians. Six months of intense 
training prepared the cast to perform this extravaganza.  While we are all 
familiar with the motion behind the music in our band and corps shows, the 
London theater audience was taken completely by surprise at this amazing 
delivery, and the review of their opening confirmed what we all knew! London's 
theater critics have likened BLAST! to ". . doing for Marching Band what 
Riverdance did for Irish dancing  One can only hope that "the best kept secret" 
(which is our Pageantry family) is finally going public!

Staff Photographer, Sue Johnson recently returned from London where she 
surprised her cast-member daughter on opening night. While there, she spoke 
with Jaymie Roscoe, a member of the Visual Ensemble, Nick Angelis, a 
percussionist, and Jim Moore the show choreographer. They answered these 
questions for us from backstage at BLAST!


Did you ever dream that your pageantry hobby would bring you the opportunity to 
be a "professional?"


Jaymie:	" have always had dreams of this happening, but never thought they 
would come true."

Nick:	"I am a dreamer at heart. My mother has always told me that I would 
move on to bigger and better things, so yes, this is a dream come true."

Jim:	When I took the job with Star four years ago I believed in the project 
and saw what the potential of it was. Now four years later, here I am 
choreographing and performing in a West End show in London. It's a dream come 
true."


What's the most different part of preparing for a professional performance for 
WGI or DCI Championship?


Nick "...There is more responsibility as an individual performer to give people 
something that they can remember."

Jamie:	"It's hard to prepare for a show as long as 5 months and not have one 
performance."

Jim:	"Preparing for a professional show is different in that opening night 
is your WGI or DCI Championship. There is not concept of getting as much of the 
show done as you can and then working it out throughout the season. The paying 
theatergoers, critics and press are all there to see your world premiere! 
That's quite a bit of pressure both as a performer and as a choreographer."


Do you find the audience different from what you are used to in Pageantry?


Jim:	"The audience is a theater-going crowd, not your trained winter guard 
or drum corps people who will clap at every toss that goes up, or every loud 
chord that is played. You have to work very hard to get these people going, 
especially in London! So far, we have had standing ovations at every show which 
is absolutely incredible for a British crowd."

Nick:  "People might not necessarily always understand what is being conveyed, 
but they can feel our passion and love for what we stand for."

Jaymie:  "For the most part they are watching something they have never 
seen before. They seem a little taken back, but its obvious they are enjoying 
themselves."


-------------------------------------------------------------------------------


WHAT'S ON STAGE 
http://www.whatsonstage.com/wos/topshows/
Britain's National Performing Arts Information Service

Top Shows

Readers often ask us at Whatsonstage.com what they should see while they're 
in London. It's a tricky request. Not only because comparing dramas to comedies 
to musicals can be like comparing apples, oranges, and pears, but also because 
personal tastes can vary widely.

The following listings are based purely on the preferences or our reviewers 
- you are more than welcome to disagree! We've divided the recommendations into 
three areas. First, our ranking or the Top 15 Long-running West End shows, 
mainly musicals. Second, our Top 10 Recommendations or other current 
productions, in no particular order. And lastly, the Top 10 Searched For, the 
ones being looked for again and again by you and other visitors - which is 
constantly updated.

If you're planning ahead and want to know what other notable West End shows 
are on the horizon! check out our Watch Out For section.

	TOP 10 RECOMMENDED
	Song at Twilight  
	Comic Potential
	Blast!
	Spend, Spend, Spend 
	The Oresteia
	Collected Stories 
	The Lady in the Van 
	Three Days of Rain 
	Merchant of Venice 
	Copenhagen

	TOP 10 SEARCHED
	Art
	The Complete Works of William Shakespeare (abridged)
	Brighton Festival
	Whistle Down The Wind
	Blast!
	Triple Bill
	Side Man
	The Lady in the Van
	La Boheme
	Madam Butterfly
	The Real Thing


-------------------------------------------------------------------------------


London Mid-Weekly
January 18, 2000

Live Theatre
The week's shows reviewed and ratedÉ..
By: Martin Spence

BLAST!  ***

I have seen the future of musicals and its name is Blast! (London Apollo 0870 
606 3521).  Imagine the trouping of the colour on acid or a designer ballet 
crossed with military rhythms and prepare to freak out at this electric new 
take on musical theatre.  Each of the 68 all-American performers multi-task 
like mad.  They all play drums or brass, dance and sing.  They are in constant 
motion, treating their instruments like extensions of their bodies, as lovers, 
enemies or mates.  

Giant tubas hoot, cymbals clash, kettle drums get the beating of a lifetime.  
Drummers compete against each other to stun the audience with the wildest, 
loudest climax.  Never has brass sounded so sad or subtle.  And just as tears 
pierce your eyes, these multi-talents blow you away with their speed, attack or 
an earth-shattering blast.  

Each segment of the show is colour-coded to establish mood.  Down in the woods 
folk wave green blades of grass.  They trip it to techno in dayglo yellow, 
juggle impossibly with orange guns or play their instruments on monochrome 
bikes.  Each circus trick Ð a Mao-style parade, an all babe battle of the 
slaves -Ðhas a serious function.  From spoken word to jungle music, they look 
and sound like sword-bearers on heat.

Amazing effects are achieved from three simple sections:  brass, percussion and 
visual ensemble.  The brass is pitched in the standard keys.  The drumline 
includes all percussion instruments.  The visual ensemble ebbs and flows like 
the sea.  Flags swirl, sabers toss, rifles rotate in a drill which has the 
effect of total spontaneity.  Flash, bash, trumpet crash.  If this is the 
millennium, I love it.

