Whenever I think of cello music, Bach always comes to mind. ‘Cello Suite No 1 in G Major’ to be exact. That has changed since my encounter with the 2Cellos concert on Thursday evening in Singapore. Now AC/DC, The Rolling Stones and Nirvana enter my consciousness as well.
As the two cellists took to the stage in just a black T-shirt and jeans, I was mildly surprised at their chosen attire. Little did I realise that it would blend in perfectly with the theme of their entire performance.
The concert started off fairly subtle with the likes of Coldplay’s ‘Viva La Vida’, Sting’s ‘Shape of my Heart’, Muse’s ‘Resistance’ and U2’s ‘With or Without You’, to name a few.
Performing each piece with such vigour and intensity, against some stunning visuals, it was difficult not to be intrigued and bewitched by their playing. More so, since they were playing rock and not the classical compositions. As a string player myself, I found myself particularly transfixed on all the spiccato movements, which went perfectly in contrast with the legato movements.
Muse’s ‘Resistance’, for instance, had that contrast. The fast spiccato bowing as the base of the song, and the legato ones as the main melody. After which, midway, both combined and interlude into one another, like liquid in a lava lamp.
Taking turns to the microphone in between songs, Luka Sulic and Stjepan Hauser, the two young Croatian spoke of how it was their second time in Singapore; their first performance had them opened for Elton John. Jokingly they added that for their third performance, Elton John would open for them. Such wit and stage presence.
They then invited the audience to sing, dance or even come onto stage to sit on Stjepan’s lap, as this was unlike a traditional cello concert. This was different and there were ‘no holds barred’.
No one did the latter, but by the time AC/DC’s ‘Thunderstruck’ was played, which was also their most played video on Youtube with 18 million views, the subtlety of the whole concert ambience had escalated to ultimate rock concert level.
And, when a drummer takes to the stage to accompany two cellists whose cellos now sound more like bass and electric guitars, then ‘stuffy’ old cellos, you know you are in for something. Something good!
It was loud and good, it was; the beat of the drum echoing in the heart of every rocker in the audience, the strings of the cellos tugging at its heartstrings of pure rock emotion, and the flashing lights shining in your eyes like a good old rock concert.
Nirvana’s ‘Smells Like Teen Spirit, The Rolling Stones’ ‘Satisfaction’, AC/DC’s ‘Back To Black’ and ‘Thunderstruck’, and Muse’s ‘Resistance’ were some of my favourites that were played that night.
Two encores and it was over, to the dismay of many. Especially, the one lady who shouted for them to take off their shirts. Instead, the cellists pulled out the frayed bow hairs from their bows and handed it to a few of their adoring fans in the front row.
At the end of the night, it was rock cello music that resonated in the ears and hearts of everyone.
Instagram video snippets:
Vanessa’s log: 14 May 2014. Location: Shaw Lido, Singapore
Stars of the upcoming movie X-Men: Days of Future Past were in town to grace the blue carpet for the Southeast Asia Premiere of the film and I decided to check it out. Oh! And why blue? Well, it appears only homo-sapiens grace red carpets. Also for those who remember scenes where Professor X uses Cerebro to trace mutants and non-mutants, the former were always depicted as blue entities, while the latter as red.
Arriving at a little past 2pm, after a curious look at the cinema area located on the 5th floor, it was evident that many prime spots around the blue carpet were taken up, mostly nearing the stage.
The blue carpet trailed from the beginning of Shaw towards Orchard Road, before turning the corner at Scotts Road and then continuing slightly further down that road.
Now, it has been ages since I have been to a red carpet event. Last one attended was seven years ago at London’s Odeon, and for that one I was lucky enough to walk the carpet. So, I was more or less unaware at the idiosyncrasies of what happens on the fan side of things.
Nevertheless, I finally decided on a spot nearing the beginning of the carpet, which also so happened to be opposite the jungle of media from the region and beyond.
