Thursday 22 February 2018
In Conversation With... Ben Adams | Flashdance, Eugenius | Interview
Ben Adams found fame as the lead singer in the pop group A1 but since then has been writing and producing for various artists, as well as working on his own music, starring in the UK tour of Flashdance and writing the new musical, Eugenius. Ben and I had a chat about all of those things and more...
You’ve had such a varied career, what have some of your highlights been?
Gosh I've had so many highlights, it's quite hard to choose just a few of them. I think I'm living through my ultimate highlight right now! I've always wanted to write a musical and for it to be going on in the West End right now is ridiculous, I mean, who gets to do that?! And the fact that it's going down so well is like a dream so I'm actually living through it right now.
Aside from that I've travelled the world, I've won Brit awards and MTV awards and Smash Hits awards and had number one singles- just so many things that I can't even pinpoint one thing... or even a few things that would be highlights. There's just so many and I've had a great life.
That is a pretty good life!
I know! I feel like I've smashed 10 lifetimes into 1. I'm 36 which is kinda old to some people but it's been amazing!
What attracted you to this production of Flashdance?
Well, I'd been in the studio writing for other artists for the first six months of last year and as much as I love doing that and it is a lot of fun, I did kind of feel that I was getting itchy feet and wanted to do more performing for a while. Every time musical theatre things had come my way I'd always turned them down cause I thought they looked like a lot of hard work and I had a lot of other things going on at the time so I didn't really have time to do it. Then this came at a period where Eugenius wasn't on till January and I had a good six month slot where I could try it and see if I enjoy doing musical theatre.
I remember Flashdance from when I was growing up and you know it's very 80s inspired and I love the 80s music and so I thought I'd give it a go. I was only contracted until December but I loved it so much and they wanted me to continue with it so I signed up to carry on until October [2018].
Are you anything like Nick Hurley?
The character of Nick is the rich kid who doesn't really have too many responsibilities. There are probably elements of the character which I can relate to. I mean I've never owned a steel works so that's not something I can affiliate with but he's not too dissimilar from myself really. It's not an amazingly tricky part for me to play where I have to change my entire personality.
Other than yourself, who would you like to see play Nick Hurley?
Oh gosh, who would I like to see play Nick... that's a tricky question. What about... I have absolutely no idea! Okay, what about Warwick Davis cause he'd probably do it completely different to me. It would be really fun to see what his take on it would be!
Who in the show would you say is most like their character?
I guess Carol Ball as Hannah cause she's got a lot of experience with dance and acting and a lot of knowledge that she passes on in real life like her character does to Alex in the show. Jo [Clifton] and I probably act out a lot of stuff that is pretty similar to our characters as well- it's pretty well cast!
Your new show Eugenius is a huge hit, why do you think audiences are loving it so much?
I think because it taps into a really feel-good side of everybody. You don't have to love comic books, you don't have to love 80s music, you don't have to know anything about that era to love it. It's for those people of course cause there's a lot of references to it but it not specifically for those people. It's just full of joy.
Of course there are different reasons for going to the theatre, but you know if you want to go to something really thought-provoking and dark then don't go see Eugenius but if you want something to leave you joyful and elated about life in this miserable world that we live in and two hours of escapism then come.
I don't think I've seen anyone walk out of Eugenius without a massive grin on their face and that's what it was about for me and Chris writing it. We had such a brilliant time and to see that energy being seconded by the cast and then the audiences it's just amazing.
The show has a goodie and a baddie (or two); if you were in a comic book would you rather be the hero or the villain?
Well in everything I'm cast in I always seem to play the goodie. I always play the hero, you know the Robin Hood... or Nick Hurley, but I always look at the baddies and see how much fun they seem to be having. Ian Hughes and Cameron Blakely who play the villains in Eugenius have so much fun with their parts, not that the others don't, but there's something fun about playing a baddie.
Sadly Eugenius is closing on the 3rd, what’s your biggest dream for the future of it?
It's so crazy to think that in a weeks time it closes when there's so much love for the show. My biggest dream, in a similar way to The Rocky Horror Picture Show is that it has a huge life and it lives on, not just in the UK but all over the world. People have been coming over from all different countries who are wanting to put it on all over so that's exciting.
We just have to be careful and make sure that we do everything properly and take our time to make sure that every single production of it in the future is as good as it is now. We don't want to cut corners and we want the casting to be amazing.