****	Kill for Seats

***	Ab Fab

**	Just OK

*	Duff Old Stuff

!	Words fail usÉ..


-------------------------------------------------------------------------------


"Blast!"

DRUM CORPS WORLD
February , 1000 Volume 28 Ð Number 19
by Steve Vickers, DCW
Publisher

Star of Indiana is a hit in London!

At the invitation of Star of Indiana Director Jim Mason, I was fortunate to 
travel along with a group of about 50 Cook Group Companies executives and their 
spouses - to London for the premiere performance of "Blast" on Wednesday, 
December 14.

What I witnessed was the closest thing to a drum and bugle corps on a stage 
that I've ever seen. It far surpassed anything Star has done since leaving the 
drum and bugle corps activity following the DCI Championships at Jackson, MS, 
in 1993.

Unlike the previous five summer productions, this one fully credits the group's 
roots as "rising" from those fertile fields" of stadiums across North America. 
The advance press information for United Kingdom media, as well as throughout 
the 36-page souvenir program book, is clear about crediting where Star of 
Indiana got its start.

The 68-member cast is made up primarily of young people who were members of 
world championship drum and bugle corps. In fact, Mason purposely recruited 
former members of corps for this new production, knowing the type of 
hard-working young people who would go through a drum and bugle corps program. 
It paid off, too, because the precision of playing and movement was just as 
fine in the theater as it is out on the football field in an obviously more 
confining space.

Musically, the program drew totally from some of the most entertaining and 
challenging drum and bugle corps programs over the years --Star of Indiana, 
Blue Devils, Madison Scouts, Santa Clara Vanguard and Bridgemen.

The show had a unifying theme based on colors, opening with act one's Overture 
to Color, Bolero; Villa Borghese from the  "Pines of Rome" and an original 
piece by arranger Josh Talbot called Split Complementaries both representing 
Violet; Maynard Ferguson's Everybody Loves the Blues and the Don Ellis tune 
"Loss" for the Blue segment; then three pieces for green Ð Down by the Wood, an 
original electronic composition by choreographer George Pirmey and Jon 
Valderkolif highlighting the 16-member visual ensemble (color guard), Simple 
Gifts, performed in full vocal harmony, and a spectacular Appalachian Spring 
that ended in an extended-interval arc of brass from one wall of the theater to 
the other; and closing out the act with two black selections Battery Battle by 
Thom Hannum, featuring the entire percussion contingent--and Medea, again 
concluding with the wall-to-wall brass arc and an enthusiastic standing ovation 
from the roughly 2,000 people in attendance (the theater seats 3,200.)

The second act opened with another original piece, Colour Wheel by Dan Ponce, 
followed by the Yellow section which included an inventive and humorous 
treatment of Slava, complete with a unicycle-riding trombone soloist, and 
another original by Jon Valderkolif called Lemon Techno; then four Orange 
numbers --Tangerinamadidge by Valderkolff that featured Australian didgeridoos, 
Lake of Make Believe and two songs used as a "spiritual to the earth"--Marimba 
Spiritual and Earth Beat, utilizing the entire percussion section on a very 
wide variety of instruments.

The final number in the two-hour show was Malaguena, complete with huge red 
flags and, during the last minute, tall wood poles with 20-foot-long red 
streamers spun and whirled over the audiences' heads from the aisles and even 
the balcony.

The stage was specially extended out to the theater walls in front of the 
proscenium and there were ramps down to the audience level and up to the 
balcony. In the Tangerinamadidge, Land of Make Believe and Malaguena segments, 
members of the cast were scattered across the main floor as well as across the 
front of the balcony for maximum visual and audience-involving effect.

To ensure excitement for the benefit of the numerous theater reviewers in 
attendance, perhaps half of the opening night audience was made up of drum and 
bugle corps folks.

Jim Mason made sure that key representatives of Drum Corps United Kingdom and 
the British Youth Band Association were invited, as well as many current and 
former marching members of corps and bands.

It was like old home week for me, seeing many people I haven't had occasion to 
visit with for many years. I've been going to DCUK events since 1980 and during 
those 20 years have met many wonderful people committed to the U.S. activity.

I must admit to having been sort of a skeptic when Mason, who I have known for 
25 years, told me that he was leaving the activity following the 1993 season to 
pursue other opportunities for his organization.  In 1994 (Worcester, MA), 1995 
(Milwaukee, WI) and 1996 (a show I set up in Madison to benefit the 21st 
Century Drum & Bugle Foundation, Inc.)  I saw three different versions of the 
new "Brass Theater" concept. It was interesting and quite good, but wasn't 
really something I got overly excited about. And none of those productions 
noted any connection between Star of Indiana and the drum and bugle corps 
activity in publicity or program book material.

It was very heartening to see that this new project so prominently drew a 
direct parallel between this stage show and the field drum and bugle corps that 
have existed in the United States for the past 80 years.

It was a pleasure spending time with Bill and Gayle Cook and their son Carl, 
and meeting so many Cook employees who have been supportive of Star of Indiana 
since the group was started in late 1984. The trip over and back was on two of 
Cook's custom 727s. We were literally served food and drink for the entire trip 
both directions -even at the terminal in Gander, Newfoundland, where we stopped 
to refuel both going and coming back.

As I write this report, it's a month after the trip and I find myself fondly 
recalling all the experiences of the five-day trip and really hoping to see the 
show again. I recently spoke with Mason while he was back in Bloomington.

