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Jamie Samuel and Megan Winterburn in The Incident Room: photo Guy Sanders
It is the stuff of horror movies - unknown killer who mutilates his victims. Except this is no work of fiction but historical fact. It is the case of The Yorkshire Ripper, Peter William Slutcliffe, who took on a legendary and undeserved persona, much like his predecessor Jack The Ripper, as the press and public strove desperately to expose his identity over his five year reign of terror. There had been numerous theories, accounts and accusations until his long awaited arrest where all could breathe more easily, knowing at last he had been incarcerated despite being interviewed on nine previous occasions and released each time.
Co-directed by Beth Flintoff and David Byrne, The Incident Room written by Olivia Hirst with David Byrne approaches this moment in history from the angle of the West Yorkshire Police team who were criticised for their failure to catch Sutcliffe over a bungled and inefficient investigation. Was this prolific serial killer caught by the perseverance and tenacity of the force led by Inspector George Oldfield and its sergeant Megan Winterburn and Detective Sergeant Dick Holland? It would seem only partly so. Found guilty in May 1981 of the 13 violent murders, Sutcliffe had been able to continue on his rampage because of the inefficiencies of the team and his capture was possibly a lucky break. His arrest can be attributed to two bobbies on the beat who were carrying out their routine rounds when they saw this suspicious individual and apprehended him, ultimately leading to his conviction.
As researched by the Creative Team, despite his incarceration, there would be no peace for his victims. Not for those who worked the case and who would forever be haunted by self-recrimination, regret and guilt; not for the one survivor Maureen Long who craved anonymity and normality but would never achieve it and not for the journalists, friends and family who were caught in this web of horror.
Most poignantly in the final moments of this devised drama was the scene with Megan and Maureen as they rued the lost lives of these 13 women: of the dances they would never enjoy, of the shopping they would never do, of the waiting for buses that would never be or the fun times with friends that they would not share. And all because of the bungling investigation, missed clues and blind sightedness of those responsible for the chase.This was a powerful epitaph written touchingly by Hirst and Byrne, capturing the raw emotion of this heartbreaking story of lost lives and freeing it from the filing cabinets of the incident room. Maureen would always be a victim, despite her surviving the attack; Megan too would be a victim to the guilt and oppression experienced as a woman in a male dominated force and the deaths of the 13 women would be an eternal stain on the police force.
In Patrick Connellan's set full of filing cabinets, creaking at the seams with unfathomable quantities of paperwork that would need to be sifted through in their quest to capture the murderer, the strain and frustration of the hunt was etched clearly on the faces and in the movements of the cast. The New Diorama Theatre affords a proximity in its studio layout and is an ideal setting for this production, allowing the audience to share those moments and to engage with the actors.
In tune with the 70s, the production has captured the male toxic machismo of the day and the misogyny that prevailed in so many formal institutions, in particular the police force. Unlike so many productions that we see in theatre and on television, where women take lead roles and supervise their male teams, this was not the case back in the day. Women were fighting for equality and inclusion and this strand forms a central theme here. Megan was a victim of male prejudice and the murdered women were likewise.
Such was the arrogance and bias of the force at the time, who laid blame on the sex workers as 'asking for it' because of their life style and so denied the investigation the gravitas it needed, missing so many initial clues. It was not until the murder of 16 year old Jayne MacDonald that they stepped it up a notch, shown clearly in Inspector Oldfield's comment that it was time to take things more seriously 'now that an innocent woman is dead'. Such blind judgement was unforgivable and contributed to what might have been avoided.
Thoroughly researched, effectively staged and played with conviction by the devising cast of 7, this 2 hour plus production was a powerful homage to the memories of those women and to what might, no should, have been. The Incident Room is a powerful drama that deserves a place in our theatre as an acknowledgment to those victims who were so betrayed.
Listings
New Diorama Theatre, 15-16 Triton St, London NW1 3BF - close to Warren Street/Euston Square stations.
Playing until 14 March 2020
Tue - Sat 19:30 hrs Sat afternoon 15:00 hrs
Running time: 2 hours 25 minutes (including an interval)
Ticket price £16
newdiorama.com
Tel: 0207 303 9034 -
Paul Hunter (Albin), Mark Cameron (Zorba) and Michael Matus (Georges): Photo Mark Douet
La Cage Aux Folles/The Birdcage, call it what you will, but of course we have (most of us) seen it as the Jerry Herman/Stephen Sondheim musical, as a film with Nathan Lane and Robin Williams or as the play in its own right. Simon Callow, veteran and beloved actor, has offered a new translation of this fabulous, laughter packed story, keeping close to the original premise of Jean Poiret. Directed by Jez Bond and starring Michael Matus as Georges, Paul Hunter as his partner Albin and complemented by Sarah Lam, Syrus Lowe, Peter Straker, Mark Cameron, Arthur Hughes, Simon Hepworth, William Nelson, Georgina Ambrey, Louise Bangay, Paul Hunter and Peter Straker this adaptation is making its appearance at the fabulous Park 200 Theatre in London's Finsbury Park, where the audience can get up 'close and personal' to the glitz of this entertaining production.
To recap, nightclub owner Georges and his dazzling drag artiste partner Albin are notorious for their spectacular shows in St Tropez. Their home is all embracing of their sexuality, no closet here. Enter their straight and dare I say utterly selfish son, Laurent, who is to be married to the daughter of an intolerant right wing politician who, with his wife, is determined to clean up the town. And so begins the farce. Anxious to protect Laurent and ensure his happiness with his fiancée, Georges and Albin must play the straight game to convince their prospective in-laws. Sadly the closet must be forced which goes against the very essence of their being and compounds their generosity of spirit. Of course this cannot work - so let the laughter begin.
Opening onto an opulent drawing room in sunny St Tropez,we are treated to deliciously camp trimmings and Norma Desmond staircase, resplendent with portraits of many an idolised Hollywood star and surrounded by Art Nouveau knick-knacks. This is the glitzy realm of Georges and Albin. And it is not just the apartment that is sparkling. The costumes glitter splendidly as does the portrayal by this delightful cast. What's not to like! Tim Shortall certainly went to town with his luscious set design and costuming.
Despite a few hiccups along the way, there were strong performances particularly from Michael Matus, Paul Hunter and Syrus Lowe. Body and soul were thrown into the ring and they gave it their all. The sight of gay butler Jacob (Syrus Lowe) struggling to walk in his 'man shoes' and giving the impression of Julie Walters in her role of Mrs Overall still has me laughing, some 24 hours later. Equally the macho butcher Zorba expounding the beauty of fine art as he strutted around the set in blood soaked aprons; terrific performance by Mark Cameron. Exhausting performances but exhilarating nevertheless. Feydeau would have been proud, particularly towards the end when it all turned on its head. But enough of that, you will just have to see for yourselves.
Be prepared for 2 hours of fun and farce. I don't think I can better the thoughts of Callow: 'La Cage Aux Folles is a great - and brilliantly funny - play about living the life you want to live. It's also a bit of an eye-opener about what it was to be out and gay in the early seventies. It's zany, outrageous, mad. A rampant and sentimental farce.'
Listings
Venue: Park200, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP
Dates: 12 February - 21 March 2020
Age guidance: 16+
Performances: Mon-Sat evenings 7.30 pm. Thurs/Sat matinees 3.00 pm. Audio Described Wed 18 March 7.30 pm.
Prices: Standard: £l8.50 - £32.50; concessions £16.50 - £23.50
Booking: www.parktheatre.co.uk tel: 020 7870 6876 (10% telephone booking fee, capped at £2.50 per ticket) -
Loneliness is the scourge of our society. We may not be alone in the world, and have family and friends, but technology and the pressure of modern living often mean that we forget how to communicate.
Such is the idea behind Sally Abbott’s bittersweet play about people who struggle with relationships. It is about letting go and holding on, and Frantic Assembly’s production (with the Theatre Royal Plymouth and Curve) conjures up a fractured society, illustrated by Ella Wahlstrom’s discombobulated soundscape and Morgan Large’s set, which consists only of huge oblongs of opaque glass, implying the barriers people create for themselves. However, a significant part of the play is taken up with the actors pushing these obstacles around in a sort of bizarre dance, and although they are meant to set each scene, I found this distracting and awkward.
I have no such qualms about the performances, however. In spite of the lack of any traditional set, every well-rounded character totally draws you into their story. They may have trouble expressing themselves they actors certainly don’t. Not one of them failed to leave me with a lump in my throat.
There’s Chizzy Akudolu as Josie, a mum who mourns the death of her dog more than her father, while holding on to her son Manny ( Caleb Roberts) who is fighting against going to university; Charlotte Bate as hospice nurse Ange and her alcoholic sister Clare (Polly Frame), who haven’t spoken to each other for years; Bex (Simone Saunders), who is facing cancer with positivity, and cabbie Graham, played by Andrew Turner in a performance I found most moving as he visits some very dark places.
All go on huge, heartrending journeys, which many audience members may identify with. But such is the skill of Sally Abbott’s writing and Kathy Burke’s co-direction that every downer is swiftly followed by an upper and I Think We Are Alone is beautifully balanced between pathos and humour.
I Think We Are Alone is at the King’s Theatre, Edinburgh until Feb 22.
It then continues touring:
Feb 25-Mar 21: Theatre Royal, Stratford East
Feb 24-28: Curve, Leicester
Mar 31-Apr 4: Nuffield Southampton Theatres
Apr 14-18: Yvonne Arnaud Theatre, Guildford
Apr 21-25: Northern Stage, Newcastle
Apr 28-May 2: Bristol Old Vic
May 5-9: Oxford Playhouse
May 12-16: The Lowry, Salford-
Clare Brotherwood - 0 comments
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I never know what to expect when I get the chance to review and some of the time a play exceeds my expectations. Blithe Spirit was one of those.
The playwright Noel Coward is widely known as a genius and as he was born in my local area, I knew it was going to be busy. Then I heard Jennifer Saunders was in it too, and I knew tickets were going to be in demand, and sure enough there wasn’t a spare seat to be found.
