LAMMPS’ ‘The Lightning Thief’ Uplifts & Entertains

Séamus O'Hanlon on 18 March 2022

The Lightning Thief by LAMMPS (Leeds Amateur Medics Musical & Performance Society) honours Rick Riordan’s classic tween novel whilst securing many laughs in this upbeat, accomplished and tightly packed full of talent, musical adaption. A constant pace and an entire cast consisting of strong singers means this European musical debut showing at Riley Smith Theatre is a definite success. Lightness and laughter results in a highly watchable production which brings out warm fuzzy feels and above all funny, feel-good storytelling.

Rick Riordan’s smash hit and seriously good first Percy Jackson novel merits exactly the style of musical treatment which LAMMPS delivered: enthusiastic, occasionally sincere, consistently technically adept, and subtly self-aware throughout. Starting the musical with characters singing doing simplistic chorography conveying how they feel, created both familiarity and informality. Percy Jackson’s central theme is the plight and yearning of its underage ‘demigods’ – whimsically explained through song – and songs were the perfect vehicle to feature these individual tales succinctly and interestingly. There were no overpowering Ancient Greek style narrators, instead where production and cast truly showed off, was in the action.

Image: Abby Swain

Tone established, Cameron Mullin who superbly realised twelve-year-old Percy Jackson, was an asset to the production with his rousing vocal ability, comedic knowhow, and solid characterisation. Present in nearly every scene, Mullin’s energetic eyes, impressive clarity of diction in speedy American-accented singing and easy rapport with others meant the zany two-act show went on without drag. As Mullin was always in character as the fictional baby of the cast, the child, the show could diverge elsewhere in approach whilst retaining its heart. Percy was the one who exhibited realistic character growth. Mullin’s restless cartoonish zeal – awkward arms and splayed hands – did not disappear but as shown from the Act 1 finale and onwards, he matured. In this believable, intriguing world, an updated mythological twist of good versus evil, the main character needed the most humanity to sell this implicit coming-of-age story.

Alongside Percy, the cast had a winning combination of protagonists, main characters, cameo characters, and principals. This meant there was a variety of visual feasts in the foreground, background, and stage scenery whenever the ensemble cast united to tell fabulous mini stories. An assured use of staging levels meant minor characters could visually represent flashbacks, points or illusions which was not overdone nor distracting. The Lightning Thief made complete sense as a musical when its main Camp Half-Blood setting was revealed; its happy, youth-orientated songs reflective of any summer camp. The contrasting colour scheme of ocean blue and contrasting heroic orange was smartly utilised in stand-out moments where chromatic seas of bodies flowed elementally across the stage. The costumes further in flourishes, grouped the classical and ‘70s disco, which together with particular plot-points, gave the performance a groovy surface. The cast’s collective silliness effectively undercut impressive, earnest main characters.

Image: Abby Swain

Also, the large cast enabled scene-stealing characters to return later to the proceedings to big cheers from the lively audience. Grumbling head of camp Mr. D, Cara Staniforth, jazzed it up hilariously whilst Percy’s other teacher Mr Brunner, Henry Marshall, brought paternal concern and physical humour. Smooth-talking Poseidon, Abraham Sondhi, boastfully gruff Ares, Ciara Devlin, and delightfully upfront Hades, Kayleigh Corbin, made the gods useless parents and adults. These camp, colourful characters returning on stage led each time to a bit of Bacchanalian bravado – a cheeky nod and a cheekier shimmer – but most importantly, the cast knew to reign it in.

The directorial decision by Ruth Rusnak to allow laughs, but not to indulge in sending-up characters, paid off in a funny but never deliberately provocative show. Actors were kept at their best in a production which was like a zippy train, a forceful motion periodically aided by the intelligent use of a well-timed projected screen. A small criticism would be that some songs intrinsically were too expositional, a breathless way to communicate a book’s plot. When the plot slowed down, the songs soared, and this was when Niamh Robinson’s ensemble chorography triumphed. Charon’s, Adele Kirby, tour of the underworld and the catch-the-flag songs, were wow moments for all involved.

As well as the great lead, integral to the story’s smooth running were the other brilliantly acted members of the main trio: Natalie Hall playing Annabeth and Grover as Mya Lane. Best friends Percy and Grover’s friendly chemistry was an underlying strength and Hall impeccably brought out Annabeth’s nuanced bright nature. Both carried scenes and sang fantastically throughout. Luke played by Zak Muggleton impressed with his rich voice and dimensionality. Whilst Percy’s mom Sally portrayed by Leah Greenman acted and sang with beautiful tenderness, pivotal for the show’s emotional appeal. The performance was kept buoyant by constant comedy and elevated by main characters who sang their way past relatability and into enticing, truthful characters.

Incredible leads, a cohesive cast, and considerable humour makes LAMMP’S The Lightning Thief a victory for musical theatre adaptations. A must-watch production for the family and as shown here, for students.