Attendance is reaching 1,600 and 2,000 per performance (eight per week). 
Tickets are now being sold through February. He hopes to soon extend the run 
until the end of April. During the last week in December, "Blast" was the 
number one selling ticket in London out of 200+ events. Since the opening, 
Mason has been approached by two Japanese promoters about bringing the show to 
the Far East. A promoter from Australia is interested in performances during 
the September Olympics in Sydney and Las Vegas hotel owner Steve Wynn was due 
to see the London show in mid-January for a possible run at one of his~ Nevada 
hotels (he owns the new Bellagio, as well as the Mirage hotel in Las Vegas).

Mason also indicated that, should the show earn a long run in the U.K., the 
U.S. and other countries, they can change the music and that "Riverdance" 
stages different, updated productions as their casts tour the world.

It is obviously going to be difficult for most North American drum corps fans 
and participants to see the London production. Personally, I hope that it will 
be successful enough to make it over to this side of the Atlantic. While it 
isn't exactly a drum and bugle corps, it's so close.

It was exciting to travel around London and see huge posters in underground 
subway stations. on double-decker buses and on crosswalk railings.

The Apollo Hatnmersmith Theater is right off a major highway coming into London 
and the front is emblazoned with huge "B-L-A-S-T" letters on the marquee, as 
well as 15-foot tall posters and The Musical Explosion of the Millennium" 
across the front of the building.  Logistically, the 68 cast members are living 
in rented apartments around London, they have been supplied monthly passes on 
the tube (subwayl and each is being paid a monthly stipend. Many of the 
performers left good jobs or took time off from college to take part in this 
unique experience. They range in age from 18 to 31years old. Nearly all marched 
in a drum corps. Among those in our group: former Phantom Regiment and Blue 
Stars Director Bob Lendman and his wife Allison, who used to run the DCI 
Bloomington show; past Star instructor Steve Suslik, Bands of America Executive 
Director Scott McCormick; DCIIPBS director Tom Blair, and DCI Foundation 
Executive Director Bill Finch. 

Thanks to Jim Mason and Bill Cook for the chance to see the premiere and best 
of luck extending the run in London and then bringing the production to the 
U.S.!  Photos by Paul Westfall, taken January 14.


-------------------------------------------------------------------------------

"First London, next the world!"
Roger Foss, What's On Reviews

"Talk about the new century arriving with a big bang.  Once they strike up 
the band and once you've heard and seen the 70 clean-cut young brass, 
percussion and visual virtuosi from the Star of Indiana and Brass Theater in 
perfect unison, show business will never seem quite the same againÉWatching 
this geometrical and unintentionally camp extravaganza, it's as if Busby 
Berkeley and Florenz Ziegfeld had risen from the deadÉWhether they are playing 
classics or jazz, the musicianship is pin-sharp and, during another fantastic 
routine, a line-up of trombones, tubas, trumpets, euphoniums and French horns 
targets the audience like a battalion of rocket launchersÉBy the end, when 
massive red streamers are waved around the auditorium on gigantic poles and the 
whole company congas into the foyer, I was too gobsmacked to join the standing 
ovation, but the kids from "Blast" conquer your heart."


-------------------------------------------------------------------------------


"A mix of music, rock, hot jazz!" 
Emily Sheffield 
This is London

"Tumbling and trumpeting; the cast of Blast! Mix acrobatics with classical 
music, rock and hot jazz.  Not since Ewan McGregor kissed Tara Fitzgerald in 
the film ÔBrassed Off' has trombone and trumpet been this sexyÉThe American 
cast grind, groove, dodge flying sabers and at one point are suspended above 
the stageÉThe set looks like it has been stolen from the Ô80s TV game show 
"Celebrity Square,' the percussion perched in neon-bright boxes that tower 
above the stageÉDancers' spandex tights and greased bare chests give way to 
simple black-and-white boiler suitsÉTo the British, yanking the brass section 
out of their orchestra pit and having them tumble, march and dance across the 
stage might seem akin to watching Prince Charles spinning a set at the Ministry 
of Sound.  But in America, drum and bugle corps are used to performing 
complicated, synchronized moves across huge stadiums while executing perfect 
soundÉ"


-------------------------------------------------------------------------------


"Here's a surprise, I swear!"
Michael Coveney, Daily Mail

"Blast! Damn! Strike a light!ÉShows with swear words and exclamation marks 
in the title should always be treated with caution.  But sometimes you never 
can tell.  My newly-trimmed eyebrows (what's left of them) shot up when I 
discovered that this dance, brass band and drumming spectacular hails for 
Indiana, USA, and is funded by a bigwig in the pharmaceutical industryÉTo call 
the resultant proceedings as camp as Christmas would be stating the obvious.  
It is like some maniacal send-up of those weird college campus activities of 
baton wielding, bugle blowing, flag waving, massed band marchingÉTheatrical 
animation of music, movement and percussion is dotted with fantastical 
technical feats, climaxing in a Spanish blasŽ of red flags, ribbons, stomping 
and struttingÉIt's certainly as different as it is unexpected, this 
well-drilled, surprise seasonal oddity that might just be your Christmas 
treat."    

"I want to make brass sexy!"


-------------------------------------------------------------------------------


Lucy Barrick, The Guardian

"If you like musicals, but can't stomach the like of "Mamma Mia,' then help 
is at hand.  Blast! Follows in the footsteps of Stomp and Gumboots and is 
bringing a whole new audience back into the theaterÉIn one of the stranger 
quirks of the late-Ô90s culture, there's now a genre of musical theater that's 
managed to do that most unlikely of things; be both hugely popular and 
artistically credibleÉHaving evolved from the work of the Star of Indiana Drum 
& Bugle Corps, Blast! Takes it performers off the football field and into the 
theater in a bizarre cross between a Busby Berkeley musical and a real life 
Disney cartoonÉA lot is due to the sheer youth of the cast, who manage to exude 
an infectious let's-do-the-show-right-here enthusiasm, belying the 12-hour 
rehearsal days and military-style discipline.  You don't get that with 
ÔStarlight Express'Éthe skill is just extraordinary."