I’m always delighted to see some effort in a stage set as that’s the first thing you see and transports you into the environment of the story and you’re going to spend a few hours looking at. In this case the set was brilliant. The interior of the manor house where the “spirit” is going to arrive was carefully constructed with so much detail. An old fashioned record player, typewriter, radio, several grand period works of art, a library filled with books and on two levels.
Lighting too was impressive. I thought the lighting when we first view the spirit was particularly effective. It sent chills down the audiences spine as she enters unexpectedly. When someone turns up a light switch the front of house lights came on, then when the spirit arrived in the room several wall lights flashed intermittently. A great job and not something you usually spot.
So with both the set and lighting getting first class mentions, I could continue with lots of positives in the cast, direction and the play itself. It was a wonderful treat from beginning to end and I was smiling from beginning to end wondering how it would proceed and my feelings of spirits. Jennifer Saunders, who plays clairvoyant Madame Arcati, was fully in character from beginning to end and it’s clear why she’s been around since the 80s. She works very hard and has great stage presence. Her supporting cast are all superb and bring their A game to the performance.
It’s hard to believe that this classic play was written in May 1941. Noel Coward had been at a public séance as a boy and the idea came to him when he was visiting the seaside village of Portmeiron for a week long holiday. He wrote it only six days. Five weeks later it was being performance in Manchester.
This play is great fun. The effects, a fantastic story, great cast and first class production team make this one of the best plays I’ve seen for a while.
Go buy tickets for Richmond this week, or see it when it comes to the West End at the Duke Of York’s Theatre for a longer run in March.
Get West End tickets here:-https://www.lovetheatre.com/uktheatre/tickets/23232/Blithe-Spirit
Review by Douglas McFarlane, founder of UK Theatre Network.
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Douglas McFarlane - 0 comments
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Ok folks show of hands who wishes they had been to be more confident at school, pretty much everyone right? and if there was something you could have done to change that, wouldn’t you at least be tempted...
With that in mind meet shows main character: Socially awkward teenager gamer Jeremy, Jeremy wants to impress popular drama student Christine, so when School bully Rich tells him about a pill called a squip that implants a Japanese super computer into his brain that will teach him how to be popular Jeremy decides to give it a try.
Once implanted the squib teaches him how to act cool and impress girls, but when it encourages him to ditch his best friend, Jeremy begins to realise the device may not have his best interests at heart...
It’s a coming of age story with the classic message: if you want to get the girl, be yourself and don’t ditch your friends, on stage it’s basically ‘Limitless’ meets ‘High school musical’.
Ok so there’s nothing original here, but that doesn’t really matter when what you do have is a cute, funny well crafted, production with a great cast who really seemed to be enjoying themselves on stage Stewart Clarke was great as the evil mind controlling cyborg but my personal favourites were Christopher Fry who played Jeremy’s depressed Dad and Blake Patrick Andersen who plays Jeremy’s best friend Micheal and also an excellent cameo role as the shoe store drug dealer.
If you like musicals and want a light hearted feel good romp or heaven forbid you have to entertain a teenager for whatever reason, you could do a lot worse than this show.
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Siwan hill - 0 comments
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Josh Barrow and Elliot Liburd as Nemo and Daz: photograph Gail Harland
On the Norfolk coast is the quintessentially English seaside town of Cromer, once home to writer James McDermott. Not a trendy night club society but more a traditional family holiday location where English 'caffs' sell English home produced fare on checked plastic tablecloths. Most famous for its pier, fishing industry and the Cromer crab, this town is quaint and charming but also struggling against the onslaught of coffee and supermarket chains which threaten the very existence and traditional livelihood of the locals. Do the residents stand back, accept and embrace the changes or do they resist them and fight back? Such is the setting of Time and Tide directed by Rob Ellis and starring Wendy Nottingham as May, Paul Easom as Ken, Elliot Liburd as Daz and Josh Barrow as Nemo.
Coming from that area, McDermott has painted a picture of a town struggling to survive against the tidal onslaught. Frustrated that so many productions portray working class life and characters as stereotypes in over-exaggerated plots, he is intent on offering a reality of their mundanity, where nothing much happens and where routines and rituals are their norm.
We are witness to the frustrations and fears of the characters as they go forward, facing not only the physical changes that are taking place around them but also coming to terms with the personal challenges that confront them in this brave, new world. Should they push forward or should they retreat and succumb?
May, lovingly portrayed by Wendy Nottingham, has spent most of her adult years caring for her mother. She has taken a new lease of life in her Norfolk home as owner of a small 'caff' depicted beautifully in the small space of Park 90 through the clever set design of Caitlin Abbott. Her caff may not have many customers, it may be potential prey to Pret a Manger, but it holds a special place in her heart. Living on her own this is her life. It is here that she can dream her Bette Davis dreams, where she can sing her songs, knowing that they will never materialise but secure in her fantasies. At the same time she recognises that this does not work for everyone and does not hold back from encouraging her protegee assistant, Nemo taking up a place in a drama school in the metropolis of 'that London' and becoming the next Judi Dench!
Nemo's approaching departure is the catalyst that sets in motion the disclosures that have been so long hidden by the four characters. A major strand in this drama of 'changing times and spreading wings' is the strong influence of his 'coming out' and his decision to move away and relocate. He lacks confidence that quiet Cromer will be quite as accepting of his sexuality and believes London will be more embracing. His friend and co-assistant Daz, who is struggling to accept his own sexuality, is devastated that Nemo is leaving. Add to the mix Ken, a frustrated local baker and delivery man, who is terrified of the changes that are speedily taking place in his beloved Cromer and May, who at last has the courage to 'come out' and we have the exhausting turmoil of this quartet who stand at their own crossroad, evaluating their lives and making decisions on their future.
This is a demanding play of its cast who shift through the various stages of development. At one moment they delight in dance and song, at another terrified of what is to come. Skillfully presenting these interconnecting themes, McDermott has depicted a complexity against which so many struggle as change forces itself upon them.
Moving at a slow pace, the portrayal is effective. Not only are we invested in the characters but also in the setting of the dying caff where the smells of cooking bacon and brewing coffee permeate the intimate space of Park 90. Voyeurs to their lives, it seems that 'nothing happens, yet everything happens'. With sterling performances by these four actors, the shared secrets are authentically presented and this cast was certainly deserving of the standing ovation received at the close of the piece.
Leaving the theatre, I felt the more determined to shun the coffee chains and seek out the independents for my next espresso.
Listings
Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP
Dates: 5-29 February 2020
Age Guidance: 14+
Performances: Mon-Sat evenings 7.45 pm. Matinees Thurs and Sat 3.15 pm.
Prices: £18, concessions £16.50.
Booking: www.parktheatre.co.uk / 020 7870 6876 (10% telephone booking fee)
Running time: 1 hr 45 mins (incl 15 min interval)
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Elaine Pinkus - 0 comments
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This tour has started direct from its London shows and includes many of the West End cast. It is the story of Emilio and Gloria and follows them from their early lives in Cuba to Miami and eventual worldwide success.
This is a jukebox musical crammed with twenty-six tracks, all performed by a superlative band, and is of a higher class than many of the same genre currently doing the rounds.
The diverse catalogue of the Estefans is covered with a mix of the most well-known dance tracks along with many of the quieter album tracks. The latter move the story along quite effectively whilst there is of course the standard finale with a medley of hits and the obligatory ‘everyone get up and jig about for the last five minutes’. Oddly this involved some of the most exciting choreography and most dazzling costumes.
Last night’s show starred understudy Francesca Lara Gordon as Gloria and George Ioannides as Emilio Estefan. Gordon has a fantastic voice, as does every performer here, but is not a natural mover - highlighted by the fact that every other performer is an incredible dancer. Madalena Alberto and Elia Lo Tauro star as Gloria’s parents with Karen Mann as Consuelo carrying some of the best comedy moments.
The hugely talented ensemble have an infectious energy and enthusiasm. The staging is not particularly inspired consisting of a few sliding panels and scene changes but at least the simplicity means that the focus is on the performances.
The story spends a lot of time on the early struggle of the band to gain a foothold in the music business and the issues surrounding the huge difficulties and opposition towards a Latin performer crossing over into the mainstream. This is clearly the focus for the playwright Alex Dinelaris and his admiration for the tenacity and determination of the Estefans and their ability to maintain their relationship throughout all the ups and downs of business and family life very much comes across. The timeline and pacing of the story felt a bit erratic and uneven at times across the arc of the show. Much is made of the road accident and subsequent injury to Gloria and her journey back to full health and performing but this again is obviously Dinelaris’ desire to acknowledge her strength, determination and family bonds.
This isn't a one dimensional show focussing on the music to the detriment of other elements but instead a successfully rounded drawing of characters and events. It's also great fun!
On Your Feet plays MK Theatre until 15 February
Box Office on 0844 871 7652 (booking fees apply)
https://www.atgtickets.com/times/on-your-feet/milton-keynes-theatre/2020-02-13
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Catherine - 0 comments
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Imagine
you’re at a Spice Girls concert, but
this time there are six girls instead of five (or four if Posh doesn’t
show!).
The costumes are raunchy and the
girls have stupendous vocals and tight dance routines with great choreography
all supported by a talented all-girl band.
This gives you a flavour of a night with these “Tudor Spice Queens”, who compete to tell their individual stories
in a competition to figure out who was treated the worst by the womanising King
Henry VIII. From the first second these
girls bound on to the stage they give 150% of high octane energy and you know
you can sit back, relax and have a great time.
In
his final year studying at Cambridge University, Toby Marlow had the idea to
create a musical based on the six wives of Henry VIII presented as a pop
concert and collaborated with fellow student Lucy Moss.
SIX premiered
at the Edinburgh Fringe Festival in 2017 and attracted the attention of Kenny
Wax and Global Musicals, who took the show to the Arts Theatre in London for
four nights. A UK tour followed before the show returned to the West End for a
short run, with a studio recording being released in September 2018.
