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Lee James Broadwood's website, home to the London-based interdisciplinary artist's work, services, and publications. LEE JAMES BROADWOOD Interdisciplinary Artist: Live Performance and Creative Media About Me Audiovisual Content Live Performances Written Content My Website Highlights Poetry Anthology my most recent publication, now available for purchase! More Info Order Today

This mesmerising anthology is divided into four categories, each demonstrating the versatility and art of the poet: LOVE AND ROMANCE, MELANCHOLIA, FANTASY AND INTRIGUE, and DARK. MORE INFO VIEW EXCERPTS ORDER NOW Only £15.99 - Ebook Version Coming Soon! About Book ABOUT THE BOOK The works included in this collection provide the reader with powerful and visceral vignettes to celebrate the beauty of life and of imagination and to appreciate our fragile safety from ubiquitous dangers and pains. Some poems are tributes to the serene and the romantic, whose magic is often overlooked in our fast-paced and sterile world; others sensationalise the horrors so commonplace to our homes and streets that their alienation reveals their truly harrowing and insidious reality. Fictional in nature, these poems are presented alongside eleven special poems dedicated to the poet’s beloveds. PARTIAL EXCERPTS Extracts 'Riverboat Island' Bobbing on a riverboat, hand in hand, heart in heart, for an island far from here, the bold lovebirds depart. Written in the ripples thin, vows eternal, vows of love. Constellations spell their names, behind the moonlit clouds above. 'Firefly' I know you hear me whilst I cry. Hush, my twinkling firefly. I am here, and all is fine, my gentle shimmer, my nightly shine. I know you watch me whilst I pray; worry not your wings away, for I am here, and all is fine. No need to fear, my butterfly. ‘I No Longer Love You’ 'Lauren Taylor' Sunset heart. I used to love you, but now, you’re my eclipse. I prise my soul from your spirit; my kisses, from your lips. Once bewitched by the glints within your eyes and homesick for your chest, I remove your impression from my pillow, and, from my heart, the rest. Violet blush, and silent lips, brunette hair, eyes opaline, hollow skin, and fading gaze, sapphires where carmine had been, Lauren Taylor, aged fourteen, found Bradley Flynn and in deep love fell, warmed by his dulcet passion-words, soothed by his voice of caramel. Extract: ‘Duchess’ Red wine turned to crimson for the powders in their fists, the dukes, ever gallant, must escort this duchess home tonight, in such a state as this. But the poor, little duke who should choose this victim, little does he know… our duchess is a murderess— as his luck should go… Extract: ‘Nectar’ Thawing nectar on my lips, let this not be our last kiss. Hold me tightly, close to you. Feel one rhythm beat again from two. Sugar sweeter once before, show me love awaits once more behind this kiss of honey blue. Soaked my skin in saccharin, glazed his love-yous with black lies, lulled my butterflies to sleep, and with blue nectar bound my eyes. 'Labour' Bleach-white walls, and freezing room. They gather around my bed. Electric shock. Jolt. Convulse. No life within it yet. Regulated ventilation. Coffin made of glass. Death-kissed body crimson. And the wait’s over— at last. CLICK HERE TO ORDER YOUR PERSONAL COPY TODAY SEE ALSO Click on a title below to see more information, excerpts, and purchasing options. THE EXPLOSA SERIES Visit My Bookstore