And then, it was time to wait.
Fortunately, the weather was kind and the fans (the machine ones, not the human ones) situated at various intervals along the blue carpet, provide a respite from the humidity. I was rather surprised that the waiting did not take as long as I had previously anticipated. I entertained myself by people watching the media on the opposite side of the barricade and blue carpet as they took copious amounts of selfies, prepared their ‘speeches’ in front of their cameramen for interviews, and got the fans to scream and wave to their phones and cameras. At one point, I was rather tempted to ask the media to wave too as I took a panorama instagram video of everyone. Now, that would have been rather fun.
It was 7pm by the time the main celebrities, namely Hugh Jackman, Peter Dinklage and Fan Bingbing arrived. And blimey, did the crowd go wild! Phones of all types were held out, along with fan-shaped cards that had been previously given out to us by the crew, for requests of selfies and autographs.
The word of 2013 was ‘Selfie’, and I believe it was the word of that evening as well. I reckon there were more people wanting a photograph with the stars than an autograph. The ups and downs of the digital age and social networking? Possibly.
Still, the stars were absolutely brilliant and really down-to-earth people, as they fluttered like bees from flower to flower, between taking selfies and signing autographs with/for their fans on one side of the blue carpet, to heading to the media section on the opposite side for interviews, before heading back to the fans again.
Hugh Jackman posed for numerous amounts of selfies, and Peter Dinklage and Fan Bingbing even took some of these selfies for their fans.
By 8pm, the trio had moved towards the end of the carpet and the deluge of media had disappeared along with them.
For the fans that still remained, it was probably an ‘X-perience’ of a lifetime. Some were seen screaming at their mobiles excitedly to their friends at their success of obtaining a selfie or photo with one of the stars.
I was told that the event was also live-streamed on Youtube on the ‘X-Men Movies’ channel. Fantastic! That would explain the main media folks and camera crew hanging around on the blue carpet, sans barricade. I might have chosen an excellent vantage point after all.
And yes, I was one of the lucky ones that got myself that very important word of the evening!
More photos can be found on Vanessa’s Flickr
Highlights of the live-stream can be found at XmenMovies on Youtube,
It was a journey into something magical, something spiritual and something surreal. ‘Kagemi’ by the Sankai Juku butoh dance company was just that.
Upon entering the theatre, one is greeted by an intricate set on stage; giant lotus leaves. The chaos of the numerous leaves juxtaposed against the simple backdrop and otherwise minimalist stage, was a perfect contrast between night and day, darkness and light, the two sides of a mirror or the two levels from beneath a lotus leaf.
The performance began with a silent piece, with just one male dancer at the corner of stage right. In this piece, the theatre was so quiet for about ten minutes that I could practically hear practically myself breathing. Then, the lotus leaves were lifted by the fly bar, floating and rising delicately, to reveal six more dancers hidden beneath the leaves.
Watching these dancers perform, the intrinsic hand gestures and concentrated facial expressions, the classical form of the costumes and make-up, felt like a journey, an experience, like a privileged glimpse into a private ritual that was not to be viewed by many.
As I tried to establish what each piece meant, I was equally taken in by the music. Was it a metamorphosis of one man into six? Were they even men or were they souls or entities that lived beneath the lotus leaves, an idea, an image or a reflection that grew and then manifested? Was the repeated movement juxtaposition between two worlds; two sides of a mirror or two sides of a lotus leaf?
I found that the music accentuated the dance succinctly. Against the floating lotus leaves, it was almost like looking at a precious art form on stage. My favourite parts in the music included the repeated drum-like percussion, the underwater sounds and the piano piece. The first two had reverberation and a brilliant echo to it, reminding me of music in the Hannibal series. Like a perfect art piece or dish. The latter, which started off slow on the left hand and which varied between several octaves, soon picking up tempo, reminded me of a familiar piece. One of which I cannot quite place.