SIX has now toured in America and
Australia with a stint on the Norwegian Cruise Line and in March 2020 will open
on Broadway. It’s an incredible story of
success that Toby and Lucy could only have dreamed of when they were working on
this ambitious project as students.
I’m
sure most of us know the story of Henry VIIIs wives, Catherine of Aragon
(divorced), Anne Boleyn (beheaded), Jane Seymour (died), Anna of Cleves
(divorced), Catherine Howard (beheaded) and finally Catherine Parr who survived
her marriage and went on to re-marry the love of her life, Thomas Seymour.
SIX gives the Queens a voice. Set as a pop concert, with
the Queens as a girl group, they sing a number of songs including “Ex-Wives”,
“Don’t Lose Your Head”, “I Don’t Need Your Love” and ending with “Six”.
For me the most memorable song has to be “Heart
of Stone” sung by Lauren Byrne (Jane Seymour), it’s a beautifully constructed
song covering a wide range and Lauren gives an emotionally charged performance.
Lauren Drew (Catherine of Aragon),
Maddison Bulleyment (Anne Bolelyn), Shekinah McFarlane (Anna of Cleves), Jodie
Steele (Katherine Howard) and Athena Collins (Catherine Parr) all have equally
superb vocals and the tight harmonies are incredible.
I loved the funky sequined costumes with glittery boots,
designed by Gabriella Slade that allows them to dance and move around the stage
easily and effortlessly.
The whole production
is very tight, energetic, fun and gives a unique twist on Henry’s life hearing
the stories from the Queens perspective.
It’s a wonderful night’s entertainment. The theatre was packed with at least half of
the audience made up of schoolchildren, giving them an insight into history
they’ll never forget.
The standing
ovation was well deserved for this fabulous troupe projecting girl power.
Reviewed by:
Yvonne Delahaye
11.2.20
@yvonnedelahaye-
Yvonne Delahaye - 1 comment
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Elaine Pinkus Great news. I am booked at this theatre so now really looking forward to it.
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The cast of Blitz! enjoying a great knees up: photo Mark Senior
Lionel Bart's follow up to Oliver!, based upon his own experiences as a child in the East End of London during WW11, arrives at London's Union Theatre. This is the second of the Essential Classics Season 2020 to celebrate VE Day 75 years on. Produced and presented by the Phil Wilmott Company, this rare revival of the musical Blitz! may be less lavish than the original but no matter. It succeeds on every level.
Blitz! is a celebration of 1940's London's working class spirit. Against the avalanche of bombs that were raining down on London, Mrs Blitztein, 'Queen of Petticoat Lane', Jewish matriarch and central fulcrum to the society that is located there, is determined to keep her family together, to uphold her Jewish culture and, above all, to not allow any of her neighbours or family to ever go hungry!
In the intimacy of this small London theatre Blitz! opens to the sound of air raid sirens as the locals meet at the shelter of Petticoat Lane underground station, where they are preparing to spend the night. Located close to Southwark Station the gentle rumbling of the Jubilee Line affords a realistic feature to this delightful production, adding an air of authenticity to the setting. With a rousing chorus of 'Our Hotel' the mood is set. This may be wartime but life must be enjoyed and Mrs Blitztein takes care to provide her delicious chicken soup, a panacea to all ills.
Directed by Phil Wilmott, this homage to VE Day is likewise a respectful acknowledgement to the talent of its creator, Lionel Bart. Through his score and lyrics, the stoicism and positivism of that generation who endured the endless tedium of fires, bombing and destruction is captured by the 17 strong cast. This is a company whose enthusiasm is infectious and their delight in performance is uplifting. Putting their best foot forward under the guided choreography of Daniel Maguire, the routines were charmingly played. Likewise, against the band of four musicians led by Musical Director Rosa Lennox, voices soared and harmonised achieving a Blitz! of which Bart would have been proud.
We may recall numbers such as 'Mums and Dads','We're Going To The Country' and the number written by Bart for Vera Lynn, 'The Day After Tomorrow' but other numbers are not so familiar. How could they match up to the well remembered score of Oliver! But that is unfair. Listening to the raised voices of this exciting ensemble as they performed their first number 'Our Hotel' and subsequent songs the mood was established. This was going to be a night to remember, where we would soak up the nostalgia of those bygone days.
Based on his own wartime experiences and with his mother and the Jewish traditions in mind, Bart did not shy away from the conflict in culture between Jews and Gentiles during that period and acknowledged the differences. Strong words were exchanged on both sides, depicted in the flow of insults between Mrs Blitztein and her cor-blimey cockney neighbour, Mr Locke. Yet somehow they co-existed, despite their differences. Ever hopeful that her petty criminal son Harry and her beautiful daughter, Carol, would marry into the faith, Mrs Blitztein has moments of self doubts. Sure, the enforced evenings in the shelter bring together the two cultures but more so is the blossoming romance between their children, Carol and George. Yes, Romeo and Juliet comes to Petticoat Lane but unlike the Shakespearean tragedy, there is hope. The intensity and extent of change due to circumstances beyond their control changes life forever as those who emerge from and survive the blitz, wounded both physically and psychologically, face a new world and a new life.
In close proximity to this sumptuous cast who were clearly enjoying the magical experience of their performance, I am sure they soaked up the bonhomie of their audience. How could we fail to be captivated? With rousing voices and gleeful singing, they performed 'Who's This Geezer Hitler', 'Leave It To The Ladies', 'Is This Going To Be A Wedding' among many more. The effect was magical. Harmonies, smiles and endless energy were engaging and hats off to the talents of the ensemble. This may be a small theatre, and the production may not be as lavish as the original but it was an absolute delight to be so close to the performance and to share the closeness that must have formed during those raids. At one point air raid sirens, at another chit chat among the locals, this offered a realistic insight into the close knit community of the East End of London. For a couple of hours we could cast aside the modern day cynicism and embrace the stoicism and bravery of bygone days; the gung-ho approach to life that kept them going.
In her role as lynch pin Mrs Blitztein, Jessica Martin was sublime. Not only was Bart's mother a huge presence in her community but Martin was the central force of this production. Her performance exuded honesty, truthfulness and integrity through her words, her mannerisms and expression. She was in every way the Jewish Mama, leaving no doubt as to her importance and characterisation. Together with the hugely talented cast, all mutually supportive, the resultant was a refreshingly small scale production that ignored the tricks and tech of so many larger shows, yet achieved more in its honesty. As such the performance relied on the skills and talents of its players and they did not let us down. Their voices soared, their harmonies were exact and the purity of their sound was prevalent, both in the combined ensemble and also in the numbers by Martin, Catlin Anderson and Beaux Harris.
Maybe Blitz! is dated, maybe it was always the runner up to Oliver! but this revival can hold its head up high as a hugely enjoyable and worthy nod to the excellence of Lionel Bart (with Joan Maitland) and to those brave souls of WW11.
And now I could really do with a bowl of Mrs Blitztein's magical chicken soup!
Listings
Union Theatre, Old Union Arches, 229 Union Street, London SE1 0LR
Tel: 020 7261 9876 uniontheatre.biz
Playing until 7 March 2020.
Tuesday - Saturday evenings 7.30 pm
Matinees Saturday and Sunday 2.30 pm from 15 February 2020
Prices: Full price £22, concessions £20,under 18s £15
Unreserved seating-
Elaine Pinkus
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Live Screening of Kinky Boots
Since the National Theatre first started to live stream its shows
in 2009, they’ve reached an audience of over 4 million who may otherwise not
have been able to see their productions.
Live streaming is now a popular way for other theatres to ensure that
shows can be seen not only around the UK, but globally.
The 300-seater Elviga Theatre in Chesham, along with cinemas
and theatres around the UK, screened the West End production of Kinky Boots. The Elgiva is the perfect size to feel that
you’re actually seeing a theatre production live and are part of the audience,
rather than watching on a cinema screen.
Kinky Boots the
musical is based on the hugely successful British film from 2005, written by
Geoff Deane and Tim Firth. It’s based on
real events and tells the story of Charlie Price, who inherits a shoe factory
in Northampton from his father. The
business was under threat of closure as people’s tastes changed, so Charlie
comes up with a unique solution to transform the factory’s production and keep
everyone employed. With the help of drag
queen, Lola, who becomes the designer, they produce their specialist “kinky boots” and the business is saved.
This heart-warming story was brought to the stage with music
and lyrics by Cyndi Lauper and a book by Harvey Fierstein, opening in Chicago
before running on Broadway from 2013 to 2019.
In 2015 the musical opened in the West End and in 2016 won three
Laurence Olivier Awards including Best New Musical.
Live screening makes the West End accessible to everyone for
a fraction of the price and you can now see opera, ballet, concerts as well as
theatre shows. Check out what’s coming
up https://elgiva.com/genre/live-stream/
Reviewed by:
Yvonne
Delahaye
4/2/20 @yvonnedelahaye
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Yvonne Delahaye
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I had to take the day off after seeing Peter Pan Goes Wrong
the night before. Obviously my ribs were aching from laughing so hard but in
truth I was still sniggering and snorting so much I couldn’t bear my colleagues
demanding what was so funny.
Peter Pan Goes Wrong is not just Very Silly, it’s Very
Silly Indeed; a brilliant and very English combination of panto, Python,
physical comedy, sight gags and sheer embarrassment.
It’s the first night of the Cornley Polytechnic Drama Society (a staple vehicle
in previous Goes Wrong stage productions and TV show) production of Peter Pan
and the audience enters to an army of stagehands in the auditorium attempting to
fix the shortcomings of the electrical system with miles of wiring. Tools get
lost, tempers get frayed and the scene is set for disaster.
Any attempt to describe the subsequent action in detail
would rob you of the joy and delight in the craft of the production but any
amateur production that, from the start
involves artistic differences between the director and assistant, sorry,
co-director; an actor with chronic stage fright; a young man who’s only in the
production because his dad is stumping up the cash for the show (last year’s
under-financed Jack And The Bean didn’t play well) and a bewildered thesp who
needs a headset to remember his lines is bound to be doomed. What could
possibly go right?