One of my favourite things about it is doing things that are purposefully shit! Like when you have the babies at the start, I love that there's the crappy UFO flying across and Kevin the Robot looks like he's made of cardboard- those things are great. It's that same way that I felt when I saw Rocky Horror because those things are knowingly done shit... if that makes any sense?!
It's very self-aware, it's not trying to be a big budget thing. It's just there as a whole bunch of fun and I love that and wouldn't want to lose that.
What’s a fun fact people may not know about you?
I will always have an olbas oil bottle in my pocket or beside the stage. I'm absolutely addicted to it to a point where if I don't have it I'll probably have a panic attack!
If you could go back to any era, when would you go to and why?
Probably the 80s! It was such a fun time that was so flamboyant and wasn't about being cool or trendy. You could just do anything you wanted and the movies were great, the music was great and it was such a brilliant era so I'd probably go back there.
What’s your best piece of advice for someone aspiring to be in the theatre industry?
Create your own luck. Be in the right place at the right time and learn your craft and when you go up for auditions make sure you know it like the back of your hand- that's what they're looking for. I've been on both sides of the table, auditioning for stuff and auditioning people and it makes such a difference when someone comes in and just commands the lines and songs they've been given. It gives the people casting them the confidence that they're going to do an amazing job.
A huge thank you to Ben for taking the time to do this interview. Flashdance is touring until October 20th and Eugenius is at The Other Palace until March 3rd.
Interview by Olivia Mitchell, Editor
Interview by Olivia Mitchell, Editor
Jubilee, Lyric Hammersmith | Review
Jubilee
Lyric Hammersmith
Reviewed on Wednesday 21st February 2018 by Shaun Dicks
★★★★
Real but unreal. Fearless, provocative and unapologetic. These are the words I choose to describe the Royal Exchange Theatre transfer of Jubilee. In the world of theatre where everything is imitation, this was stone cold reality. This show is a story of gender and sexual fluidity, the punk movement and the state of society. This story follows a group of punk, free spirits led by Travis Alabanza as Amyl Nitrate; it follows them as they tackle social and political issues like race, gender, sexuality and politics.
Chris Goode’s script that was adapted from Derek Jarman and James Whaley’s original screenplay is well crafted. The dialogue between characters was realistic and the multiple monologues were insightful, passionate and is fuelled by a generation’s angst. The delivery of this powerful script was paramount, and this energetic cast rose to the occasion. There was no particular weak link in this young cast, but Amyl Nitrate portrayed by Travis Alabanza was the stand out. This didn’t feel like a character but an extension of Alabanza; there was a passion in the way they spoke that made it real. The words didn’t feel scripted for them, it was like a protest on the streets.
Despite all the shows positives, the one downside was that with the anarchic style that is synonymous with the punk movement, there was a few sloppy moments within the show that hurt the pacing a little bit.
What I truly loved about this show, and is a major selling point for it, is the Political Incorrectness. The willingness to say things that others – in a world of political correctness and censorship – wouldn’t say, was bold. The breaking down of British history, full frontal nudity and extreme opinions was refreshing. It was sex and anarchy at its finest. The world would be a better place if we had the room to express like Jubilee did. The honesty and severity of this piece is its crowning glory. I highly recommend Jubilee.
Jubilee runs at the Lyric Hammersmith until March 10th 2018.
Photo credit: Johan Persson
Tuesday 20 February 2018
Flashdance (UK Tour), New Victoria Theatre | Review
Flashdance (UK Tour)
New Victoria Theatre
Reviewed on Monday 19th February 2018 by Olivia Mitchell
★★★
If you want some ab-inspiration then Flashdance is the show for you. I saw the show in Wimbledon back in October and wasn't the biggest fan, however, knowing what to expect I was pleasantly surprised. Everyone seems a lot more settled into their roles and there was much more of a flow throughout.
Flashdance centres around the story of Alex, a welder who dreams of being a dancer and attending the distinguished Shipley Academy. On her journey she meets a dapper love interest who also happens to be the boss' son. Aside from this there are some other side plots such as Jimmy who wants to make it big as a comedian, his girlfriend Gloria being pulled into a seedy drug filled world at a rival club and the imminent job cuts for all the apprentices. With regards to these I feel the same as previously that they're not really explored enough to be of that much importance but I totally get that they have to be in there to pad out the show.