Seven scenes in one act and the journey was over. As the dancers took to the stage for the curtain call, it was probably the most touching curtain call that I have ever seen. The simple hand gesture of the lead to the other dancers, the way he bowed, the way everyone bowed to thank the audience. Almost like Samurai warriors. It was beautiful. And above all, most humbling. I was honoured to have been part of the audience.
There have been many orchestral performances that I have attended; classical ones, ones in studios, rehearsals, school performances, themed ones with giant screens on each side of the hall that showed film or television clips of the music being played, and even ones where actors were dressed in monster-like costumes and invaded the hall.
But this was something new. Something different.
Upon entering the arena, one would notice first, luscious red curtains draped around the circumference of the venue, as though hiding each door and entrance into another world.
And so it was.
For, once you went beyond those red curtains, a scene of Dresden-like splendour fills your eyes, as you gaze upon the stage in wonderment.
André Rieu and his Johann Strauss Orchestra (JSO) took to the stage and it was like being transported to an 18th century ballroom.
Now, many of us are used to seeing orchestras play in dark colours. The classical ones, at least. Black, usually. Or sometimes, dark red or blue. An elegant long dress for the ladies, and a black and white suit for the gentlemen. Throw all that aside, and we get colours. Brilliant colours!
The female members, the violinists, the violists, the cellists, the clarinetist, the pianist (to name a few), of the JSO were dressed in exquisite ballroom gowns, grand and layered and utterly resplendent. The male members, (the percussion, basses and brass) were docked in fine suits. Together, and against the digital backdrop that showcased picturesque scenes around Europe, it was an opulent affair of vivid colours and music.
There were many pieces played that night that echoed Europe in the 18th to 20th century. A few were also interestingly crafted, almost like a theatrical orchestral production.
For instance, ‘La Chanson d’Olympia’ (Doll Song), from Act I of Les Contes d’Hoffman (The Tales of Hoffman), sung by soloist Carla Maffioletti from Brazil, had her act and sing as a wind-up doll. Having enjoyed watching ballets from when I was an arts student, I was instantly reminded of ‘Coppélia’. Funny moments in the song had her being wind-up several times before being declared by André that she was probably ‘made in China’.
Another fun moment was when André said that everyone in the audience were now ‘members of his choir’, instructing different portions of the arena to sing as sopranos, altos, basses and double basses. After a test round, apparently altos sounded the best, the audience were asked to sing along to the piece that the orchestra and him would be playing.
This piece turned out to be ‘Burung Kakak Tua’ (The Cockatoo), an old Malay folk tune which was sung and taught in primary schools. Well, that was a delightful surprise! Against the backdrop of Singapore’s modern skyline, the Marina Bay area to be exact (although I must say, the skyline of old Singapore would have been more apt), it was perhaps one of the most heartfelt moments of the show. It was simple; a good reminiscence of old and classic Singapore, warm and full of heart.
The night continued on. ‘Carmina Burana’, was perhaps my favourite piece of the show. The undulating tones of the vocals in Carmina are, to me, always a pleasure to hear. When accompanied by the JSO, against a fiery digital backdrop, the beat of the drums with each verse, it was certainly amazing, visually and aurally.
Soloist Mirusia Louwerse, from Brisbane, Australia was eloquent in her delivery for many pieces. I adored her rendition of Andrew Llyod Webber’s ‘Memories’ from ‘Cats’ which was sung against the beautiful digital skyline of (what I assumed was) New York. It was a powerful song; reminisce of musicals and show tunes and a nod to one of Broadway’s finest.
Perhaps one of the most memorable moments of the performance was when André and the JSO played ‘The Blue Danube’.
“Something magical happens to the audience when this song is played, whichever the country”, noted Rieu. And so it did.
People in the audience started to dance. Old folks were dancing in the square of the arena. Dancing the waltz. It was perhaps the most endearing thing that I have seen of audience participation in a performance.