Some of the stunts look pretty dangerous to the untrained
eye and it’s a tribute to the clowning craft of the performers and the
behind-the-scenes tech team that Act 2 doesn’t take place in A&E on a
regular basis. The script, too, shows some terrific structural touches: there
are lots of things planted in Act 1 that have glorious pay-offs later on.
Adam Meggido directs the 14-strong cast with flair and the
cast responds with boundless energy, essential in a parodic farce such as this.
It’s unfair to single out individuals from this zesty ensemble but Tom Babbage
as the hapless Max wins the hearts of the audience, who, themselves are drawn
into the action.
So you got through dry January? Give yourself a treat with
this intoxicating production. And take the kids!
Peter Pan Goes Wrong is at Milton Keynes Theatre until
Saturday Feb 8.-
Quentin Fox - 0 comments
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Ten Times Table reminds me why I always tried to get out of covering committee (and council) meetings as a young reporter and why, to this day, I still have an aversion to joining such organisations.
Personalities clash as egos run rampant. No-one really knows what they are doing and the meetings go on forever (apologies to those whose committees don’t suffer from these failings!).
The illustrious Alan Ayckbourn wrote this play in the mid-seventies from personal experience, and being the astute observer he is, gets it just right… which is why, during the first half of the first night, I was losing the will to live!
A slow burner this may be, and at first you may not even be at all interested in why the committee is meeting, but the genius of Ayckbourn is his scrutiny of the common man and as his characters evolve I have nothing but admiration for the performances of each and every member of Bill Kenwright’s Classic Comedy Theatre Company.
In the expert hands of director Robin Herford, who appeared in the original production and has been closely associated with Ayckbourn’s work ever since, Ten Times Table is a study of human behaviour and, as such, is both side-splitting and sad.
The plot revolves around the Pendon community who want to organise a pageant based on the massacre of the Pendon Twelve, where the Earl of Dorset crushed an uprising of rebellious workers. Chaired by the affable Ray, the organising committee is made up of Ray’s patronising right-wing wife Helen, Marxist schoolteacher Eric and his two groupies; Donald, a boring councillor who brings along his elderly mother to take the minutes (though how she manages being so hard of hearing!), and failed businessman and husband, Laurence.
My critique of performances has to start with Robert Duncan as Laurence. Though he has few lines, his portrayal of a broken man who is perpetually drunk is heart-breaking and my eyes filled at his every appearance.
Popular Robert Daws, as chairman Ray, is much more gung-ho, at times reminding me of Prince Andrew (sorry!), and does a nice line too in high-pitched squeaks while, as his wife, distinguished actress Deborah Grant is someone I certainly wouldn’t like to get on the wrong side of. Her performance includes some searing speeches and dramatic moments not easily forgotten.
This company originates in Windsor, which houses what was my local theatre for the 30 years I lived close by before moving north. So I’m familiar with the work of most of the actors here, and one of the most enduring is Mark Curry, whom I had trouble recognising in his role as the boring councillor. I would never have put him down as a pernickety mother’s boy – but then, that is acting well done, while Elizabeth Power is wonderfully doddery as his mother. Craig Gazey, as fiery radical Eric, is also nothing like Graeme Proctor, his former, hapless Coronation Street character.
As I said, this is a slow burner, but the play bursts into flame in the final act when all hell lets loose as the pageant doesn’t quite run to plan. It’s an hilarious ending and saves one of the funniest performances to last as Harry Gostelow, as a former military man, takes matters into his own hands.
Image: Pamela Raith
Ten Times Table is at the King’s Theatre, Edinburgh until Feb 8.
Box Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
Feb 10-15: Grand Opera House, York
Feb 17-22: Severn Theatre, Shrewsbury
Feb 24-29: Everyman Theatre, Cheltenham
Mar 9-14: Pomegranate Theatre, Chesterfield
Mar 23-28: Theatre Royal, Brighton-
Clare Brotherwood
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I knew I was going to like it. I'm a fan you see. If you're over the age of 40 you are most likely to be too.
Like most people I watched it with my family and always remember how much fun it was. A few years ago, I then noticed a casting at my local theatre for the stage play. I had to go for it. Being a Scot, it was Private Frazer "We're Doomed". So I stuck a bit of grey colour on my hair, donned the army uniform and had a blast performing the role.
That was the stage play, but how will the "radio show" hold up ? Well, it's different, but equally enjoyable. What you lose out on in a wide range of different characters, stage set, props and action, you gain in sound effects, first class accents and a faster pace.
In just under an hour our dynamic duo, each playing a host of characters, rattled through two radio shows originally written and performed as such. There was a nice surprise at the end which I'll explain at the end of this review.
Meantime, taking on the hot seat with the most difficult range of Mainwaring, Pike and Jones, was Jack Lane often in back to back sentences with each of the characters and having to flit in and out of the high, medium and low tones. He did it with a smooth and comfortable interaction with script, audience and microphone using distance, facial expressions and timing with sound effects as his performance tools.
He was ably supported by David Benson, who took on the Wilson, Frazer, Walker, Verger and Vicar roles. His Frazer wasn't as good as mine of course as a native Scotsman (tongue firmly under cheek), but he got the characteristics of it down well enough with the rolling 'r's and instead of DOOOOOMED, it was EXPOOOOSED. The audience loved it. His Wilson had a perfect tone and pace, and his Vicar/Verger combo was spot on, and got a big laugh on most occasions. This was largely due to the infamous audience member in the front row.
Frank Williams, played the Vicar and was watching on. David announced him at the beginning of the show, to much applause. At 88, he is the oldest of the two surviving members of the original cast. In the Q&A at the end he was asked about Ian Lavender (73) whom he had met 6 months ago.
I was able to film the Q&A which I thought may be quite dry, but it turned out to be an amazing insight which I think fans will like, so I decided to publish it here for that reason.As a fan, it was an incredible night and everyone in the audience felt that way too. The added bonus of a chat with Frank Williams is something that you are unlikely to get but in place there's a 3rd play which you'll get to hear.
Dad's Army Radio Show will be performing across the North and South of England and Isle of Man from now until June 2020.
https://www.dadsarmyradioshow.co.uk/tour-dates/
Douglas McFarlane is founder of UK Theatre Network and former Private Frazer stage performer.
VIDEO WILL SHOW HERE WHEN UPLOADED
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Douglas McFarlane
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The Lincoln Centre Theatre breathes new life into this Rodgers and Hammerstein classic running for 2 weeks at Glasgow's King's Theatre.
Let's face it, "The King and I" is getting on a bit. Originally commissioned in 1950, this classic musical has embarked upon a major tour and you can't help but wonder if it travelled free on the bus! So it was with some trepidation that I attended this production having seen the show several times before and even performed in it as an amateur. The risk was that all those fond, rose coloured memories might be blown away by the septuagenarian reality.
I need not have worried. The production values won me over immediately and the quality of the performances proceeded to take this show to whole new heights! Simply stunning.
Let's start at the top ... Annalene Beechey (as Anna Leonowens) was just perfect. Her characterisation was, of course, immediately posh and principled as you might expect upon first meeting the governess to the children of a royal family. But her relationship with her son and later the children and wives of the royal household quickly soften that persona. Vocally, Ms Beechey hit that oh-so-difficult to achieve sweet spot of perfectly trained clarity tempered by an accessible quality ... certainly not operatic (if that sort of thing puts you off).
Kok-Hwa Lie (as the King of Siam) was wonderfully engaging. His energy was infectious and his sense of fun was there for all to see. The character strikes an almost fearful respect in all of his subjects and yet he retained a child-like inquisitive nature making him incredibly likeable.
Together Anna and the King were ... "something wonderful". The story takes time to develop their relationship. Each argument that they have seems to draw them closer together in mutual respect and, ultimately, love ... but not in the conventional musical sense. The chemistry was magical.
Anna Leonowens was already possibly the strongest female lead character in a musical. This contrasts starkly with the era and stands out as a major theme of the show alongside a fairly blunt anti-racist secondary narrative. Some minor tweaks to the lib have underlined these themes of inequality by highlighting the treatment of women - perhaps to offset some wildly sexist statements from the King and others. This serves to keep the text current and shouldn't upset the musical purists too much.
I'm already stretching the wordcount on this and I haven't mentioned the many other aspects of this show that were great! The supporting cast led by Cezarah Bonner (as Lady Thiang) were very strong. Ms Bonner was a class act in everything she did. The score is, of course, immortal ... but add a harp into the pit and it is elevated to new emotional heights. The simple, solid set was convincing and used to great effect with shimmering light effects transporting us to 19th century Asia. Combined with beautiful costumes and those mesmerising performances you have a show that you can't afford to miss. Don't let this one pass you by!
The King and I
King's Theatre, Glasgow
Tue 28th January - Sat 8th February 2020
www.atgtickets.com/glasgow (bkg fee)-
Cameron Lowe - 0 comments
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Oor Wullie the Musical is part-panto, part-children’s show… on the surface.
But most of the members of the opening night audience were, to put it kindly, older.
For Scots (and The Sunday Post readers south of the Border) have been following Oor Wullie’s adventures for the past 80 years. Voted Scotland’s Favourite Son in 2004, and with public art trails around Scotland last year to celebrate this spiky haired octogenarian (there were 60 sculptures in Edinburgh!), what better time to bring this comic book character to life.
Certainly, those who have been following RD Low and Dudley D Watkins’ creation for most of that time won’t be disappointed with Selladoor Productions and Dundee Rep’s production.
Under Andrew Panton’s direction, it is fast-paced and funny, and though irreverent is never smutty. The songs are catchy and its childlike cheeky humour should appeal to everyone from four to 90.
The plot revolves around (and no surprise here) Oor Wullie’s constant companion – his bucket! When it goes missing he and his pals Baob, Wee Eck and Soapy Soutar, defy the bullying Basher McKenzie, to hunt it down.
To me, growing up south of the border (though only just and I did follow him while as a child in Carlisle), the pals’ madcap antics brought me in mind of Enid Blyton’s Famous Five. It emphasises just how important friendship is, but in today’s troubled society it digs deeper and highlights the trouble Wahid, a Scot whose parents came from Pakistan, has in being accepted, and the reasons why Basher feels he (though a she in this case) is against the world.