But Flashdance is all about the classic, big money numbers which are delivered with spades of energy and commitment. Hits such as 'Gloria', 'What A Feeling' and 'Manic' are instantly recognisable and work brilliantly to hype the audience up and draw them into the Flashdance world.
A lot of the other songs are a little unmemorable but they vigour they are performed with makes up for it. Joanne Clifton is exceptional as Alex. From Strictly fame she's of course known for her dance but seeing her on stage performing Matt Cole's choreography is extra special. She's magnetic and draws you in even when performing a group number. Her vocals are strong although at times I found her diction lacking but she is certainly cut out for the role and I can see why she has abs of steel from being that full out every night! As her rich-boy boyfriend, Ben Adams is equally as strong. Whilst his pop vocals are not commonplace in the musical theatre world, they are strong and fit with the character. The pair have a lovely chemistry and really draw you into the story.
I have to mention Colin Kiyani as Jimmy who again gave me Ben Platt vibrato vibes and Hollie-Ann Lowe who was versatile and vulnerable as his girlfriend, Gloria. Again, the two have a sweet chemistry. Sasha Latoya is vocally breathtaking and equally humourous whilst Sia Dauda and Demmileigh Foster (who is literally Victoria Hamilton-Barritt reincarnated) were full out in their high octane numbers as Kiki and Tess.
There were a few technical issues such as mics being too quiet and the irony wasn't missed when one of the girls' top wouldn't stay done up when singing about keeping her clothes on! Totally no ones fault though and a very small detail in a big production. I'm also not a big fan of megamixes at the end of shows but there's no denying that it got everyone up on their feet and in a good mood as they left the theatre.
Flashdance isn't the most astounding piece of theatre but it's high energy from start to finish with some memorable songs that'll definitely get stuck in your head. For a fun night out that'll leave you smiling and in my case, dancing round the house, then be sure to pay a visit to this 80s classic on stage.
Flashdance runs at the New Victoria Theatre until February 24th before continuing it's UK Tour.
Saturday 17 February 2018
The York Realist, Donmar Warehouse | Review
The York Realist
Donmar Warehouse
Reviewed on Wednesday 14th February 2018 by Olivia Mitchell
★★★★
Peter Gill's 2001 play is a beautifully moving and genuinely funny look at same-sex love. This glorious revival by Robert Hastie is natural and manages to say more in 130 minutes than many plays say in 3 hours. Nothing is force fed or overdramatic but by the end we genuinely care for the characters and believe what they're going through.
The York Realist is about an assistant director who's putting on an amateur production of the mystery plays. Ben Batt plays George who's starring in the play but hasn't been attending rehearsals so John (Jonathan Bailey) the young, well-spoken London director visits George's Yorkshire farmhouse to persuade him to return to rehearsals. There he meets George's family and the two form a relationship. This is a show all about detail; it's explores a gay relationship of course but there's an equal amount of exploration about class, family, identity and grief. It looks at the feeling of identity in terms of where you live and were brought up, with Gill's writing having it's own identity with it's glorious portrayal of Yorkshire and the community there.
The family kitchen feels truly authentic as we meet George's mother, sister, brother-in-law, nephew and family friend. The conversation flows and the intimacy of the Donmar Warehouse allows us to appreciate every moment and enjoy this understated piece of theatre.
Ben Batt is outstanding as the calm, buff Yorkshireman who struggles to leave his home and comforts behind; he manages to be strong but sensitive and gives a truly heart-warming performance. Jonathan Bailey is an extraordinary delight who perfectly gives off the big-city vibe without ever being over the top or annoying to watch. Both actors show off their vulnerabilities to devise an intricate, touching world.
The snug Donmar Warehouse transformed by Peter McKintosh's delightful cottage set provide a perfectly evocative setting. The detailed kitchen set is the perfect home for the cast of seven who seem as though they've spent their entire childhoods drinking tea in there.