As the evening came to a close, the merriment grew. There were flute glasses and the toasting and drinking of “champagne” by the orchestra, more dancing and cheering by members of the audience, and a huge pool of balloons dropped from the arena’s ceiling at the end of Strauss’ ‘Radetzky March’. I never knew that the popping of numerous balloons concurrently in an enclosed hall could actually sound like fireworks.
Different and strangely interesting, but above all, an enthralling evening for everyone.
Instagram video snippets:
If there was ever a bucket list of artistes that you should see in your lifetime, I would say that you should add Ólafur Arnalds to that list. There is something truly sublime about the way he composes, and this guy does not disappoint when he performs live.
Set in an intimate studio, with minimal visual and lightning distractions and where the stage is on the floor and the same level as the audience, the young Icelandic chap made his inaugural appearance in much-too-hot sunny Singapore.
Starting off with a tad of audience participation, Ólafur instructed the audience to sing a middle ‘C, of which apparently we did really well and thus were allowed to proceed to the next level, which was, according to the artiste, a rare occurrence. The next level, had the audience sing a ‘G’ note. ‘C’ and ‘G’; a tale of simple chords.
These ‘C’ and ‘G’ notes were recorded on his iPad, delayed and reverberated, and then added as a looping audio track to his first piece. Ingenious; the era of modern technology coupled with the creative of a Gen-Y kid.
The evening proceeded on with many wonderful compositions, ‘Poland’, ‘Hands Be Still’ and ‘For Now I am Winter’ to name a few.
The entire evening took me back to long train trips around England in winter which I enjoy; the exquisitely tranquil array of grey skies and scenery (chimney houses and children playing, trees and shrubbery, and life on the other side) that one passes, the mist on the windows, and effect of pressing one’s hand or cheek against these frosted windows, just to feel the cold and the beauty of it all. That melancholic ‘happiness’. That was, to me anyway, what most of Ólafur’s music evoked. The beauty beneath that cold frosted window. The cold incandescence.
An oxymoron, you may say. But that’s what makes it all the more special.
At times, I was torn between being mesmerized by the violin, the cello and the piano, perhaps my three utmost favourite instruments in an orchestra. But, as a violinist myself, I would say that the soft ‘piano’ playing of violinist Björk Óskarsdóttir was astounding. I was actually starting to wonder how many ‘p’s (pianos) there were in the score…
On the other spectrum, there were some forte movements in another piece, played so vividly, that a few strands of bow hairs came loose.
The cellist’s playing was wonderfully refined as well, sort of like a delicately exquisite French dinner you don’t dare to touch because it is really too perfect. Of course, another part of me was reminded of NBC’s Hannibal series and the episode ‘Fromage.’
The voice of soloist Arnór Dan Arnarson. With a beanie and dance-like sways and movements, looking as though he was rapping, it illustrates an interesting contrast when you actually hear his voice. Haunting, ethereal and an emotional chill reminiscence of Scotland. A voice perfect for Murray Gold’s ‘Vale Decem’? That thought did come to mind…
The pianist (and composer himself, Ólafur) was an interesting element’ to watch perform. For, it looked as if the artiste himself was cathartically ‘transported’ somewhere as well, while he played his pieces. And, in those instances, it felt almost like we were sitting in, in a private studio practice, watching him drift in and out of notes that danced off the ivory keys, that light bouncing off a mirror. This was most apparent in his encore piece, which he wrote for his grandmother. It was personal and very heartwarming.
Although nothing from the BBC series Broadchurch was performed, of which I was rather miffed about, because I utterly love the compositions from television series, much of Ólafur’s work had a very ‘Broadchurch’ feel to it. The layering of other audio tracks like thunder clap-like percussion and repeated beats to create suspense, reminded me of the Broadchurch’s main theme. Other quiet pieces reminded me of ‘Beth’s Theme’.
