MELODIC, CLEVERLY WRITTEN
Written by Mike Hatchard and performed by Mike with Alan Barnes, Beyond the Looking Glass came to the Underground Theatre and it was a revelation. It's not always easy for an audience to sit through an entire evening of new and unfamiliar music, but Mike Hatchard's suite, which took as its inspiration the writing of Lewis Carroll, was never heavy going. Melodic, clever, at times fiendishly difficult for the musicians, but always entertaining, Beyond the Looking Glass was a breath of fresh air. Multi-instrumentalist Alan Barnes had brought with him alto and soprano saxes, clarinet and flute, and played - as ever - sparkling solos throughout. Pianist Mike Hatchard provided the links and contributed vocals. Many of the songs used Lewis Carroll poems as lyrics but there were a handful of instrumentals as well. One such was Alice, a fabulous, haunting tune that captured the dream-like quality of Carroll's heroine perfectly. Beautifully played by both musicians it featured Alan Barnes' alto sax in a sweeping solo with some lovely glissando passages and echoes of other tunes that hovered just out of reach. Hunting the Snark became a ragtime clarinet solo with a bit of stride piano and there was a Latin feel to the soprano sax on Curiouser and Curiouser. White Rabbit opened the second set with a seemingly impossible alto sax part which gave the audience something to cheer about and was followed by the lovely Father William - standout performance of the night by both Mike and Alan. Lewis Carroll's strange and wacky lyrics to Jabberwocky were set against a flute solo of amazing complexity, swapped for alto again on The Walrus and the Carpenter. Taken as a whole, this was Mike Hatchard at his compositional best - a rich mix of daring styles, but always with jazz at the heart. Both musicians performed wonderfully and the whole thing was laced together with Mike's observations on Lewis Carroll and his own funny and lively banter. It was a hugely enjoyable evening full of the unexpected and the unknown, and one to savour.
Annette Keene
Eastbourne Herald November 2004

Mike Hatchard's setting of Edward Lear's songs are quirky and vibrant. There is a strong undercurrent of Jazz (as you might expect from a man who has worked with Barbara Thompson, John Dankworth and Tina May) but there are plenty of other musical styles on display, ranging from 50's rock and roll to contemporary pop ballad splashed with traditional folk along the way. Lear's life is discussed by Hatchard in his usual inimitable (and we don't use the work lightly) style, and the icing on the cake is a Victorian Magic Lantern.
Chiddingly Festival

Edward Lear goes to Tin Pan Alley and finds himself collaborating with Paul McCartney, inventing rock'n'roll, and becoming a prolific jazz lyricist. ...A show which not only celebrates Lear's genius for escapist verse but also presents a mini-documentary on Lear's life and times with slides, chatty personal insights, and even a diversionary example of the limerick's presence in Beethoven's works.

Messrs Daddy Longlegs and Floppy Fly become believably hip groovers and The Jumblies' trip to sea in a sieve sounds like a genuine traditional folk song. It's all great fun and if you're prepared to sing "icky wicky dicky woo" and cheer every time the word "runcible" crops up, you'll enjoy it all the more.
RATING: DELIGHTFUL
Rob Adams, Fringe Review

SIZZLING FORM
Menuhin Meets Grappelli at the Under Ground Theatre
Mike Hatchard's Menuhin Meets Grappelli show is an absolute winner. Five talented musicians who really know their stuff, lots of good-humoured banter and a relaxed style of delivery - little wonder then that there were many amongst the Underground audience who came out at the end saying it was one of the best shows they'd seen anywhere. Mike Hatchard (taking the Grappelli part of the partnership) was in sparkling form, matched brilliantly by former Menuhin school pupil Beverley Davison. Deputising in the show at very short notice, Beverley gave a terrific performance that was impressive both for its expertise and for sheer zest. Steve Thompson (bass) and Piers Clark (guitar) provided the rhythm section that underpinned the whole thing and singer Angie Mills completed the line-up and gave her usual flawless performance. The whole programme was immensely varied in its different line-ups and the versatility of the musicians - Mike Hatchard played violin and piano (both together at one time), Steve Thompson double bass, guitar and piano. There was anything from one to five musicians on stage at any time and the permutations seemed endless. Whilst there was no attempt at impersonation, inevitably the style of both musicians was evident throughout and much of the programme had connections to them. Two Django Rheinhardt compositions were included, the first of which was Minor Swing with both Beverley Davison and Steve Thompson in sizzling form. Autumn Leaves started out with two violins and a classically framed introduction but became a swinging trio interpretation with Mike on piano, and the same line-up played Lady Be Good - a number featured on the famous Parkinson show that brought Menuhin and Grappelli together. The Basie band number Until I Met You was the perfect vehicle for Angie Mills' lovely voice and crisp diction and a super way to end the first set. Getting the band back on stage after the interval was a gradual process. Steve Thompson played Nuage as a stunning guitar solo to open the second set and he was joined on stage by Mike Hatchard for I Can't Get Started. Guitarist Piers Clark made up the trio for Tea for Two, Beverley Davison made it four for a spirited version of I can't Give you Anything But Love and Angie Mills returned to complete the line-up and sing They Can't Take That Away From Me. They were never going to get away without an encore at the end and Nothing's Impossible was certainly apt - for this band, on this night, it seemed that musically nothing was impossible.
Annette Keen
Herald, Friday May 9th 2003

Mike Hatchard has emerged as a musician with a rare talent to truly entertain. Few successfully combine such technique and musicianship with comedy and real humour. He has an easy, affable style of presentation which immediately charms his audiences, creating an atmosphere of expectation from the moment he steps on stage.
Evening News

Mike Hatchard provides a perfect jazz sound for any event with trio styles from Nat King Cole to Jamie Cullum. His vocal repertoire includes hundreds of evergreens by the likes of Cole Porter and Irving Berlin, plus everything the Beatles ever recorded. For lounge and cocktail jazz including 'Rat Pack' style songs and tunes, the unique vocal and varied instrumental styles, the vast range of music and the sheer virtuoso musicianship of the band makes Mike Hatchard and his Trio the first choice.

...It was all held together by Mike Hatchard's warm rapport with the audience and his undeniable talent as a pianist who can cross many stylistic boundaries.
Eastbourne Herald