Festival Day 10 – The FINAL DAY

Well, we made it – without strangling one another, which is pretty good! Two events today – the second day of the Party in The Park, more correctly known as “Voices in the Park”, and the presentation of the Barry Arts Festival Composition, by its author, Chris Young.

The day started better than yesterday in weather terms, and by mid afternoon, we actually had sunshine and shadows! The grass was still damp after the deluge yesterday, so anybody who hadn’t taken anything to sit on would find themselves suffering from “rising damp”. I was on duty at Windsor Road Church removing some of the exhibits, and by the time I got to Victoria Park, I had missed Indigo Ribbon, and Suzannah Jayne as Whitney Houston, and I just caught the tail end of Tim Reynolds as Michael Buble (and other legends, apparently!). However, I did catch Duncan Creasey as Freddie Mercury, and finally, Barry’s very own Phantom of the Opera, Peter Karrie. The three that I saw were very good, and I’m pretty sure that the two I missed were equally impressive – but you can’t have everything!

As well as the performers, the floor show was pretty good – the two young “special effects girls” with their huge soap bubble wands, the two Yorkshire Terriers that were tearing around, interested in everything including the performers, and some of the dancers in the audience.

This was how it was supposed to be – good music, sunshine, and lolling around in the grass. There was a good crowd, quite happy to join in, and it was great. Many thanks to all the people that organised the event, especially Sarah and Duncan Creasey of PUKKA Productions, and Jon Greatrex, manager of Victoria Park.

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Later that evening, a select crowd gathered at The Ship Hotel, to hear the first public performance of the Barry Arts Festival Composition. Entitled “Bricks and Mortar”, and written and created by Chris Young, the piece consisted of music and lyrics mixed in with sounds recorded in an old house on Gladstone Road. Chris had lived in the house for many years, and this piece was heavily influenced by his memories of the house. The audience had the opportunity to ask questions afterwards, and Chris explained some of the sounds and techniques used to create the music. Dot asked “why does the music sound elegiac”? I asked “what does elegiac mean”? I managed to get the gist of what was being discussed when they compared sections of the piece to Gregorian chants, so perhaps there’s hope for me yet. An evening in a room with a magnificent view of the Old Harbour at High Tide, listening to beautiful, haunting music, with a glass of lemonade – brilliant!

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