-------------------------------------------------------------------------------


"A big bang for a festive outing!"
Clive Davis, The London Times

"David Blunkett could revitalise music education if he gave every school 
pupil the chance to see this high-spirited brass revue.  A generation of 
children might then learn that bleep-beeping electronic keyboards are no match 
for the atavistic thrill of blowing the hell out of a trumpetÉ'BLAST!' attempts 
to do for the marching band what ÔRiverdance' did for Irish jigs and Stomp did 
for dustbin lidsÉAn exuberant mixture of brass players, percussionists and 
dancers, they maintain a two-hour onslaught that sweeps from a terse opening of 
Ravel's Bolero to a bull-fighting tableau Ð flamenco dancers and all Ð to the 
theme of Malague–aÉThe choice of music in the rest of the programme is 
unusually adventurous, dipping into Samuel Barber's Medea and the elegiac Loss, 
written by jazz trumpeter Don Ellis.  Music and movement come together best in 
Battery Battle, a ritualistic drum duel."


-------------------------------------------------------------------------------


"Non-stop, high octane fun!"
Terry Paddock, Whatsonstage.com

"Blast!  Mark my words, trendsetters, the world premier of Blast! Is set to 
do for marching bands what ÔRiverdance' did for Irish dancing.  Much derided in 
American teem flicks as the preserve of high school losers, the very notion of 
the marching band is transformed.  Never have brass and bugles been so hip and 
as for the Ôvisual ensemble,' effectively a souped-up troupe of male and female 
majorettes, well, who could believe baton-twirling could be so sexy.  Blast! Is 
the revenge of school band'nerds' everywhereÉThe evening begins with a single 
spotlit drummer and builds to a crescendo after crescendo as the cast career 
through classical, jazz, popular and BroadwayÉMy personal favourites are the 
percussion-led sequencesÉThey rattle away with superhuman speed and precision, 
most impressively displayed when the stage lights darken and only their 
fluorescent drumsticks can be seen as one white blur of motion."


-------------------------------------------------------------------------------


What's On In London
December 22, 1999

Theatre Reviews
By Roger Foss

Blast!

Having recently purchased Apollo Leisure, the American family entertainment 
conglomerate SFX kicks off its UK operations with the world premiere of a 
stunning new show that bursts over London like the most spectacular 
pyrotechnics you've ever experienced. Talk about the new century arriving with 
a big bang. Once they strike up the band and once you've heard and seen the 70 
clean-cut young brass, percussion and visual virtuosi from the Star of Indiana 
and Brass Theatre in perfect unison, show business will never seem quite the 
same again. Indeed I'll go so far as to claim that there is no art form on this 
planet like Blast! These smiling, born-again brassists will blow your tiny 
mind.

So what is Blast!? Think of orchestral manoeuvres in the light.  Imagine a 
combination of military marching bands, drum and bugle corps, brass bands, 
rodeos and stadium pageantry and you are almost there. Imagine the air spinning 
with superbly manipulated sabres, flags, streamers and rifles all tossed up in 
perfect unison and timed to drop to the nanosecond and you might just get some 
idea of the show's intricate synchronised choreography. Try to imagine all of 
this going on while the vast, disciplined army of hunky musicians blow a storm 
or beat their drums, and simultaneously do cartwheels or run backwards and you 
are still only half way there.

It's pure razzle dazzle Americana bathed in a changing palette of 
minimalist colours (provided by our own Hugh Vanstone), and watching this 
geometrical and unintentionally camp extravaganza, it's as If Busby Berkeley 
and Florenz Ziegfeld had risen from the dead. It's worth going just to see an 
amazingly kitsch, green-hued back to nature sequence when the sexy visual 
ensemble girls and boys twirl huge sword-like grass blades and tinkle magical 
bells dangling from the ends of branches. 

Whether they are playing classics or jazz, the musicianship is pin-sharp 
and during another fantastic routine a line-up of trombones, tubas, trumpets, 
euphoniums and French horns targets the audience like a battalion of rocket 
launchers. No-one puts a foot wrong in this youthful community, no-one blows a 
bum note, no-one drops a drum stick and it's a miracle at split-second staging 
that nobody bumps into anyone. By the end, when massive red streamers are waved 
around the auditorium on gigantic poles and the whole company congas into the 
foyer, I was too gobsmacked to join the standing ovation. But the kids from 
Blast! conquer your heart.  First London, next the world? 


-------------------------------------------------------------------------------


Daily Mail, W/C
December 15, 1999

Here's a surprise, I swear
By Michael Coveney

BLAST! Damn! Strike a light! Flippin' eck! Strewth! Shows with swear words and 
exclamation marks in the title should always be treated with caution.

But sometimes you never can tell.  My newly-trimmed eyebrows (what's left of 
them) shot up when I discovered that is dance, brass band and drumming 
spectacular hails from Indiana, USA, and is funded by a bigwig in the 
pharmaceutical industry.  So here we are in Hammersmith with 70 eager 
twenty-something carrying on like crazy on a wonderfully upscaled minimalist, 
sleek design by our won Mark Thompson, glowing in the ever-changing lights of 
another British technical maestro, Hugh Vanstone.  To call the resultant 
proceedings as camp as Christmas would be stating the seasonal obvious.

It is like some maniacal send-up of those weird college campus activities of 
baton wielding, bugle blowing, flag waving and massed band marching.

You feel that if this lot weren't so gainfully employed they would be joining 
Mormon sects and going on shooting sprees in shopping malls.