Even though Martin Quinn has the starring role as Oor Wullie, every member of Wullie’s gang is equally worthy of praise: Dan Buckley as the lovable Baob; Bailey Newsome as Soapy Soutar; Grant McIntyre who, as Wee Eck, deserves extra praise for having to wear such short shorts and T-bar sandals, and Eklovey Kashyap as the vulnerable and Harry Potterish Wahid. While Leanne Traynor exudes menace as Basher.
But the highlight for me is Ann Louise Ross as PC Murdoch. I don’t know whether it is the company’s nod to being gender fluid, but even though I knew who was playing him, I could never quite get my head round the fact that the policeman was a woman. If he was no longer with us I would have sworn it was Fulton Mackay!
There is no doubting that Oor Wullie is an icon. He is even responsible for helping primary school teachers to teach Scots in a fun way. And this show, adapted for the stage by Scott Gilmour and Claire McKenzie, looks as if, like Annie and Matilda, it could run and run, even if it would only be north of the Border!
Oor Wullie the Musical is at the King’s Theatre, Edinburgh until Feb 1.
Box Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
Gaiety Theatre, Ayr: Feb 3-8
Eden Court Theatre, Inverness: Feb 11-15
MacRobert Arts Centre, Stirling: Mar 3-7
Beacon Arts Centre, Greenock: Mar 12-14-
Clare Brotherwood
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Meet Frankie Foxtone: Property developer extraordinaire, as she takes us on a walking tour/site visit of Waterloo’s vaults to tell us about her exciting new development plans for the area. (Basically tear it down to build luxury flats and a car park.)
During the tour she not only shares her vision but also her business acumen and few personal details...
The shows creator Comedienne Amy Gwilliam has absolutely nailed the character of Frankie
making her both ridiculous, yet painfully believable, in other words the perfect vehicle for this scathing yet hilarious attack on the world we live in, and hilarious is the right word as she will keep you chuckling all the way through. From nervous ‘Are we allowed to laugh at that?’ giggles as Frankie regales us with stories of her business conquests, to great roaring belly laughs as she forces some audience participation in the form of Team building exercises. (Think Ricky Gervais meets The Apprentice)
Then at last high on a cocktail of adrenaline and money Frankie Foxtone leads us towards a spectacular and entirely unexpected grande finale.....
Frankie Foxtone is on the Vaults until Feb 2nd Catch it if you can!
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Siwan hill
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Bourne says The Red Shoes is a modern story of ‘obsession
and celebrity’; it is a melodrama - the
tale of the all-consuming nature of making art witnessed through the life of a
young dancer who makes the wrong choice by choosing art before love, a choice
which leads to her tragic death.
But on the way to
her untimely death, Bourne presents the audience with a wonderful, sumptuous
ballet. This stage production is based on Red Shoes the great 1948 ballet film
by Powell and Pressburger, based in turn on the Hans Christian Anderson fairy
tale. In the Forties’ film the young dancer, Victoria Page, and the young
composer, Julian Craster, are taken on by the tyrannical, charismatic, ballet
impresario, Lermontov. Victoria has her chance to become a star when the prima
ballerina of the company is injured. However, by then she has fallen in love
with Caster, who is composing the score for Red Shoes. Jealous Lermontov
banishes Craster from the troupe, thus setting the stage for the tragedy.
The complexity of Red Shoes is that The Red Shoes is a
ballet within a ballet. The ingenious device of designer Lez Brotherson’s
lavish, moving proscenium arch reveals on-stage and off-stage, beach and
bedroom, Covent Garden and Monte Carlo. This allows a voyeuristic view of the
ballet troupe and the constant mixing of ‘real life’ and ‘art’, and the
incorporation of pastiches of twentieth century ballet give Red Shoes its pace: the juxtaposing of intimate scenes with the
ensemble, the glorious scene in the rehearsal room when the stars, jaded Irina
(Michela Meazza) the camp Ivan (Jackson Fisch) walk through their number
dressed in fur coat and kimono under the watchful eye of the ballet master
(Liam Mower), the ballet on the beach in Villefrance-sur-mer with oversized
beach balls, the solo performance by Victoria (Cordelia Braithwaite) at the end
of Act 1, when the red shoes first show their evil nature, the sand dancers in
desert boots in a seedy theatre in London.
The choreography matches the mood of the scenes
perfectly. There is real tenderness in the pas-de-deux between Craster (Dominic
North) and Victoria and in the trio dances with Lermontov (Glenn Graham) the
battle for control and emotion is apparent. This is reinforced by the wonderful
atmospheric score by Bernard Hermann with arrangements by Terry Davies. The
incorporation of music from the 1966 film Farenheit 451 is sensational.
There are outstanding performances by the lead dancers
but in truth the whole cast are exceptional and bring the dark story to life
with remarkable energy and precision.
The costumes are delightful, the scenery redolent of the times - all in all a
feast for the eyes and emotions.
Matthew Bourne’s The Red Shoes is at Milton Keynes
Theatre until Saturday 1st February
Conditions apply
0844871 7652
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Six the Musical may be taking the theatre world by storm, but it now has strong opposition from six actresses who are currently setting the Lyceum alight with a brash, bold, vibrant, hilarious feast of fun, based on Jane Austen’s classic Pride and Prejudice.
If Austen had been alive today she couldn’t be anything but impressed by Isobel McArthur’s reworking of the story of Mrs Bennett and her attempts to marry off her daughters.
McArthur, a young Scot who last graced the Lyceum stage as the stoic Wendy in Wendy and Peter Pan over Christmas 2018, describes the production as ‘a rom-com with karaoke – a big, daft night out’, and it certainly hit the sport for the opening night’s audience who gave it a wildly enthusiastic standing ovation.
The Bennetts’ tale is told in part by the servants who, they say, appear in the book although there is no love interest for them – an oversight, they add, by Miss Austen!
They have been doing housework since 1796, but their dialogue and behavior, and that of the Bennetts, is bang up-to-date.
It is the Bennetts who come to the fore, however – apart from Mr Bennett, who is represented by a large newspaper and an armchair!
McArthur features strongly in this, a co-production with the Lyceum, Glasgow’s Tron Theatre, and The National Theatre of Scotland’s company-in-residence Blood of the Young, whose artistic director Paul Brotherston directs this pacey piece. She plays a wonderfully frenzied Mrs Bennett, who hits the Bailey’s Cream and Quality Street, in stark contrast to her studied Mr Darcy, a performance so controlled with a stare so still it is mesmerizing.
Christina Gordon also proves her versatility in completely different roles – as the sweet, biddable Jane Bennett, quite unlike the domineering Lady Catherine de Burgh (Chris de Burgh is her nephew, don’t you know, as Lizzy Bennett belts out Lady in Red!).
Hannah Jarrett-Scott also has chameleon-type qualities, changing in the wink of an eye from Charlotte Bennett to the snobbish Miss Bingley as well as her endearing Hooray Henry-type Mr Bingley.
But Meghan Tyler, as the wayward Lizzy, is the force to be reckoned with. Swigging vodka or stuffing her face with whatever food is on offer, she really makes the most of her joyous, playful role and, as such, is captivating.
Together with Tori Burgess and Felixe Forde, and the added talents of the company as singers as well as instrumentalists, Pride & Prejudice* (*sort of) will make sure you have a ball!
Image: Mihaela Bodlovic
Pride & Prejudice *(*sort of) at the Royal Lyceum Theatre, Edinburgh until Feb 15.
Box Office: 0131 248 4848
lyceum.org.uk
It will then continue touring:
Feb 25-29: Leeds Playhouse
Mar 10-14: Oxford Playhouse
Mar 17-28: NST City, Southampton
Apr 7-11: Bristol Old Vic
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Clare Brotherwood
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Rosey (Daniel Francis) and Stan (Roger Alborough) in Cops: photo Robert Day
It is 1957 Chicago, a time of riots and mob violence.It was also a period where the Chicago Cops were not the most scrupulous of forces and faced pressure from the people and the press. Here at London's Southwark Playhouse, in the intimate space of the Little, we are in the precinct where four cops of different ages, class and race struggle to work together to formulate a plan to find a star witness in an upcoming trial before he is found by the mob.
Cops is the second play by New York playwright Tony Tortora and is directed by Andy Jordan. With Anthony Lamble's effective and considered staging on two levels denoting the grubby interior of the precinct and the stark, cold stakeout location, the scene is set. We meet the team as they interact and play out the tedious routine of their job roles despite the promise of the surveillance programme. Despite their planning they are ultimately more the Keystone Cops than proficient Chicago Cops, failing at every step of the way.
Essentially a play whose focus is more on the inter-relationships of the four cops holed up together in their claustrophobic setting, Cops is character driven and as such relies on the spoken word to create their profiles and back stories. Each of the four depict their past with clarity, leaving no doubt as to their current behaviour. Against the supposed plot of finding the key witness we observe a microcosm reflecting the corruption, racial tensions and unrest that exist outside of the precinct. Allusion is made to the politics of the day, namely Martin Luther King, Rosa Parks and Sputnik but none are fully developed.
Action is limited with the play relying more on the script wherein we are presented with nostalgic reflection, disillusion, racial slurs, constant bickering and accusations. Despite the gallant efforts of the cast, the pace remains pedestrian and somewhat tedious, particularly with the raised voices as arguments develop and pitch soars. It was a relief at the end of Act 1 when a splendidly directed fight (D J Johnson) broke out between Rosey, tired of the racial insults, and Fox, the cocky rookie. This was well played and injected energy and distraction from the otherwise tedium.
At two hours plus and in two acts, Cops is a demanding ask of its cast and audience. Praise is offered to the committed performances of Roger Alborough, Daniel Francis, Jack Flamminger and James Sobol Kelly who projected their characters with conviction and mention should be given to Ben Keaton as the fifth cop whose role was less defined.