Cover image courtesy of LAMMPS

Pragmatic Students Support Strike Action

Séamus O'Hanlon on 11 February 2022

ral student response to hearing about staff strike action is self-pity, a deserved and valid reaction to the broken promise that students at least for their own serious financial commitment, enjoy a complete academic year. There is no ideal response to strike action affecting students particularly when our educational experiences have been stunted throughout the nearly two years of the pandemic. There is, however, a right response to staff strike action, which is of solidarity and of pragmatism.

COP26: A Test of British Soft Power and the World’s Left and Right

Séamus O'Hanlon on 23 November 2021

Featured Image: Wikipedia

Britain, apparently, used to be known for its common sense. The country with the practicality, wealth and explosive creativity which resulted in the Industrial Revolution; harbinger to this modern age with the steam train, the first ripple in the pond. Britain, the small country which punches above its weight in culture, finance, and reputation. Britain, who contributes around 1.1pc of global climate change emissions, part of a group of countries whose territorial emissions are all around 1pc and count for a staggering third of current emissions. Britain must itself change, but it will only make a difference with allies as united climate change democracies.

A climate change conference overshadowed domestically first before it even began by EU fishing wars and then quickly by the Owen Patterson scandal, COP26 held in Glasgow was fraught full of contradictions for both politicians and activists. Politicians face the issue of coming across as actors rigidly sticking to their own scientific script; there specifically for the start of COP to generate media attention for the issues and there also for their own political gain. Biden fell asleep, hypocritical private jets landed, embarrassing tonka-toy SUVS rolled in, organised Sturgeon hosted whilst advertising her ‘nation in waiting’, and Johnson flexed British political muscle, namely the private sector, in his Bond ticking-bomb opening speech.

Conservatism, liberalism, and socialism all claim to subsume environmentalism under their own ideology, but the irritation remains that none of them alone, or even together, are enough to solve the climate crisis.  You may think of environmentalism as giving back what you receive. Maybe even a mental image of a glistening river: transparent and full of life. Preservation is the cousin of conservatism. So, resisting anthropogenic climate change would be a natural extension of preventing ecological damage. Today’s Conservative MPs voted down an amendment which would have stopped raw sewage being dumped into rivers and coastal areas. This was to protect private companies.

It makes me laugh reading right-wing nonsense arguing that Thatcher was an actual environmentalist based on her ending of coalmines. You can see one of Thatcher’s, and her successor Major, most prominent legacies outside of London, driving anywhere towards Leeds. The ending of trains, the sell-off and running down of them has accelerated our own part in climate change. Prime Minister Johnson has just cancelled the HS2 segment to Leeds, condemning future generations. Meanwhile, days before COP26, Chancellor Rishi Sunak in the budget confusingly cut taxes for domestic flights. Domestic flights should not need to exist in this geographically tiny island.

Liberalism led most of all to climate change, but it is still unfair to blame this crisis on individuals. In conversations with friends, all agree it is an economic privilege to afford long-lasting products and to avoid huge causes of waste such as fast fashion. It was the eco-conscious segment of the middle classes in all advanced big-polluter countries which were ahead of the game with sustainability, and they should be celebrated: people persuading before politicians. Government regulation can avoid environmentalism being seen as a class choice through efficient, affordably costed, and modern public transport from modern tram-trains to cleaner long-distance trains. Recycling should increase to a higher standard each decade and be the same nationally. Further, water fountains in every transport station and every town to eliminate single-use plastic. Retail service-sector Britain needs to be engineered so it takes responsibility for its consumer class.

Climate Change needs to continue being a global bipartisan issue and following the science here will only succeed through strengthening democracies. Collaborative events like COP26 remind us how politicians are flawed, but they establish that democratic world leaders are still our best conduit to the immensely powerful Billionaire monarchs who hold the keys to immediately reducing climate emissions. COP26 was met with anticipation not because of us, but due to the recently elected President Biden, a Democrat ready to reverse recent years of American environmental apathy. The world cannot afford the elected left or right to lurch away from being on the big table, but the planet needs radical climate change activism. The methods should develop – avoiding risk to others and balancing urgency with histrionic fatalism which turns-off the non-converted – and a major aim should be directly protesting to ensure vague targets are upheld.

Britain developed the first COVID-19 vaccine, a miraculous moment around the world. This was a result of the new hard power, a culmination of our brilliant academia and gold-standard scientific research. Like we are seeing globally with the coronavirus, the climate crisis may one day be completely rebalanced by game-changing science, but these complex problems firstly require international political resolve. The planet cannot wait for us to wait. Britain has both soft and hard power. Our political influence will always be limited if we limit ourselves. With Climate Change, act without hypocrisy, with other countries, with science and with integrity. Act with common sense.

How will the energy crisis impact students?

Séamus O'Hanlon on 20 November 2021

With the wholesale cost of natural gas reaching record highs, the UK is braced for a winter energy crisis which it is feared will wreak havoc on businesses and drive the cost of living up for households.