It was a lovely evening, where everyone was transported to places here and there, near and far, like films and television episodes only captured in reels, we became part of an experience that was beautifully sad and sad but beautiful. The beauty in the strings, the beauty in the chords like in ‘Only The Winds’, the beauty in the layers, the beauty in the vocals and the beauty in the delicateness of the instruments.
Indeed, if there was one artiste to see in your lifetime, I daresay, Ólafur Arnalds better be on that list…
More photos can be found on Vanessa’s Flickr
And so here I was again. My ninth Doctor Who concert; the Doctor Who Symphonic Spectacular (DWSS) Brisbane with the Queensland Symphony Orchestra. And, what was said to be the biggest one ever held. 8,500 in attendance numbers!
From its beginnings in Melbourne back in 2012, the Doctor Who Symphonic Spectacular was a version of the famous Doctor Who Proms in London for fans of Doctor Who, otherwise known as Whovians, in the Australasia region, who were unable to make that trip up. Indeed, it was a sublime idea by the BBC Worldwide team.
Now, back in the Southern Hemisphere, the DWSS team have brought with them a brand new programme, playing new pieces which were heard at last summer’s concert at the Royal Albert Hall; the Doctor Who Prom 2013. The leg of this 2014 tour included, a couple of concerts in Melbourne first, and then it was Brisbane, followed by Wellington at the very end.
Held at the Brisbane Entertainment Centre (BEC) in Boondall, the DWSS played their first Brisbane and also biggest ever concert on the evening of 8th February 2014. And, it was brilliant!
The Brisbane Entertainment Centre is massive. A few hundred seats on the ground, with another few hundred further back behind the sound console. Further up, the tiered section surrounded the ground area reaching far and wide like a giant pancake on a pan.
As no photo taken with any camera can do this picture justice, a 360 degrees shot of it can be view here: http://360.io/uyKBQj
For one night, the BEC had become a TARDIS! With 8.5k Whovians, it was truly bigger on the inside.
The house lights went down, the orchestra settled down, and conductor Ben Foster bounced on stage. A cascading applause, up, down, left, right and centre, reverberated throughout this TARDIS venue.
And into the time vortex, we went…
Starting off with ‘The Mad Man With A Box’, it was wonderful to see Antoinette Halloran back on stage again. And this time, joined by a new orchestra; the Queensland Symphony Orchestra.
Slow, warm and inviting, like a Who music flame, enticing all the Whovian moths in the room, it then exploded like a lightbulb with passionate strings and Halloran’s voice.
'I Am The Doctor' was up next, which noted the first appearance of the monsters. I reckon there were more excited Whovian adults than kids near me. It was great to hear this 7/8 score again. The Queensland Symphony Orchestra were simply wonderful. Execution was brilliant. And, yes. I counted along to the beat. Like there was a click track in my head.
The piece ended and Peter Davison came on stage. The audience went wild. It was possibly the loudest cheer and applause that I have seen and heard since the Doctor Who Prom. The good people of Queensland really do love their Fifth Doctor.
Joking with the audience and taking a photo or two of the DWSS record attendance arena, Davison was great and most probably my favourite DWSS host.
'The Companions', was then played, homage to four of the Doctor's longest and recent companions; Rose Tyler, Martha Jones, Donna Noble and Amy Pond. Perhaps a little more clapping and cheering than their Melbourne counterparts, Donna had the most cheers from Brisbane, and naturally so. After all, she leaned towards being everyone's favourite, on the spectrum of the Rose Tyler and Amy Pond/River Song fans.
With ‘The Companions’, my favourite bit, was the enthusiasm of Foster when he danced and bobbed along to ‘A Noble Girl About Town’, during Donna’s segment of the piece. A dancing, swishing, bouncing, bobbing conductor never fails to entertain me! Good old Swishy!
In addition, I adored the brass segment of that song. Great stuff that ensure lots of head bobbing and feet tapping. Well, there was much of that for me, anyway.