This is a glorious show which creeps up on you slowly, naturally and beautifully. I couldn't think of a better way to spend 130 minutes.
photo credit: Johan Persson
Friday 16 February 2018
YOU, Vault Festival | Review
YOU
VAULT Festival
Reviewed on Thursday 15th February 2018 by Shaun Dicks
★★★★
We find ourselves in The Pit at the Vault Festival, the sound of trains passing over the theatre and the background noise of excited theatrical crowds. The Pit is a brick and concrete theatre, completed with wooden benches, set up in Traverse, giving it a rustic feel. Tonight’s viewing is You, a narrative based story about adoption. We follow the story of a woman who falls pregnant in her teens and puts up her child for adaption. We then follow the story of the child growing up with their adoptive family. This all builds to the adopted child starting to search for his birth mother.
Mark Wilson’s script is a feast of language. The story and the language is a joy to behold- giving the actors so much to work with. The script is littered with beautiful language, flowing narrative, seamless transitions and humour. The story is so well told by Kathryn O’Reilly and Stephen Myott-Meadows. Their portrayal of such a raw and tender story are near pitch perfect, with both performers giving a well rounded and focused performance.
Ultimately O’Reilly shines the brightest, with her heartfelt and honest portrayal of her characters. The direction from Sarah Meadows is also a highlight, in a space that is plagued with restrictions, she maximises its usage and effectiveness to elevate the piece as a whole. The shows use of music (composed by Benedict Taylor), underscoring the majority of the piece gave a big screen feel, almost giving the audience cues on how to feel during those moments.
You is a beautiful story of love, loss, family and what family is defined as. It’s truly an emotional play that doesn’t shy away from the truth. I personally would love to see a extended version of this play as I feel there is more of this story to be told. I hope there is another run for You, as this story needs to be expressed and deserves to be heard.
If you can, get yourself down to the Vault Festival and see You, you’ll be doing yourself a favour.
photo credit: Nick Rutter
photo credit: Nick Rutter
Cilla (UK Tour), New Theatre Oxford | Review
Cilla: The Musical (UK Tour)
New Theatre Oxford
Reviewed on Tuesday February 13th 2018 by Donna Meredith
★★★★★
Having recently watching the TV miniseries, starring Sheridan Smith, that charted Cilla Black's epic rise to fame, beginning with her early job as a typist and continuing through key moments, including her friendship with The Beatles, I was intrigued to see how this rags to riches story would translate to the stage.
Arriving for the opening night at the New Theatre, Oxford I could not help but notice that most of the audience were of an age to have been fans of Cilla at the height of her musical career. My experience of this inimitable redhead was as a warm and natural TV presenter in the 80’s and 90’s of shows such as Blind Date and Surprise Surprise.
I need not have worried about being unfamiliar with Cilla’s music as from the opening number I was hooked on what I can only describe as a real soundtrack to the sixties. Music from The Beatles, The Mamas and the Papas and Gerry and the Pacemakers took us back to a time when music was changing the consciousness of young people. I found myself completely immersed in this spectacular showcase.
Kara Lily Hayworth delivered a truly standout performance, particularly with her rendition of Anyone Who Had A Heart, which closed Act One in spectacular style, almost moving me almost to tears. Kara was discovered at an open audition where she queued for four hours to be seen and I for one am glad she did!
The show is built not just around the songs but also the personal life of Cilla, portraying her fiercely ambitious streak and her relationship with the man who inevitably married her and managed her career, Bobby Willis - played superbly by Carl Au. We get an insight into an enduring love story between Cilla and her Bobby which truly warms the heart.
The religious divide of the time between protestant and Catholic faiths is dealt with sensitively whilst not shying away from the prejudices that were clearly apparent not least in Bobby’s estrangement from his father due to his inability to accept his relationship with Cilla.
Bobby’s struggle to come to terms with his own musical ambitions and his decision to eventually put his own aspirations on hold to support Cilla’s career are perhaps the truest insight into this story of ultimate true love.
Another notable performance is that of Andrew Lancel who plays the complex character of Brian Epstein. He sensitively portrays the underlying sadness of the character who whilst achieving unparalleled success battled demons that eventually consumed him.
A mention must also go to the stage sets and lighting which perfectly evoke the club scenes of the time, the recording studios and the Merseyside backdrop of this timeless tale.
This story of the girl next door who did good, against the backdrop of music that truly stands the test of time, will warm your heart, make you smile, and ultimately leave you sad that we have lost a real “one off” in Cilla. Just two years since her passing I was left feeling that she would be proud of this epic celebration of her life.