Trumpeters wiggle their hips.  Sleek dancers throw their sticks and wooden 
rifles in the air with gay abandon.  They catch them like that, too.

Guys and gals celebrate the Music of Nature with blades of grass like scimitars 
bouncing and sliding them through the glade.  The show opens with a tremendous 
version of Ravel's Bolero, brass players building the crescendo with 
cymbalists, dancers and drummers.

Theatrical animation of music, movement and percussion is dotted with 
fantastical technical feats, climaxing in a Spanish blasŽ of red flags and 
ribbons, stomping and strutting.

At only two hours, the show seems 20 minutes too long.  But it's certainly as 
different as it is unexpected, this well-drilled, surprise seasonal oddity that 
might just be your Christmas treat.


-------------------------------------------------------------------------------


THE LONDON TIMES
December 16 1999
THEATRE

Blast!     
By:  CLIVE DAVIS 
Apollo, Hammersmith, London W6 

ONE thing is certain. David Blunkett could revitalise music education if he 
gave every school pupil the chance  to see this high-spirited brass revue. A 
generation of children might then learn that bleep-beeping electronic keyboards 
are no match for the atavistic thrill of blowing hell out of a trumpet. 

Whether adults will get quite as much from this show - American in origin, 
but receiving its world premiere here - is another matter. Blast! attempts to 
do for the marching  band what Riverdance did for Irish jigs, and Stomp did for 
dustbin lids. But what is boldly proclaimed as "a new concept in live 
entertainment" turns out to be essentially a college pageant with theatrical 
trimmings. Still, there is no denying the vitality of the 60-odd members of the 
Star of Indiana and Brass Theatre. An exuberant mixture of brass players, 
percussionists and dancers, they maintain a two-hour onslaught that sweeps from 
a terse opening arrangement of Ravel's Bolero to a bull-fighting tableau - 
flamenco dancers and all - to the theme of Malague–a. 

Apart from being the home of the hapless Dan Quayle, Indiana is best known 
for the gruelling Indianapolis 500 car race. This show generates almost as much 
noise and colour, but after the interval it also displays the same tendency to 
go round in circles. At times the experience is similar to being locked in a 
darkened room with only a Cozy Powell drum solo for company. 

One problem lies in the lack of a strong central thread.  Producer James 
Mason and designer Mark Thompson have sketched out a colour-coded sequence of 
set-pieces which seems arbitrary at best. Faced with the task of herding 
together so many musicians and dancers, the team of choreographers can hardly 
be blamed if they run out of ideas before the end. 

A pity, because the choice of music in the rest of the programme is 
unusually adventurous, dipping into Samuel Barber's Medea and the elegiac Loss, 
written by the jazz  trumpeter Don Ellis. Music and movement come together best 
of all in Battery Battle, a ritualistic drum duel which makes compelling use of 
Hugh Vanstone's stark lighting. 

Elsewhere the twirling flags recall the mass displays of Miss Saigon, and 
there is an occasional hint of the formalised aggression of the Kodo drummers. 

A little more grit would be welcome amid the smiles. How strange, too, that 
a show that draws its members from across America should be a virtually 
all-white spectacle.

But while Blast! may not live up to the hype, it makes a big enough bang for a 
festive outing.                                                     


-------------------------------------------------------------------------------


Whatsonstage.com's email news service
Date:14 December 1999
Blast!
By: Terri Paddock 

Blast! at the London Apollo Hammersmith Mark my words, trendwatchers, the 
world premiere of Blast! at the Apollo Hammersmith is set to do for marching 
bands what Riverdance did for Irish dancing.

Much derided in American teen flicks as the preserve of high school losers, the 
very notion of the marching band is transformed by the arrival of this show. 
Never have brass and bugles been so hip and as for the "visual ensemble", 
effectively a souped up troupe of male and female majorettes, well, who could 
believe baton-twirling could be so sexy. Blast! is the revenge of school band 
'nerds' everywhere. 

Blast! is borne out of Bloomington, Indiana's world champion Star of   
Indiana Drum and Bugle Corps and the vision of Star's producer and artistic 
director James Mason who conceived the idea for a theatrical show which 
combined the instrumental virtuosity and marching precision of the corps with 
the props, costuming, staging and special effects of musical theatre. The 
effect is stunning - both aurally and visually (aided in the latter by Mark 
Thompson's frames-within-frames set and the stylish jumpsuit costumes provided 
by Red or Dead). 

The evening begins with a single spotlit steel drummer and builds to             
crescendo after crescendo as the cast career through classical, jazz, popular 
and Broadway renditions of scores by Maurice Ravel, Aaron Copland, Leonard 
Bernstein, Chuck Mangione and others while sabres, flags, rifles and 
miscellaneous instruments and bodies fly through the air. 

The 68 young American performers exhibit boundless energy, and the fact 
that they make all these antics look easy belies the months and days and hours 
of rehearsal that must have gone in to creating such a flawless spectacle. I've 
always had a great respect for accomplished musicians, but can you imagine the 
skill required to hit every note while simultaneously running backwards in 
formation or doing a one-handed cartwheel or riding a unicycle? Not to mention 
facially expressing the mood of the music while doing all of those things. 
These performers are supremely talented musicians, dancers, actors and athletes 
all in one. 

There are a few dud numbers in the two-hour performance, particularly 
those which verge on beatnik-style performance poetry, but for the most part, 
Blast! is non-stop, high-octane fun. My personal favourites are the 
percussion-led sequences, such as the "Battery Battle" where the troupe's 
drummers square off. They rattle away with superhuman speed and precision, most 
impressively displayed when the stage lights darken and only their fluorescent 
drumsticks can be seen as one white blur of motion. Unreal. 