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The Live Performance Mentor Analyses STALLED: THE MUSICAL, The King's Head Theatre, London. I have really mixed feelings about this performance, notably due to the significant shift in emotional truth, authenticity and performance style that occurs at the midway point. Suddenly, there is a clever clashing climax in the stories of the characters — but chiefly in those of Cynthia (Josie Benson) and Emma (Grace Venus), and Maggie (Lauren Ward). Indeed, I even observe that the performers themselves could connect much more deeply with their characters in the latter part of the performance too, with a definite increase in conviction and credibility. Before this shift, material certainly feels rushed and indecisive, favouring fast pace, caricature and humour over character depth and development. With a performance like this presenting such varied characters and their stories, a certain reliance often arises upon cliché and caricature — to prevent an audience from losing track and to communicate information quickly and clearly. This is certainly the case for this performance which quite routinely feels commercial and stilted — especially in choreography. However, when the text does really dedicate some well-needed time to each of the characters, that aforementioned [positive] shift occurs, and the material is far more fruitful. Whilst depictions of autism, for instance, remain quite stereotypical and somewhat superficial, it is the interactions between the characters that really serve as its major selling point. Ward portrays her character with a truly commendable accuracy and with conviction, dedication and understanding. Her work here has the potential to be truly very moving [as it certainly was for me]. And this goes hand in hand with an effective character portrayal of grief and bereavement in the text itself. Whilst elements and techniques surrounding this portrayal are very predictable and hence somewhat inefficacious — that Rebecca-Jo Roberts should be the ghost of her daughter, Robin, for example, lingering to give her advice from beyond the grave — Maggie's stagnancy, in particular, is very well communicated and most effective, along with her fixations and poetic-vs-absent relationship to her own grief. Character voices are extremely well differentiated, pairing well with the overall cast's excellent portrayals. I would just pay attention to how the characters truly relate to and progress the overarching themes and narrative of the text. Namely, Krystal's (Regina Co) and Serena's (Evita Khrime) stories are distinctly different — both in written content and in their portrayal in performance — only loosely related to the main narrative by the themes of loss and motherhood. On the topic of Serena, the incorporation of spoken word convolutes performance style quite significantly and, simply, dilutes the material in its repetitiveness and esotericism; the spoken word work in this performance is simply quite weak and needs to be reconsidered. There were quite a number of technical difficulties for the particular matinée I attended — lavalier microphones not working, unsynchronised lighting transitions, etc. — and these certainly ought to be addressed. Also, realism would certainly have been achieved with working spray bottles, mobile phones that are actually switched on and displaying something relevant, and [most of all] working taps. Mime has no place in a performance with such elaborate theatrical properties like this one; it is most destructive of illusion where very simple solutions may be conceived and allows for a stylistic inconsistency [toilet rolls, hand tissues, bins, cubicles, hand lotions…but no running water]. This is a play set in a public toilet, after all; running water should be a must in its design. This premium public analysis ends here. A further analysis may be requested (see below). [Further Analysis] For the Creatives Behind this Performance: Additional Notes Are Available on… Please contact Lee James Broadwood via contact@leejamesbroadwood.com Premium and private analyses are deliverable within 48 hours of their request. Request a Performance Analysis This public analysis was produced at the request of the creatives behind this performance. To request your own (public or  private) analysis, please click the button below. -

The Live Performance Mentor Analyses BEFORE I DIE, The Cavendish Arms, London . There is a certain clunky disorganisation to this performance which could be successful in a different, more deliberate context, but it serves here as this performance’s major downfall. Firstly, there is a semantic confusion with the purporterd form of the performance: cabaret. I can certainly understand the attractively pompous and extravagant connotation of a ‘cabaret’, and the cosy-lounge and fourth-wall-breaking style, that all together led to using the term as a descriptor of this performance, but this performance is certainly not a cabaret but a simple medley concert, especially given that the vast majority of this work is performed sitting down. Thus, from the very beginning, we have a misleading title and promotional material. Secondly, the very purpose of this performance is communicated differently at the very beginning vs throughout: is it to create one’s own artistic opportunities because there are so few out there, is it to look good for an Arts Council application, or is it to secure an artist’s visa? Lastly, we have the consistent performance-based mishaps upon which I shall elaborate below.  These significant concerns remain such without a noteworthy degree of irony: we must feel that the performers are describing themselves and their work ironically ; that the work is of high-quality and is deliberate , well structured, clever and refined; and that the mishaps and misuses are pre-determined and rehearsed aspects of the performance, serving only to accentuate the integrity of the work. When we have faltering vocals, forgotten lyrics, stumbles over set pieces, missed cues, etc., and this is not ironic , it is easy as an audience member [with no internal familiarity with the performers] to feel cheated of one's money and time. It is easy to feel that the performers are, indeed, just ticking a box for a funding application or doing the bare minimum to evidence the propriety of their stay. [NB: This is the impression, of course — an inoffensive reading and not truly evidenced as the reality.] There are some very tender moments in this performance where emotionality pairs well with refined and controlled vocals, most notably in Kelsey Marlowe Jessup's parts. The desire to include and interact heavily with the audience is also a good direction for this performance, though this feels indecisive in the first segment, and so there is too extreme a shift when we are invited to sing ‘When I Grow Up’ in the second [a section of participation that really ought to be a lot shorter, I may add]. The underlying concept, regardless of its articulation and form, is most inviting as well, but this is certainly overclouded by inconsistencies in reason and delivery. For Kira Gaudynski , I would really recommend singing in a lower register, especially as currently there is an over-reliance upon the head voice, which causes notes to either falter with a strain of the vocal cords or to be projected nasally — both most common to this performance, where pitch has been prioritised over tone. I would also pay attention to note accuracy, as there is often an inaccuracy of a half- or whole step, and there is a particular tendency for control to falter when scaling up abruptly seven whole steps or higher. For Marlowe Jessup , some very strong vocals at times; I would just be wary of the overuse of vibrato and the control over notes leading up to and succeeding its usage, which are often quite shaky. To sustain the note and introduce vibrato further into the notes at the end of verses would have a greater, punchier effect and would demonstrate further control. This standard public analysis ends here. A premium analysis may be requested (see below). [Premium Analysis] For the Creatives Behind this Performance: Additional Notes Are Available on… Performance Styles: Significant Clash Between the Two Performers. Onstage Personae and Their Communications. Structuring Narrative Work and Autobiographical Material. Incorporation of the Pianist. Use of Space: Topography, Use of Properties and Choreography. Audience Participation: Agency and Invitations. Backstage Etiquette. Premium analyses are delivered privately and are deliverable within 48 hours of their request. Request a Performance Analysis This standard public analysis was produced at the request of the creatives behind this performance. To request your own (public or  private) analysis, please click the button below. -