Ta-ra Chuck !
photo credit: Matt Martin
photo credit: Matt Martin
Thursday 8 February 2018
The Ferryman, Gielgud Theatre | Review
The Ferryman
Gielgud Theatre
Reviewed on Monday 5th February 2018 by Olivia Mitchell
★★★★
Two of the hottest names in theatre and film have come together to create a masterful, intricate piece of theatre. Founder of the Donmar Warehouse, Sam Mendes and award winning playwright Jez Butterworth have constructed 3 hours, 15 minutes of dramatic storytelling, filled with equal parts tenderness and tension.
Set in rural Northern Ireland in 1981, The Ferryman follows the Carney family as they prepare for the annual harvest feast. The family is vast with the huge cast featuring a whole range of ages and some real farmyard animals! They all work wonderfully together to create a realistic family vibe as they bounce off one another and face the highs and lows of family life. The comedy and flow of family life is flawless with fantastic performances across the board, especially from the children.
Whilst the surface story is the family portrait, it's politics that seeps through this play. With IRA connections and bloodshed over the generations causing tension and pain for all involved. It's striking and moving to watch.
Pacing wise, The Ferryman is good, with the third act especially providing punch after punch. However, I found some moments to be over indulgent and it definitely could have been cut down; but there's no denying that Jez Butterworth is certainly a master storyteller and has woven a masterful script which excites and engages throughout.
Owen McDonnell is understated and layered as patriarch Quinn Carney. Rosalie Craig as the struggling Caitlin is extremely interesting to watch as she puts of a brave face whilst the wounds of her husband's disappearance are ripped open. The entire younger cast are dynamic as they bounce off one another, first in a playful way and gradually transitioning to anger and suspicion. The character development of each individual is extremely well written and performed with Francis Mezza as Shane Corcoran providing a wonderfully arched portrayal.
The Ferryman is a glorious piece of theatre which flows and cadences with ease and vigour. It's lengthy but so worth the watch. This is a play that not only makes you think but makes you want to talk and pick apart every aspect of it. Get yourself along to the Gielgud theatre to experience a theatrical spectacle.
For tickets and information about the show, visit https://www.londonboxoffice.co.uk
photo credit: Johann Persson
Friday 2 February 2018
Hot Lips and Cold War, London Theatre Workshop | Review
Hot Lips and Cold War
London Theatre Workshop
Reviewed on Thursday 1st February 2018 by Nicola Louise
★★★★★
"Hot Lips and Cold War explores cultural, sexual, political relationships and the nature of the glue that holds everything together – trust." – Lizzie Freeborn
Set during JFK administration, this new musical by Lizzie Freeborn set in the Whitehouse, looks at the staff in house at the time of the sexual scandal set by JFK himself and Ms Marilyn Monroe.
The main focus of this show, however, is a young Irish girl Maria, played by Sylvie Briggs, a photographer who wants out of Ireland to start a new life. Briggs really shows the sweetness and naivety of Maria throughout the show, especially when her love, Davy (Adam Small) a young American, PA to the president’s secretary is around. Maria is in love with Davy but it’s one-sided.
Small is great at showing Davy in a light that makes the audience both feel sympathy and hate towards the character.
Within the Whitehouse, we meet Mrs Kennedy’s maid Grace, and her son, Marvin played by Florence Odumosu and Jamal Franklin. The pair worked off each other well and you believed the love between them as a family. When Franklin sang his first song with Maria, he did come off a bit camp which almost ruined his character development, but, unlike most small theatre shows I’ve seen, he managed to redeem himself pretty quick and you could see and believe that he was slowly falling in love with Maria.
The Kennedy’s were perfect, Marcia Sommerford really made the first lady her own and you could see the worry and betrayal in her eyes from her husband’s affair, and the hatred she had for Marilyn Monroe played by Freya Tilly, who was the reincarnation of Ms Monroe herself.
JFK, played by Robert Oliver had stage presence as the President and really brought to life the worries and concerns the man had that his affairs would get out and ruin everything he worked so hard for.
With such a small company, I need to mention Lewis Rae, the President’s secretary and Ashley Knight who played Jerome Kingsley, a rich Southerner who was both a racist and a bigot. I enjoyed Knight’s performance- he played it just right. With Englishmen playing Rich Southerner’s there’s always the danger of overplaying, but this wasn’t the case. His song ‘You’ll hear the South Roar’ was one of my favourites.