-------------------------------------------------------------------------------


The Guardian, Thursday
December 16, 1999

Takes a lot of brass
By Keith Watson

Take a pinch of Riverdance, a slice of Stomp, throw in a dash of the Kodo 
drummers and the rhythm of a US marching band and you get the essence of Blast! 
a wannabe world-beater in the musical theatre blockbuster stakes.

Spawned from the Star of Indiana Drum and bugle Corps, a major player in the 
highly competitive (I'll take their word for it) Outdoor Pageantry World 
Championships, Blast! is a 68 strong company made up of percussionists, brass 
players and a "visual ensemble".  Bringing the outdoor pageantry indoors, 
director James Mason aims to turn Superbowl half-time entertainment into a 
showbiz sensation.

The logistics are certainly impressive.  As the serried ranks of trumpeters and 
trombonists weave in and out with military precision while adding in the odd 
dancey flourish Ð one of Blast!'s major selling points is its acrobatic horns Ð 
it's hard not to be bowled over the by sheer scale of it all.  And the displays 
of synchronized baton, flag and rifle twirling and tossing are genuinely 
breathtaking.

But a collection of circus tricks, however polished, doesn't make for concept.  
So Blast! color wise covers the spectrum(substituting black for indigo because, 
well indigo would have been too hard) in a parade of music and dance routines.

When it works, as it does in the fiery red finale (all flaring flamenco 
nostrils and swirling ribbons) then you forget the shallow conceit that lurks 
at Blast!'s heart.  When it doesn't, what you are left with is some rather 
distasteful cultural globehopping which throw in didgeridoos, Latin Percussion 
and the odd spot of martial arts in a frantic search for the right note.

A boiler-suited Ravel's Bolero (even the ghosts of Torvill & Dean hanging heavy 
in the wings) was near the mark but a sickly All-American take on Aaron 
Copland's Simple Gifts made the green section all too appropriately named.

The real curiosity of Blast! is that although it is so clearly formed on the 
playing fields of America, it gets its world premier in London.  With the 
perpetually pasted-on smiles of the young cast, you feel like you're face to 
face with the Happy Cult Ð it's clear that it's the performers who are having a 
Blast!, not the audience.


-------------------------------------------------------------------------------


Associated Newspapers Ltd.,
13 December 1999
This Is London

Blast! blows into the West End
by Emily Sheffield

Tumbling and trumpeting: the cast of Blast! mix acrobatics with 
classical music, rock and hot jazz.

Not since Ewan McGregor kissed Tara Fitzgerald in the film Brassed Off has 
trombone and trumpet been this sexy.

But unlike Brassed Off, Blast! - a musical extravaganza which has its world 
premiere at the London Apollo tomorrow night - has nothing to do with coal 
miners, or life up North.  The American cast grind, groove, dodge flying sabres 
and at one point are suspended above the stage, instruments held aloft.

The show has been five years in the making and the 70-strong crew, many 
of them still in their teens, have spent the last six months rehearsing in 
Indiana, and more recently at Shoreditch Village Hall.

There's not a sequin in sight. Dancers' Spandex tights and greased bare chests 
give way to simple black-and-white boiler suits worn with dark glasses and 
fishermen's hats.

The music is jazz, blues, classical and rock and the set looks as if it has 
been stolen from the Eighties TV game show, Celebrity Squares, with the 
percussion perched in neon-bright boxes that tower above the stage. 

To the British, yanking the brass section out of their orchestra pit 
and having them tumble, march and dance across a stage might seem akin to 
watching Prince Charles spinning a set at the Ministry of Sound.

But in America, drum and bugle corps are used to performing complicated, 
synchronised moves across huge stadiums while executing perfect sound.

For dancer and conductor Wesley Bullock, 25, the toughest challenge is 
the acting - not the acrobatics.  "Engaging the body and face with a trombone 
stuck to your mouth is not easy. You have to even remember what your eyebrows 
are up to." He added that injuries so far add up to a couple of fractures and 
some sore heads.

Mark Thompson, the designer for Blast!, also worked on Mamma Mia and created 
the set and costumes for Alan Bennett's new play The Lady In The Van which 
opened last week.

"The piece is about uniformity and discipline," he said.  "You need to have 
design that reflects that and does not detract from the patterns they are 
creating on stage."  Hence the uniform boiler suits. 

Now Playing:  London Apollo Hammersmith Mon-Sat 8pm, mats Thu & Sat 
2.30pm, booking to Feb 26 (Xmas - extra mats Dec 21, 28, 2.30pm, no perfs Dec 
24-25, 31, Jan 1) £15-£30


-------------------------------------------------------------------------------


London Evening Standard
16 Dec 1999
Well Drilled Disney
by Nick Curtis

As extravaganzas go, this slice of American showmanship isn't quite extravagant 
enough. A slick, loud smorgasbord of drums, brass and baton-twirling, it's a 
feast for the senses that leaves the senses peckish. The production values run 
as high as the young performers' energy, yet the temperature in the Apollo 
auditorium rarely rises above lukewarm. With respect to the excitable Yank 
behind me, who bellowed "YEAH!!!" after every number, Blast! gives less bang 
for your bucks than you might hope. 

Director James Mason has channelled the traditional skills of America's 
teenage drum and bugle corps into a theatrical spectacle. A 68-strong troupe of 
brightly grinning young things (minimum age 20, maximum 31) adroitly parp, 
thump and twiddle their way through a score embracing Ravel and  Aaron Copland, 
aborigine spiritual and techno fuzz. Mark Thompson's stylised design and Hugh 
Vanstone's lighting augment Mason's framing concept of a journey through the 
colour-spectrum. The performers play with exuberant precision, replacing the 
discipline of drill routines with simply choreographed set-pieces. 