17 energy companies have so far been forced to close this autumn, affecting nearly 2 million customers. A rise in energy costs would be detrimental to all private customers, including universities.

The Gryphon spoke to the University of Leeds on how it plans to mitigate this increase and student housing charity Unipol on how students can reduce energy consumption and protect themselves financially this winter.

In response to question asking how the University of Leeds will be able to mitigate energy prices themselves, a University spokesperson responded detailing the relative strength of the University’s position in the energy market: 

“The University is modelling the impacts of the current commodity market price levels into financial forecasts and has taken steps to manage its exposure to rising commodity costs where possible. While the extra costs are significant, our financial position is currently strong enough to allow us to manage economic pressures such as those arising post pandemic and EU exit.”

The University of Leeds outlined how its own energy supply is designed to be secure regarding rising energy costs stating: “The university is not exposed to small utilities providers and security of supply (the ability to heat and power campus) is not considered to be outside of the usual range.” 

A significant area for the University’s energy consumption is their hall of residences. The University outlined their own “extensive measures in place” such as the installation of new more efficient boilers, the existing double glazing in modern properties alongside secondary glazing in older Victorian properties and the use of LED lighting “across the portfolio”. Included also is a joint energy retrofit project in Victorian properties alongside Leeds Beckett University for the 2021/2022 year. Within all hall residences, thermostatic radiator valves or push-4-hear controls have been installed which further reduce energy consumption. 

When asked if there will be any hardship grants as a result of the predicted increased living costs from the predicted rise in energy costs, the University’s reply signposted their own existing financial assistance. Registered students and PGRs facing financial difficulty can apply to the University Financial Assistance Fund (formerly the Leeds Hardship Fund) which covers help towards the payment of “essential living costs”. Leeds University Union at the same time offers an emergency Financial Assistance Fund to assist students with immediate financial difficulties. 

The University of Leeds does not offer themselves any bills-excluded housing contracts, though many students particularly after first year, will be in a bills-excluded contract meaning an increase in energy prices would directly affect student living costs. Unipol, a registered housing charity and itself providing not-for-profit direct accommodation alongside other advisory services, answered questions aimed at helping students in all accommodation save both energy and money. 

Unipol outlined how the majority of its properties are now offered on an “all-inclusive rent basis”, with the charity not requiring students to find guarantors and that “from this year onwards the majority of students renting with Unipol will not need to pay a deposit.” Unipol’s spokesperson also described the process they have in place to accommodate the rise in prices stating: 

“Energy prices have been rising rapidly over the last few months but this year’s students renting with Unipol will not see a large rise.  Unipol buys energy in bulk and has fixed tariffs in place.  Although over time it is likely that energy prices will stabilise, when setting all-inclusive rents these do need to reflect the real costs associated with energy usage.  Unipol’s Board of Trustees, that includes elected student officers at both Leeds Beckett Students’ Union and Leeds University Union, has oversight of the rent setting process.”

Unipol recommends students in bill-excluded contracts to “shop around and compare for the best deal” specifying using comparison websites to save money by switching providers – although this is dependent on your tariff as it might not the best time to switch. Default tariffs are protected by the Government’s Price cap “but might not necessarily be the cheapest”. All students can cut down on energy costs and Unipol recommends having your heating at the lowest comfortable setting, typically between 18-21°C. “Turning this down by just one degree can save you money.” In addition, Unipol suggests avoiding using electric heaters as these consume huge amount of energy. 

Unipol also answered a question about what students need to look out for in bills-included contracts. It is important when looking at bills-included contracts to look for clarification regarding whether the member (landlord) “retains responsibility” for payment of water charges, utility charges and Council Tax, or whether these charges fall to the tenants to pay.” Fair-use contracts refers to if in the letting agreement, the division of responsibility has any “fair use caps/limits” for energy use which must be accurately reflected. Students also should be aware of written receipts which can be issued for all monies demanded whether for rent, deposit, utility or service charges. Any transactions undertaken in cash will always involve a written receipt provided by the landlord or agent. 

Increasing energy demand is due to fossil fuel reliance and this is what causes the economically damaging high energy costs. Therefore, the University of Leeds’ response to increased energy costs is also part of their climate change response: chiefly their seven principles announced in 2019 aimed at achieving zero greenhouse gas emissions by 2030 and no direct carbon emissions by 2050. 

The University, landlords and the government all have a vested long-term interest in ensuring that energy prices are affordable to students. The pressing question is how high the prices will become.  The fundamental question is how long will the transition away from fossil fuel price dependence take.

Image credit: University of Leeds

Review: Open Theatre’s The Passion of Bonnie & Clyde

Séamus O'Hanlon on 27 October 2021

Emotion turns cowboys into soulful women in this short, lively and timeless original production about the notorious Bonnie and Clyde. A successful simple love story, the one-act play was at its best when the two titular characters navigated their romance, illuminating as lovers rather than criminals.