Hot Lips and Cold War plays at the London Theatre Workshop until February 24th.
Thursday 1 February 2018
Eugenius, The Other Palace | Review
Eugenius
The Other Palace
Reviewed on Tuesday 30th January 2018 by Olivia Mitchell
★★★★★
I saw and loved Eugenius back in 2016 at it's premiere concert at the London Palladium, so I was very excited when I read it was returning to The Other Palace. I'm pleased to say I stand by my initial review- I absolutely adored this, unique, hilarious, feel-good show.
Eugenius tells the story of Eugene, a G-E-E-K who has written a comic book and gets thrown into a crazy Hollywood, space story. Alongside we have Janey who is head over heels in love with him and does everything she can to impress him but has been placed firmly into the friend zone.
With music and lyrics and a book by Ben Adams and Chris Wilkins, Eugenius is a full on cheese fest of all things brilliant about the 80s. I'm 21 so wasn't alive then but it's so iconic that I couldn't help but feel nostalgic in a weird way. The music is catchy, the dialogue is laugh a minute and the whole show is just a big, joyous delight.
The cast are absolutely outstanding. As Eugene we have West End newbie Liam Forde, who is geeky and charming with a beautiful voice. His chemistry with everyone is great but especially with the delightful love interest Laura Baldwin as Janey. Laura's voice is something else, 'The Future is Bright' is definitely a stand out moment. Equally witty and loving, Laura is perfectly cast in the role.
As the best friend, Dan Buckley is hilarious as Feris. Despite being a comic role, Daniel's vocals shine and he is wonderful throughout. Equally comic is Scott Paige as Theo who is sassy and vocally outstanding. As the mean man, Cameron Blakely is perfectly despicable as Lex. His demeanour and crude actions make you pray for his demise. Ian Hughes is striking as the other, spacey villain, Evil Lord Hector.
This show creates an infectious atmosphere and has everyone bouncing and humming the songs as they leave the theatre. In my initial review I said that "this musical is bound to become a cult classic and pave the way for a whole wave of new musicals" and I think that still sums up my feelings. Eugenius is a unique, humourous celebration of being yourself and embracing your inner geek. With catchy music and a stellar cast, there's not a reason you shouldn't see this show!
Eugenius runs at The Other Palace until 3rd March
photo credit: Pamela Raith
Tuesday 30 January 2018
Collective Rage, Southwark Playhouse | Review
Collective Rage
Southwark Playhouse
Reviewed on Monday 29th January 2018 by Olivia Mitchell
★★★★
In it's UK premiere by Antic Face, Collective Rage at the Southwark Playhouse is a surprising and alluring show which sees five New York women named Betty, join forces to discover themselves and put on a play within a play.
Whilst Jen Silverman's play is first and foremost about sexuality and finding your voice, it also looks at New York life through a series of dinner parties, "thea-tah" and relationships. These aspects all come together to create one exciting and unique piece of work.
The cast are equally outstanding and do perfect justice to the brilliant script. As Betty One, the rich upper East Side housewife who is constantly annoyed, Sara Stewart is comedic and likeable from beginning to end. Genesis Lynea as the gender fluid boxing coach, Betty Five who captures Betty One's attention is smooth and sleek every moment she's on stage. Her interactions with every cast member are natural and well thought out.
Lucy McCormick is outstanding as Betty Two, showing a well developed character arc as she goes from the quiet, lonely girl, to a more empowered but equally struggling woman by the end. Her breakdown was particularly haunting.
Taking on the role of the brassy, red clothed Latina, Betty Three, Beatriz Romily is perfect. Having discovered the joys of the "thea-tah" on a date with a rich married woman, she is desperate to put on a show and have everyone know her, however she discovers that this may not be the answer to all her problems. Johnnie Fiori is endearing but strong as the truck loving Betty Four who struggles with being in love with her best friend.
Anna Reid's simple set works perfectly for this play as the blackbox space becomes the world of the Betties. Hollie Buhagiar's sound effects work equally well, providing us with a little insight into what's to come in the upcoming scene.
The show is extremely funny and almost caricature-like at times but there are moments of pure poinancy which really bring it back down to earth. Everything about Collective Rage is unapologetic and the whole thing is gloriously feminist and queer. For a laugh a minute show that also makes you think, Collective Rage is the one for you.
photo credit: Jack Sain
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