That, perhaps, is the problem. In his bid to create pretty stage pictures and a 
varied soundscape,   Mason studiously divorces his marching-band members from 
their martial roots. The musicians shuffle, slink and sidestep, doing 
everything but a regimental strut. 

The flags brandished by the "visual ensemble" are reassuringly 
monochromatic, and the rifles used in drill routines are disguised as abstract 
props or (aaah!) blades of grass. Even the twirling sabres have cute ribbons   
attached when they first flash through the air. Throughout, Mason fights shy of 
the primal and dubiously triumphalist feelings that drums and brass are 
designed to release. 

Inevitably, the finest moments come when the timpanists let rip. After 
the strident opening of Ravel's Bolero, we mark time through blues numbers and 
pastoral hymns untilthe fiercely skilful duel of drummers in Battery Battle. In    
the second half, the performers storm the auditorium with didgeridoos and 
French horns, and we learn that a gang of euphonium players (I think that's 
what they were, but I can't tell my brass from my elbow) sounds exactly like a 
family of hippopotamuses breaking wind underwater. 

There's able playing and fine, majorette-style twirling, but the rare 
moments of real excitement come from the percussion. 

The cast of Blast! is infectiously enthusiastic and appealing.  The men 
expose muscular arms, the women twinkling midriffs: everyone grins, including 
the few non-white members and the token tubbies. Blast! is a sanitized 
spectacular: a seamless, Disney-style exhibition of drill corps skills. It's a 
unique entertainment, but nowhere near as exhilarating as it might have been. 


-------------------------------------------------------------------------------


DAILY EXPRESS
DECEMBER 17 1999
The Weekend Starts here!
By Mark Pappenheim

blast!

London Apollo, Hammersmlth W6, Mon-Sat 6pm, Thursday/Saturday matinees 
2:30pm, until February 27. Booking: 0870-606 3521.

Imagine the result if the sergeant-major of an old-fashioned, Midwest drum and 
bugle corps suddenly got all arty and decided to turn his crack corps of
military bandsmen into a balletic corps de danse, his prize-winning troops into 
a thespian troupe, his parade round drills into a stage routine and his 
displays of outdoor pageantry into art indoor son et lumlŽre.

Well, that's blast! - an all-singing, all-dancing, 
all-blowing-and-banging-and-bashing cross between Brassed Off and Platoon, now 
hammering away in Hammersmith direct from Bloomington, Indiana.

Boilersuits all look alike to me, but the ones in this production have 
apparently been designed by Red Or Dead guru (and regular Big Breakfaster) 
Wayne Hemingway, so they are doubtless at the cutting-edge of street cred. Sets 
and lighting are striking and the sound system is suitably top-class. 

But with its duelling drummers, battling brass-players and relentlessly 
regimented macho marching, there's too much war to this theatre for my tasters 
too much flag-waving and sabre-tossing, too many loud bang-bangs (as In "You're 
dead?'), too many massed ranks shouldering their trombones like rifles,

Still, if you don't mind bit of clean-cut, crew-cut militarism with your 
music, this mini Edinburgh Tattoo with added US attitude may be just the show 
for you.


-------------------------------------------------------------------------------


The Guardian
December 17, 1999
The Guide Friday

Keep on Movin
By Lucy Barrick

If you like musicals but can't stomach the likes of Mamma Mia, then help is 
at hand. Blast! which follows in the footsteps of Stomp and Gumboots, is 
bringing a whole new audience back into the theatre. 

Cats! Phantom Of The Opera! Lea Miserables! Let's face it, if a friend, 
colleague or close family member started enthusing about any one of these 
productions you'd wonder what was wrong with them (and whether you might 
actually have been adopted).

And yet, in one of the stranger quirks of late 90s culture, there's now a 
genre of musical threatre that's managed to do that most unlikely of things; be 
both hugely popular and artistically credible. The newly opened Blast! for 
example, the latest in the long line of frenetic musical "events", such as 
Stomp and De La Guarda - is a theatrical cana of US marching bands, replete 
with brass, percussion and a spectacular "visual ensemble" (a gaggle of baton 
twirlers).  Reviews have been enthusiastic; audiences even more so.  What's 
going on?

Although marching bands and majorettes are a familiar sight in America, the 
whole art form is almost unheard of in the UD.  Blast!'s designer Mark Thompson 
remarks "I was told we do have them in this country, but God knows where they 
all hide, because I've never seen them." So, there's the aura of America in its 
favour. Then there's the ever-appealing sight of young, hip-looking performers 
giving it some Blast!.

Blast! has a cast of 68 with an average age of 23, who are required not 
only to play but to perform a variety of acrobatic movements (yes, even those 
playing the tuba).

Cast member Wesley Bullock 25, explains: "I started playing trumpet when I 
was 9 or 10, and I did a little bit of gymnastics when I was younger. Combine 
those with a rambunctious spirit and sooner or later you're going to end up 
upside down playing the trumpet." Of course.

Having evolved from the work of the Star of Indiana Drum and Bugle Corps, 
Blast! takes its performers off the football pitch and into the theatre, in a 
bizarre cross between a Busby Berkeley musical and a real life Disney cartoon. 
But with such a markedly American theme, why open the show in London?

"We sincerely felt that London is the arts capital o(the world' explains 
the show's effusive producer/artistic director James Mason. "It seems like all 
these shows, even Riverdancee, got their launch here."