With ‘Cyber Shard’, my favourite tracks in that piece still remains ‘The Speeder’ and ‘Up The Shard’. The strings in the former, and the brass in the latter, create constant chills and regeneration opulence in my heart. Cybermen also entered the arena during ‘Cyber Shard’, walking along the aisles and on stage.
Alas, I was incompatible and was upgraded…
Help me, Doctor!
'Abigail's Song' saw the return of Halloran, who was just lovely to watch. Of course, knowing the lyrics to this, I sung along.
There was, however, less smoke from the smoke machine for this piece, which merely gathered at the edges of the stage.
For the Melbourne concerts, the smoke was abundant and luxuriously wonderful, gathering and floating lightly on stage, before floating down to the first two rows of the audience near the stage. It was brilliant, as part of me imagined that there were fish in the smoke. Which is pretty apt for a piece like ‘Abigail’s Song’.
I quite enjoyed that particular smoke effect, despite its strange chemical plastic balloon smell, so I was rather disappointed at the cut down version of it in Brisbane.
'The 'Classic' Doctor Who Medley' followed, to the delight of many of the older Doctor Who fans. I enjoyed the radiophonic workshop-like sounds and reckon that there really should be more Classic Doctor Who era music played at Doctor Who concerts. It would really show the variety and versatility of the show, as the genre itself has a somewhat different essence to it.
Nevertheless, it was wonderful to see some pre-recorded videos of Fourth Doctor, Tom Baker making an appearance at the DWSS.
'The Rings of Akhaten' remains my favourite piece from Series 7, and new addition to a Doctor Who concert. Iain Henderson and the young soloist, Lauren Elvery, who both sung 'The Long Song', the main track featured in this piece, really made it their own. It was deeper and lower in pitch than what I have heard so far. And, to me, had feel of a glass of Merlot red wine. Really, really different from the Proms' version and the recent Melbourne one as well. I quite enjoyed it. And, I definitely sung along to it as well.
After the intermission, came the acting…
And by acting, I mean the hilarious Basil-Bean-like antics of conductor Ben Foster as he tries to exterminate a dalek before it exterminates him. Pushing, prodding, poking, sonicing with his sonic baton, feign falling, a selfie and bizarre pirate-y sounds, it was absolutely mad! Overacting maestro indeed!
Sadly, there was no sign of the cricket bat that was used to hit the dalek in the Melbourne concerts, so I assumed that a dalek had exterminated it. Still, give that man a BAFTA, please. Someone!
'First There Were Daleks' followed, and daleks roamed the arena. Again, I sang along. I know the whole non-English lyrics to this whole piece and once again, I blame and thank the Doctor Who Fan Orchestra, of which I am a member of, for this.
With ‘The Name Of The Doctor’, I was once again fixated on the violin solo; a Gaelic-like wonderful piece, like crystals on my feet making me want to go tappity tap tap tap.
And then, there was ‘Fifty’…
Joined on stage yet again by Antoinette Halloran and Iain Henderson, with added vocals by the magnificent Brisbane Chorale, this piece is a keeper. The lyrics are magically painful and iridescent, full of life and journeys told and untold, pulling at your heartstrings and creating a burst of feelings and musical emotions in them. My heartstrings felt like the strings of a violin and everything was in A and E.
Again, how could I not sing?
“From the jaws of disaster… From a planet besieged… By deadly ancient foes…”
The Brisbane chorale were brilliant. Really good. Probably my favourite choir, after the Crouch End Chorus.
'The Time Of The Doctor', a perfect end to a great night. From the solo of the woodwinds to the slow build up in fervour as Eleventh is given a new cycle of regenerations, the arena explodes into passionate music playing by the orchestra as a myriad of Gallifreyan-like symbols are cast upon the everyone.
More bantering between Foster and Davison, a cyberman head and the possibility of a fictional Earthshock, the Opera, for a future project, 2.5 hours long, of which starring Peter Davision himself, the night closed with a favourite; ‘Vale Decem’.