Listings
Southwark Playhouse, 77-85 Newington Causeway, London SE16BD
Playing until 1 February 2020
Monday-Saturday 8 pm, Tuesday and Saturday matinees 3.30 pm
Tickets: £22/£18 concessions
Box office: 020 7407 0234 online www.southwarkplayhouse.co.uk
Social Media: Twitter@swkplay
#COPSSwkPlay
Facebook Southwark Playouse
Instagram swkplay
Age recommended: 15+
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Elaine Pinkus
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The title felt like a well known play, but I hadn't seen it before. After my usual pre-theatre dinner at Yo Sushi with Anne (this time we were both veganuary participants), we headed over for the special gala invitation and sat at our seats on time.
The cast weren't ready, so it gave me time to read the programme and find out that the play was first picked up by the BBC and made for TV in 1952. Then it was an Alfred Hitchcock film in 1954 but writer Frederick Knott had already sold the movie rights for a mere £1,000.About ten minutes later the lights dimmed and we were about to witness a murder.
The set was a great asset to the production. There are four doors in total for the actors to enter and exit from, including the secret door off the kitchen. This allows for a lot of action without it becoming a farce like Noises Off. Every part of the set was put to great use in the script and every prop had a precise function all connected with the plot.
Leading the cast was Tom Chambers, who I didn't know but apparently won Stricly Come Dancing in 2004, and is always on our TV screens in series such as Emmerdale, Casualty and Father Brown. He played the part very well and left us guessing all the way through.
When the murder eventually happened, it was all too real as we had connected with the villain, probably due to the nature of his initial involvement, and as a result it was all too real. It was a strange and eerie experience.
The setup in the first act seemed to lead us into the break thinking we knew the outcome. We were wrong. There were too many twists and turns, and there was little chance of you getting all the details answered.
The play has stood the test of time, and in this production, they've played it straight down the line. No frills, just simple delivery and great timing. All four of the cast were on form and I'd highly recommend going to see this thriller when it comes to a theatre near you.
I wonder if they'll change the title for Glasgow when it plays there in March to "There's been a murder". Milton Keynes, Birmingham and Brighton follow on from Glasgow.
Tickets from ATG direct at the following link:
https://www.atgtickets.com/shows/dial-m-for-murder/-
Douglas McFarlane
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ONCE UK TOUR REVIEW
Ashcroft Playhouse, Fairfield Halls, Croydon
9/1/2020
‘Once’ starring Daniel Healy and
Emma Lucia began a UK Tour at the Ashcroft Playhouse in the newly renovated
Fairfield Halls in Croydon on the ninth of January 2020 to a packed house and
well-deserved standing ovation.
From the moment we stepped into
the auditorium the atmosphere was electric, with the incredible cast already
onstage having what composer Glen Hansard knows as a ‘trad sesh’ (where the
music is played for the love of music, and you simply join in when you know the
song). This inviting and informal start to the show was so welcoming and uplifting,
setting the tone for the beautifully human story.
‘Once’ is truly a show with music at its heart,
from the beautifully haunting ‘The Hill’, to the hilariously upbeat ‘Broken
Hearted Hoover Fixer Guy’, and this is highlighted by director Peter Rowe and
Choreographer Francesca Jaynes as they fluidly weave the instruments into the
movement and narrative. The choreography is led by the chorus and their
instruments, every step taken or move made being used to emphasize the emotion through
the music.
Daniel Healy and Emma Lucia as
Guy and Girl have a seemingly effortless chemistry, with Lucia’s bold and
confident Girl beautifully contrasting Healy’s awkward and hesitant Guy. These
two are soft and gentle in comparison to the other characters who are very
strong and heightened; whether it’s Billy, the rock and roll shopkeeper who aggressively
refuses to work with the Bank Manager, or Reza, Girl’s Czech flatmate who’s miniskirt
and lipstick were an indication of her expressive sexuality even before she
started after Guy, these characters are established and well defined from the
outset.
The magic of this show is how
beautifully it captures the mundane, the simplicity in the unfinished, the
beauty in the imperfect. Their story is the one we all know, guy meets girl,
but without the fairy-tale perfection, which, combined with the incredible
music, allows us to focus on the true emotions. Pegged as ‘the musical the
world fell in love with’, it’s no question that this music and story transcend it’s
Dublin setting to a much wider relativity; there is little to do but let the
music take you away and to join these eclectic characters in their Irish world.
The UK Tour is running in
theatres around the UK throughout 2020.-
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Andy Dickinson's Shackleton and his Stowaway at London's Park90 commemorates the Imperial Trans-Antarctic expedition of 1914-16. It recounts the experiences of the ill fated vessel 'Endurance' but more focuses on the relationship between its leader, Ernest Henry Shackleton and stowaway 18 year old Perce Blackborow. Harking back to the disaster in early 1915, when the 'Endurance' was trapped in ice, later to sink, we are told how Shackleton's crew had been forced to abandon the ship, to live on floating ice and face despair. In April 1916 three small boats eventually reached Elephant Island. Not one member of the expedition died and this was due to the heroic efforts of Shackleton and his powerful resolve and leadership.Richard Ede and Elliott Ross: photograph Elena Molina
Shackleton's account was published in 1919. Now, directed by Simone Coxall, the Stolen Elephant two hander with Richard Ede as stoic Shackleton and Elliott Ross as the cheeky stowaway plays out a version of these events from the perspective of the two titular protagonists, exposing the strength and determination of survival. Why did this cheeky young fellow stow away? Why simply to meet his idol, the man he so looked up to and revered. In monologue, dialogue and action we observe the vulnerability of these two polar characters and the shift of their relationship as it develops. We feel the biting cold and turbulent surf which are achieved in no small part by the physicality of the pair but also complemented by the stark lighting, powerful sound effects and effective projections (Enrique Munoz Jimenez) against the bleak backdrop. Poignantly these include a vision of the actual crew of the 'Endurance' who experienced the trauma of this Trans-Antarctic expedition, causing us all to intake a solemn breath as we were faced with a history that perhaps most of us were hitherto unaware.
Shackleton and his Stowaway relies heavily on the spoken word, written and performed in lyrical style which offered a poetic grace and drew us into the situation of the ill fated crew. At times the address felt like a lecture, as Ede made direct contact with the audience but with such conviction and clarity that we could not help but hang onto his every word. Despite the 'wild wilderness' and the cruel, unforgiving majesty of the bleak landscape, there was a wonder in his delivery at the profound essence of Nature. Shackleton laid no blame on the elements for their situation but gasped at the intensity. To the visual swell of the rollers, the swaying of the actors as they lost their footing, the infinite white of the snow and the sounds of strong gusts and gales, we too felt the ferocity of movement, so much so that I rather wished I had not had a coffee beforehand and would willingly have reached for some travel pills.
Through Coxall's considered direction and the lyrical rhythm of the writing, plus of course the credibility of the performance, this was a strong production and was deserving of the applause it received at the close. Stolen Elephant have extended the length of the play to two hours, with an interval. In honesty, it was a relief to have that short break from the suffocating terror and we could settle once again into Act II, which offered more of an insight into the two characters.
Perhaps Shackleton might have at first appeared selfish, enjoying his folly and being reckless, but as the play progressed Ede convinced us that this explorer was a strong and caring leader who would protect his men at all costs, risking his own life on more than one occasion to rescue them from their doom. I could understand how his men must have regarded him and followed him unconditionally. As it quotes in the programme: 'When disaster strikes and all hope is gone, get down on your knees and pray for Shackleton' (Sir Raymond Priestly, Antarctic Explorer and Geologist).
Park 90 is an intimate space and full use was made of the small stage area, which was set between two adjacent sides of the audience. We were immersed in the performance but were not actively involved, rather more we were invited to be observers and to be informed. And because of the honesty of the delivery as told by Shackleton (Boss) and the young stowaway whom he harshly labelled 'idiot' but to whom he softened as time went by we were spellbound. With creative use of ropes to form the rigging and boxes as bare furnishings, sledges and boats, there was likewise a visual credibility to the production which we shared and enjoyed from start to finish.
Listings
Venue: Park90, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP
Dates: running until 1 February 2020
Age guidance: 12+ (although I would suggest 16+)
Performances: Mon-Sat evenings: 7.45 pm; Thurs/Sat matinees: 3.15 pm, relaxed performance Thurs 30 January at 1 pm.
Prices: Standard £18, concessions £16.50, Group tickets available.
Booking: www.parktheatre.co.uk or 020 7870 6876 (10% telephone booking fee).
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Elaine Pinkus
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L-R Rachel Hosker (Ismene) and Annabel Baldwin (Antigone): photo Ali Wright
As a French A level student (way) back in the day, my favourite piece of studied literature was Jean Anhouil's 'Antigone' adapted from the Sophocles classic. It had a profound effect on me and I held as a heroine this strong willed, tragically committed young girl of around 15 years of age. Perhaps she was naively obstinate, perhaps far too blind sighted in her resolution and unwilling to accept argument or persuasion, instead standing firm to her point of principle. A strong young female figure to be admired or criticised? Was she a tragic heroine or a misguided, impetuous young girl?
Lulu Raczka, of Holy What Theatre, has adapted this Greek tragedy and rewritten it from the perspective of the two sisters, Antigone and Ismene. Written in modern language but retaining the epic weight of the tragic tale, her 'Antigone', directed by Ali Pidsley, presents these two storytellers exploring the idea of deconstruction and reconstruction, rebirth and reinvention.
Our two protagonists are from a much despised family. They are the daughters of an incestuous marriage between Oedipus and his own mother, Jocasta; they have two brothers who are at war against each other and they are shunned by all. Now living alone with their Uncle Creon, ruler of Thebes, they are isolated, living out their destiny hurtling downwards as the fates dictate.
Despite their zest for life, their glitter and sparkle, they are highly charged and terrified of the lives they experience. To begin we see them rise from a circular mound, filled with dust and gravel, symbolic of the ritual grave soon to be dug, of the confines of Thebes and the rituals in which they are imprisoned. It is in this small space that they dream together, role play conversations, fantasize about sex and future love, dance and gambol, chatter and gabble. They have only each other to bounce their ideas against and do so with an intensity, never pausing in their sparring, leaving one breathless as we observe their extremism.