The Live Performance Mentor Analyses LEARNING, Upstairs at the Gatehouse, London. Photography Credit: Sebastian Gonzalez. In the post-show Q&A, a few things came up that really resonated with some of my readings of this performance. An audience member described the performance as ‘anti-religious’, and the playwright, Francesca Rose, herself described early drafts of the text as ‘rants’ and ‘monologues’ and stated that she was worried that the performance would be unpalatable and rather lecturing. Indeed, there is an element of expounding and verbosity in this text that divorces it greatly from its otherwise character-based plot. There is also, indeed, a significant imbalance in the arguments against vs those for Jewish practices/rituals, with these ‘ranting monologues’ — to associate Rose’s own description with Debs’s loquacious and angry speeches (Gemma Franco) — constituting the vast majority of the text.   Debs’s anger is unmatched and significantly unquestioned; she speaks, uninterrupted, with Jonathan prompting her: “help me understand.” Conversely, she denigrates him and his decisions, does not prompt him to expand on his reasonings, and dismisses his every attempt to express himself and his ideas. This anger is unparalleled; we are not introduced to the beauty and intrigue that convinces Jonathan so much, and so, rather than an inquiry into Jewish practices, rituals and customs, their fairness or their dubiousness, we are left only with this resounding anger. Metatheatrical decisions also do not soften this sense of frustration and, sometimes, even rage.   Of course, we understand that Jonathan is in favour of Judaism, its cultures, its ideals and its teachings, but the text does not — and deliberately, it seems — provide extensive, articulate and eloquent reasonings. Perhaps this could be avoided by more profound explanations from Jonathan (Nick Delvallé) as his Jewish learning  develops, as, currently, this imbalance is unaided by the fact that he is a born-again Jew and does not have sufficient wisdom/understanding to support his claims.   Alternatively, there does not need to be a balance, and the play has every right to be explicitly exploratory and reprimanding of Jewish teachings and ritualisations, chiefly because this is reflective of the playwright’s own experience and perspective. However, it is imperative that this chosen imbalance be decisive and deliberate, with reason and purpose. At the moment, its voice is unclear both structurally and stylistically. What is the play really saying? Because the spokesperson for the play’s inquisitions is a frustrated and resentful Debs, the text cannot exploring or inquire but can only reprimand. Indeed, it could be far more thought-provoking if questions were asked and left unanswered, as opposed to handed to us in Debs’s lectures.   Regarding style, then, the performance is divisible into three main forms: sterile and essay-like reflective segments, dance work, and character-based narrative. These three styles seem to clash significantly with one another in the manner in which they desire to express the underlying material, and this leads to stylistic inconsistency. The former of these styles, however, takes notable precedence, and we often find in scenes of the latter form its strictly formal language and direct audience address type resurface and consume. This is intensified with the two actors – but most frequently, Franco — awkwardly and robotically turning away from one another to face and deliver the lines to the audience. Structure and its ornamentation ought to be carefully reconsidered to rectify this clash.   The content is incredibly thought-provoking and appealing to non- and ex-/believer communities alike, either for its direct relatability or in the breakdown of the couple’s relationship for diverging needs. Its themes are engaging, enjoyable, sincere and articulate, and it is clear that its creatives have really digested and understood the significance and meaning of the material, communicating it decisively. This standard public analysis ends here. A premium analysis may be requested (see below). [Premium Analysis] For the Creatives Behind this Performance: Additional Notes Are Available on… Plot Structure and Stylistic Consistency. Maintaining Realism and Authenticity in Character Speech. Set Design: Spatial Arrangements and Topography. The Effects of Direct Audience Address in this Performance. Characterisation, Character Profiles, and Acting Styles — Detailed Feedback Per Actor . Premium analyses are delivered privately and are deliverable within 48 hours of their request. Request a Performance Analysis This standard public analysis was produced at the request of the creatives behind this performance. To request your own (public or  private) analysis, please click the button below. -

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