And, yes, similar musical enterprises have been hugely successful in this 
country; but is there any reason people would prefer them to an old fashioned, 
take-your-granny-and-sing-along-traditional West End musical? 

In one sense at least, the appeal is the same - Thompson, whose previous 
work includes the National Theatre's The Wind In The Willows and Joseph And The 
Amazing Technicolour Dreamcoat, thinks that "an awful lot of people are 
frightened of going to the theatre. This show appeals to the people who think 
they're going to be bored".

"The power of the show", elaborates Mason, "is that music is the universal 
language. You can come and not even know how to speak English and still, 
hopefully; be overwhelmed and excited." So, a strictly musical production has 
simplicity on its side: no talking felines, no emaciated waifs, just a big, big 
noise. 

For Thompson the difference between Blast! and his other productions 
"basically that I'm used to working with a narrative and a text, and there 
isn't one here". But isn't that mere challenging for an audience than your 
average Andrew Lloyd Webber cataclysm?

"I think, " Thompson muses, "that depends on the brain level of the 
audience. And the text. And what the show's aiming for.' Which, for Mason, is 
"to take people on our jouney but we try to draw you in before you realise what 
is happening."

And, according to Thompson, a younger audience's willingness to be sucked 
into the proceedings is one of the main reasons behind the success of this 
newly-arrived genre "it's rare to see a British audience let their hair down," 
he explains, "but It is becoming more and more common at this kind of event. 
People enjoy going o see a show which they feel part of, rather than just being 
a spectator."

And, in the case of Blast! a lot is due to the sheer youth of the cast, who 
manage to exude an infectious let's-do-the-show-right-here enthusiasm, belying 
the 12-hour rehearsal days and military-style discipline. You don't get that 
with Starlight Express.

As Wesley Bullock says, "we're a grassroots organization with a youth
ful energy. We've spent all this time together so we've got a bond you
wouldn't feel from the seasoned cast of a traditional musical." And for
Thompson, there's also the changing nature of the audience's demands to take 
into account.

"It's instant gratification", he laughs. "You don't really have to think an 
awful lot - it's pure spectacle. Although, having said that, there isn't 
anything I would necessarily term spectacular, apart from the skill, which is 
just extraordinary."

So, OK, Blast! looks set to appeal to the audience who cant stomach the likes 
of Mamma Mia!; people who want the music but without the bad acting and 
unctuous stage school ooze. But could it ever achieve the impossible and make 
playing the trumpet fashionable?

Mason, at least, is optimistic. "It would be great to give instrumental music a 
facelift after all these years." His tone becomes evangelical "I want to make 
brass sexy." You have been warned.


-------------------------------------------------------------------------------


THE DAILY TELEGRAPH
January 4 2000
Review
Bands, batons and a bad head
By: Charles Spencer

Over the last few years, the international stage has witnessed the 
remarkable rise of spectacular shows that dazzle the eye and pound the eardrums 
while completely bypassing the brain.

There has been the percussion show Stomp, the Irish dance spectacular 
Riverdance, the rubber, boned acrobatics of Le Cirque du Soleil and the 
demented aerialism of De la Guarda

If you were feeling depressed you would probably conclude that all this 
mindless spectacle is a worrying example the dumbing down of our culture, and 
that's probably just what a responsible critic ought to say. The trouble is, 
I've always had a soft spot for cheap thrills and have enjoyed all these 
productions immoderately.

The latest contender is Blast! -- and for the first half its just that, A 
blast. The organisers claim that nothing quite like it has ever been seen on 
stage, and they're probably right. By the end of two hours, though, you begin 
to understand why. It's exhausting it's punishingly repetitive and it gives you 
a terrible headache.

The Idea is simple. In America there's a big tradition of marching bands 
and batons, twirlers performing at sports events.  The wizard wheeze of 
artistic director James Mason is to take them off the pitch end bung them into 
the theatre, with high-tech lighting, street-cred Costumes and zany 
choreography. It's hard to imagine anything staider than a marching band. 
Mason's aim is to make it

hip military precision for the E-generation.

There's a cast of 68 almost all of them in their twenties.  A dozen of them 
are dazzling percussionists, another 40 play every possible variety of brass 
instrument while moving niftily about the stage, and another 16 perform amasing 
tricks with flags, sabres end rifles, twirling and chucking them into the air 
with astonishing timing and accuracy.

The music, ranging from Ravel's Bolero and Aaron Copland's Appalachian 
Spring to cheesy MOR stuff and an embarrassing attempt at techno, is performed 
with terrific precision and attack, and the show's slickness is almost eerie. 
In two hours. I spotted only a single mistake. Blast! is themed on sequence of 
colours, ranging from moody blues through ecological greens to celebratory 
reds, Hugh Vanderstone's lighting is efficient but lacks the thrills of a great 
rock tight show, while Mark Thompson has come up with an effective design of 
false proscenium arches and a giant doll's house full of percussionists.

There're moments of real beauty - an aching blues number called Loss, with 
a solo trumpet player descending magically from the flies. The percussion 
numbers pack a pounding punch especially Samuel Barber's Medea.

But although there is plenty of virtuosity and even wit on display, there's 
precious little soul, and none of the company gets a real chance to shine as an 
individual. I also disturbed by the fact that there is only one black face 
among 67 white ones. This is hardly representative of America's racial mix and 
it seems downright offensive when the music draws so heavily on such black 
musical genres as blues, spirituals and even the Aboriginal didgeridoo.

The main problem, though, remains the fact that by the second half there is a 
dreary sense of deja vu. After all that drumming, all that hyperactive youth, 
the prospect of a quiet cup of tea and a couple of aspirin has never seemed so 
enticing.

Tickets:0171 416 6022