Of course, not before a photo opportunity by Foster. Seems, a selfie with a dalek was not enough.
In terms of lighting, there were more lights on the fly bars that I can count. The choice of gels/colours were interesting and enjoyable. For example; how the colours changed for each companion during ‘The Companions’.
The lights where the orchestra were seated, blinked and flickered along to the time signature and beat of the sections of certain pieces, much like a visual click track. I love it!
I was a tad disappointed that the Gallifreyan-like gobos (round metal discs cut into a pattern and placed in stage lights to create patterns and effects) did not show as well as they did in Melbourne.
There were empty wall sections in the Melbourne Convention and Exhibition Centre (MCEC), and it was good to see those gobos cast on them, so one may notice the details on the design. Such a shame that no opportunity presented itself in Brisbane.
My favourite bit in the lighting sequence was when ‘Words Win Wars’ was heard in ‘I Am The Doctor’. Footage from ‘The Pandorica Opens’ was shown, which showed the Doctor shouting at a sky full of aliens. That clip went splendidly with the fast moving lights on the fly bars of the BEC. As though, there were really aliens whizzing about above everyone in the arena.
Another favourite lighting element that I enjoyed, was the kaleidoscopic sequence on stage right, as seen in ‘The Final Chapter Of Amelia Pond’.
Acoustic wise, it was surprisingly not as detrimentally painful to my classical-orchestras-should-never-perform-in-an-arena-purist heart than what I had initially feared. It was alright, given the scale of everything.
Indeed it was a magical night for all. 8,500 Whovians went home very happy and, having been to so many Doctor Who concerts, I must say, I have never seen that many before; it was really an amazing experience to be a part of.
Murray Gold tore my heart into pieces once again, with his wonderful almost catharsis-like compositions. That bad, bad man.
Ben Foster, or as I have nicknamed ‘Swishy’. Funny guy, that one! Absolute brilliant too! All that intensity and passion when conducting. That dancing! And, the overacting! Blimey!
Peter Davison, the best host so far. Don’t worry, Australia loves you. You can cancel that taxi to the airport. Perhaps, we’ll see you again in Earthshock, the Opera?
Antoinette Halloran, you goddess! You absolute goddess!
Iain Henderson and Lauren Elvery for such a wonderful rendition of ‘The Rings of Akhaten’!
The Queensland Symphony Orchestra and the Brisbane Chorale, what a wonderful performance. Exquisite to a T.
And finally to the team that made it all possible, above all, Paul Bullock, thank you!
It was great to be at one of these concerts again. In addition to meeting some really lovely Queenslanders; like Spencer (from ABC’s 612 Brisbane radio), Niki, Jack, Jen, Gary, James, Greg, Chris and Corrine.
It was also wonderful to meet Alex and his kids (who I had initially met at the DWSS 2012 Melbourne), again. Blimey they’ve grown!
Thank you once again to the DWSS team. Until the next time… xx
Sadly, I will not be attending the one in Wellington, despite having a ticket for it. May you chaps have an amazing, amazing three performances in New Zealand. xx
Train track works on the Shorncliffe line, meant a detour at Eagle Junction station where I boarded a bus to the city. This bus turned out to be a bus, literally full of Whovians, or as the guy who was seated behind me puts it.
The TARDIS bus!
Seated among the older fans at the front, some who were probably as old or older than the television series itself, many of them were lifelong Doctor Who fans. They spoke dearly of Peter Davison and the Classic Doctor Who Medley, and how far they had travelled for the show.
The guy across from me, had come in from Perth. While another chap behind me came down from Sydney.
Passing Albion station on the bus’ increasingly fun journey, we picked up more Whovians along the way; Doctors and TARDISes.
At one point, someone suggested singing a Doctor Who song on board.
It was probably the most endearing moment of all my DWSS experiences. A bigger on the inside TARDIS bus? Yes, it was! And, it was fantastic! Absolutely fantastic!