They know that it is unlikely they will fulfill their teenage dreams. Their destiny has been written by the Gods and like their brothers, must be realised. But until then, they will enjoy their dreams and mutual challenges. And so life has continued until they learn that their brothers have been killed in battle and that Creon has dictated that only the 'good' brother, Eteocles, may be buried; that the 'bad' brother, Polynices, must be left exposed outside of the gates of Thebes, to wander without peace for eternity.
'Tig' and 'Issy' are destitute and as foretold, older sister Antigone makes it clear that she will not stamp the titles of good/bad to her brothers as they simply were obeying their calling. She must bury Polynices and save him from his dreadful eternity. Jumping free from the circular confines, she performs the act of burial of her brother, facing the penalty of death by her uncle and leaving behind a destitute sister.
This is a fine piece of acting by Baldwin and Hosker, who have immersed themselves into their roles and perform with high energy. It was almost unbearable keeping up with them as they danced, gyrated and ranted. This was an intense performance and the audience were held spellbound. Coupled with this were the bright lights and loud sounds of throbbing heartbeats, shovel scraping gravel and disco music (I Will Survive) that created a frenzy bordering on the edge of madness. And we too teetered with them as we felt reason slip away and hysteria replace it.
At 85 minutes with no interval, the production was entirely captivating. We were held throughout but, and I regret having to say this, the final ten minutes were just a step too far in their extreme deviation from the original. Nevertheless it was shown that without Antigone, Ismene was a shadow of her self, lost in torment and guilt and that perhaps was the most meaningful of the final moments. Unable to die with Antigone but terrified to live on, she too was condemned.
A story of civil disobedience or a story of bravery, courage and principle? The outcome was fated, inevitable and unavoidable, predicted by the Gods and destined to be fulfilled. Maybe irreverent at times and offering moments of teenage angst, Raczka's 'Antigone' offers an alternative take on this timeless classic and, produced by Imogen Clare-Wood, certainly offers an original slant, reminding us that these two tragic sisters were only young girls, denied the future they so yearned.
Listings
Antigone: Holy What's All Female Reinvention of the Sophocles classic
Playing until 1 February 2002 at London's New Diorama Theatre, 15-16 Triton Street, London NW1 3BF
Box Office: 020 7383 9034
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Elaine Pinkus
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Brown (Hudson Brown) and East (Sam James Page): photo Mark Senior
Boasting a 14 strong cast of newly graduated drama students making their London debut as Rugby schoolboys and more experienced actors in the senior roles, Thomas Hughes's Tom Brown's School Days with musical arrangements by Ralph Warman, has shifted its timeline from the mid 19th century to the days of ration and war battles in 1941. This charming adaptation by Director Phil Willmot, focuses on the formative years of the young men of privileged class who were preparing for their role in the armed forces, to serve King and country as leaders, inspiring their men. As one of the Essential Classics Season to mark the 75th anniversary in May 2020 of VE Day, this presentation offers a respectful tribute to those young men who fought so bravely against tyranny.
Staying pretty close to the original, the setting is Rugby School, which was attended by Hughes as a young boy. The novel followed the experiences of young Tom Brown as he moved through his school years, making friendships, facing bullies, rebelling at times and desperately trying to maintain a strong moral code. This production likewise follows the trials and tribulations of the young schoolboy who is thrust into the traditions of the public school system and strives hard for acceptance whilst staying true to his own self.
As the play begins, to the harmony of voices of the young school boys, Dr Arnold, 'radical' headmaster newly appointed to the school, addresses the gathering with a stirring speech commending valour, honour and honesty. It is vital that his boys prepare for the leadership roles they will surely follow as officers in the war effort, leading their men and standing strongly as an inspiration to them. As such, his charges must always be honest if they wish to remain in this hallowed environment. And so it is essential that the code is followed: never to snitch, to retain comraderie, to see off bullies and to accept one's punishment if justly administered. Thus are the traditions of Rugby School. It is the more poignant, therefore, when young Brown is unjustly accused of not playing the game, of exposing the bullying of Flashman to Dr Arnold and thereby losing the esteem of his fellow pupils in the IVth. But never mind, all strengthens this youngster's resolve and shapes his character!
During the production there were some touching moments, not least of which was the singing of the boys who performed their hymns, war songs, some popular ditties of the time and even the odd shanty to the accompaniment of a single guitar of piano, or a capella. Their innocent renditions stood out sharply against the foreboding destiny that they would surely face and encouraged many a gulp from this reviewer.
Staging was perfectly in keeping with the style of the direction, with its old fashioned wooden table serving as desk and bunk bed, cosy headmaster's study, cluttered dorm - all achieved on the small space of the Union Theatre and themselves taking many 'roles' as they adapted. With occasional swirling mists of smoke, it was never far from our thoughts that outside of these harboured walls was the world of violent bombing, fires and destruction that these young innocents would soon enter.
Much praise to the physicality of the piece. Using the whole space, the boys cavorted and sat about, fought and japed as young boys of yesteryear novels always did. It felt delightfully authentic and the enthusiasm of the cast drew in the audience to their antics.
An ensemble piece where all played to their strengths. Well done to the young Brown (Hudson Brown), East (Same James Page) and their fellow classmates, as well as the dastardly Flashman (Alex McKeon). Playing the well meaning but idealistic Dr Arnold was James Horne, who brought to his role an honest performance that convinced he had the school and the boys at heart; so too his deputy Grimstead, played with conviction by Toby Wynn-Davies who was ultimately won over to the new ways. Furthermore, the desperation and devastation of those who could not serve because of injuries incurred in the 'Great War' was terribly sad and portrayed honestly by Ralph Warman as Stebbings.
With its basic themes ever present, Willmot has shown that the sentiment is timeless and can resonate at whatever period it is read. Sure, we in the 21st century are more cynical but one cannot deny the honour and bravery of these young boys. This was a fitting and touching production, played movingly by its cast and presented thoughtfully and respectfully by its director and his creative team. They have certainly marked the 75 anniversary as a tribute in this excellent production.
Photography: Mark Senior
Running time: 1 hour 45 mins to include a short interval.
Listings
Season ticket offer: £50 to see all three plays of the Classic Season: Tom Brown's School Days, Blitz and Peace In Our Time.
Union Theatre, Old Union Arches, 229 Union Street, London SE1OLR
Tickets for individual plays or season ticket: 020 7261 9876
www.uniontheatre.biz
Tom Brown's School Days is playing until 1 February 2020
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Elaine Pinkus
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Charlie Bence, Sioned Jones,Andrew P Stephen photo Lidia Crisafulli
Billed as an alternative Christmas show with its message of hope and forgiveness, Charlotte Jones's Martha, Josie And The Chinese Elvis, recipient of the 1998 Pearson Best Play award, makes its first London appearance at Park90 having first appeared some 21 years ago outside of London. Today it has a somewhat dated feel and many of its references and awkward non-politically correct jokes belong more to yesteryear. But no matter. It retains a charm of its own and as a situational comedy succeeds as a play reflecting the complications of an endearing group of outwardly everyday folk.
Directed by Robert Wostenholme, we are plunged into a strange brew of ingredients. Each character has exaggerated traits and we might here accuse Jones of presenting these stereotypical profiles to enable her comic moments. Yet it works! Whilst we observe their strange quirks, we also engage with them and there are moments of pathos, empathy and sympathy alongside some well timed quips and repartee.
The setting is the Bolton home of disillusioned dominatrix Josie who lives with her daughter, Brenda-Marie, both played convincingly by Kellie Batchelor and Charlie Bence respectively. It is Josie's 40th birthday and she can no longer be 'chuffed' with her lifestyle. Midway through her treatment of client/friend Lionel (Andrew P Stephen) she retracts her whip from his scantily clad maid's outfit posterior and denounces her profession. Spurred on by him and with the support of her daughter, whose 'meaning' difficulties enable her to imagine and create positive illusions of snow and ice skating, they hold a party for her in the spotlessly clean retro lounge,much to the consternation of obsessively religious/superstitious cleaning lady Martha (Sioned Jones). Enter into the mix Vietnamese/Chinese Elvis (Matt Lim), hired to entertain the Elvis loving Josie, and the predictable bedlam ensues.
This well rehearsed cast with their impeccable precision, comic timing and repartee make for an enjoyable first Act, which moves along at high speed. It was easy to engage with their dynamics - the awkwardness of the hardly rehearsed but likeable Tim/Chinese Elvis, the annoying and relentless counting of Martha and the naturalness of Josie, Lionel and Brenda-Marie. But then, the unexpected appearance of an uninvited guest takes the audience into the 15 minute break following which Act 2, more serious in content, offers clarity and exposés of the individual back stories.
The atmosphere soon lifts and, with the help of Lionel's alcoholic concoction 'Catastrophe' the mood swiftly changes to one of fun, hope, friendship and optimism for the future. So I say to Lionel, pass me a glass and cheers to that.
Martha, Josie And The Chinese Elvis may appear somewhat dated and near to the knuckle on occasion, but it has much to commend it and as a gentle observation drama provides two hours of worthy entertainment.
Listings
Venue Park90, Finsbury Park Theatre, Clifton Terrace, Finsbury Park N4 3JP
Dates playing until 4 January 2020, Mon-Sat 7.45 pm and Thurs/Sat matinees 3.15 pm
Age Guidance 16+
Prices £18 with concessions available.
Booking www.parktheatre.co.uk
telephone 020 7870 6876
*with 10% telephone booking fee capped at £2.50 per ticket
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Elaine Pinkus
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The Elgiva in Chesham is a 300 seat theatre
owned and managed by Chesham Town Council, presenting a wide-ranging programme
of professional and amateur productions as well an eclectic range of movies,
top comedy, bands, musicals, ballet/dance, one night shows and private
events. The new manager David Cooper and
his team have great plans to make the theatre an integral part of the community,
with storytelling, flamenco dance, baby yoga and a range of other exciting ideas
to ensure people make the most of this incredible facility.
Often a child’s first introduction to theatre
is to see a pantomime and this year, for the first time, New Pantomime
Productions brings one of its superb professional pantomimes to the town. With a stellar cast from TV and the world of
entertainment, you know you’re in safe hands to sit back and enjoy an evening
of fun and mayhem.
With
a career spanning over fifty years, Tom Owen plays the hapless Baron Hardup incapable of standing up to
the gruesome twosome, Claudia and Tess, his stepdaughters. Tom is best
known for playing Compo’s son in the longest running TV comedy series Last of the Summer Wine. Tom is Bill Owen’s (Compo) real life son and took the role on after his father’s death
in 1999.
X-Factor
finalist, David Heath, whose boy band Eton
Road came fifth in 2006 when Leona Lewis won, has worked extensively since
then and has even set up his own dance school, Attitude Dance, to share his
passion for singing and dancing with everyone in Bootle. He makes a warm,
likeable Prince Charming and has a
lovely voice.
Playing
the titular role of Cinderella is the
beautiful Kaya Rose, whose powerful voice resonates around the auditorium. Kaya
has worked exceptionally hard to hone her craft in the entertainment business
after graduating from Masters Performing Arts College. Her dedication has paid off as she gives a
solid, credible performance as Cinderella.
Someone
who absolutely knows how to engage and interact with the audience is Chris
Casey, playing Buttons. His comedy timing and energy are infectious
and he has a command of the stage that ensures whenever he’s around the
audience are happy. In some ways it’s
the hardest role as he has to keep the story moving and everyone entertained,
but he does an excellent job.
Ben
Moseby (Claudia) and Sean Luckham (Tess) have both been working in the
business for decades, performing anywhere from Butlins to global venues
performing Shakespeare. They make a
particularly nasty double act for us all to hiss and boo at and the hideous
costumes are hysterical.
Nic
James as Dandini has a towering
presence on stage and is a great foil to Prince
Charming. Nic has an extensive CV of theatre and TV credits.
Ionica
Adriana is the pretty Fairy Godmother,
who makes Cinders wishes come true.
The
cast is supported by a team of delightful dancers from local dance schools, who all add to the visual spectacle, with
some sweet choreography by Ashley Johnson. The live band helps the singers to
produce the best vocals and add to the magic of the evening.
The
costumes are absolutely sumptuous with vivid colours of reds, blues, silver and
gold with sequins and glitter. They all
enhance the overall feel that this production has not cut any corners to create
a most enchanting evening for all the family.
The
panto runs to 5th January 2020.
Tickets can be booked at:
https://elgiva.com/book-online/48201/
Reviewed by:
Yvonne Delahaye
12.12.19
@yvonnedelahaye-
Yvonne Delahaye
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If a genie grants you three wishes, best make one of them a ticket for Aladdin at Milton Keynes Theatre!
There is nothing like a pantomime to get you into the festive mood and this one transports you to Old Peking on a magical flying carpet. The enchantment of this year’s performance includes all that is best of the tradition as arch-villains, pantomime dames and princesses all compete to offer the audience a night of dazzle and delight. In the lead roles are television actor Lee Mead as Aladdin, with comedy veteran Joe Pasquale as Wishee-Washee, Tegan Bannister as Princess Jasmine and David Robbins as Widow Twankey.
After Aladdin finds the lamp imprisoning the genie he embarks on a series of adventures, meets his soulmate in Princess Jasmine and saves the day. Lee Mead lends charisma (and good hair!) as male lead and has a good singing voice, a surprise to those who only know him from Holby City. He is ‘helped’ in his quest by his brother, Wishee Washee, whose wise-cracks and audience participation are effortless for Joe Pasquale who specialises in what he calls ‘controlled mayhem’. Pasquale is co-producer and this year’s pantomime is a triumph. Abanazar is played by Phil Corbitt as a chillingly cold monster and Tegan Bannister’s experience in musical theatre stands her in good stead for the extensive singing required for the role, and her sword-fighting skills come in handy in the fight against supernatural monsters.
The staging includes the usual pop songs, silly jokes and audience interaction ( ‘It’s behind you!’, boooo, hissss etc) with special mention for the dramatic flying carpet, an excellent stunt by The Twins Effex and David Robbins as the rude and funny Pantomime Dame (Aladdin’s mother, Widow Twankey). The children and the adults were laughing throughout and everyone left the theatre in high spirits, still laughing and ready for Christmas.
A vital part of the production is the children who take part, singing and dancing with enthusiasm and skill. The set design is impressive and skilfully creates old Peking, the palace and the laundry-rooms, a willow pattern wedding finale is outstanding but the flying carpet is the best! The costumes are all colourful but Widow Twankey’s are eye-wateringly bright, take your sunglasses as you may need them!
Get into the festive spirit, this is a rollicking pantomime and a must-see, go and help Aladdin on his quest at Milton Keynes Theatre!
Best availability before Christmas: Friday 20th December
at 7pm
Box Office on 0844 871 7652 (booking fees apply)
https://www.atgtickets.com/shows/aladdin/milton-keynes-theatre/
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Catherine
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Jefferson Turner and Daniel Clarkson: photo Geraint Lewis
Jingle those bells. Christmas has come to London's Southwark Theatre with a resounding whoopee! Potted Panto, written and performed by Olivier Award nominees Daniel Clarkson and Jefferson Turner fills the space of this London venue for its fifth season. Since their inception in 2005, the fabulous duo has taken their productions throughout the UK and overseas and is expanding their listings for the future. And rightly so! This is a show not to be missed. Co-written and directed by Richard Hurst and strongly supported by their creative team we are treated to 80 minutes of crazy shenanigans, countless costume changes (astounding, Nicky Bunch!), brilliant audience participation and a whizz-bang ride through the much loved pantomime tales with which we have grown up.
This cheeky pair, who play off each other brilliantly, offer shortened versions of seven tales, including Aladdin, Dick Whittington, Snow White, Cinderella, Jack and the Beanstalk, and Sleeping Beauty adding their take and achieving guffaws galore. Somewhat reminiscent of The Reduced Shakespeare Company, this is high speed and high energy performance which leaves you breathless but gasping for more.
With their distinct personalities, each play off the other. It may seem like improvisation, and at parts it is as they respond to the feel of their audience, but it is closely rehearsed. With superb comic timing, they take all the parts, changing costumes and props at lightning speed and drawing gasps of delight from their audience, both young and old. Apart from a short appearance by the singing fairy (Charlotte Payne) and Mr Nut (Jacob Jackson), who somehow finds his way from Dickens 'Christmas Carol', the pair inhabit the stage for the total performance, never keeping still and using the space fully.
Do we sit back and relax? No siree! We participate with glee in what can only be termed as 80 minutes of immense fun. Forget any inhibitions, join in and 'bring it on'.
What can I say? This 'alternative' pantomime is great fun with corny but laugh out loud gags, sing-a-longs, daft dances, buckets of poo (don't ask!) and an assortment of crazy props and costumes. It may not be traditional but that is its allure. It is disrespectfully glorious, creative and inventive, offers heaps of laughs and is not to be missed. Playing until 11 January 2020, this is a production of energy, escapism and chuckles with a resultant hoot and thunderous applause from the entire audience.
Good on you, Potted Panto. Must make sure I book a seat for December 2020's 6th production - please.
Listings Information
Venue Southwark Playhouse, 77-85 Newington Causeway, London SE1 8BD
Dates Running until 11 January 2020
Times Evenings 7.30 pm, Tues/Sat matinees 3 pm with additional Christmas matinees.
Booking www.southwarkplayhouse.co.uk no booking fees or 020 7407 0234
Ticket prices £25 (concession £20), family tickets £80
Twitter @swkplay @PottedPanto #PottedPanto
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Elaine Pinkus
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Beauty and the Beast
Imagine a man dressed in a giant shrimp costume, running
across the stage and singing The Twelve
Days of Christmas with the voice of Tony Hadley? Oh yes, it’s panto time again (Oh no it isn’t!)
and the real legend was sitting in the audience watching the show, bemused at
how cleverly they’d edited his voice to fit in with the song.
As usual, the fall guy in this routine is the comic marvel
that is Mr Andy Collins in the incarnation of Louis Pot et Pan, being made to run through the audience to collect
the items time and time again. I always
breathe a sigh of relief (as I think Andy does) when he’s back on stage, as
that is so exhausting to watch never mind perform! Water pistols were very evident this year and
he got a good drenching as did a lot of the audience.
The other part of this wonderful double act, the fabulously
divine, La Voix, played his mother Polly
Pot et Pan and relished the chance to make Andy work for his money. With a fantastic voice, stunning costumes and
great comic timing it’s always a joy to see her perform.
Playing the
Beast/Prince is Eastenders actor
Danny Walters, who is also known for his role of Tiger Dyke in Benidorm. He does a superb job maintaining the physical
challenges of playing the Beast, creating a gruff, intimidating character who
is tamed by the beautiful Belle (Amelia
Adams-Pearce) who he keeps locked up in his castle. When she declares her love and kisses him,
the spell he’d been put under releases him and he returns to human form as the Prince.
Completing the cast is accomplished actor, David Alcock, who
plays Belle’s father, Clement.
Of course there has to be a baddie for us all to boo at and Michael
Quinn is delightful as Hugo Pompidou,
the man with the most enormous ego who refuses to believe that he could be
rejected.
The play itself is patchy and the first act is a bit
confusing as there wasn’t much to like about the Beast, but everyone agreed that the second act was much better as
we saw a bit more of his softer side. It
still seemed a bit of a stretch to understand how Belle had fallen in love with him though, but hey it’s panto not Chekov!
With gorgeous costumes, clever sets, brilliant dancers, all
supported by a live orchestra the show is an essential part of Christmas
entertainment.
Book your tickets now:
Performances: Fri 6 Dec 2019 –
Sun 5 Jan 2020 (Times vary)
Box Office: 0844
871 7607 (Calls cost up to 7p per min plus your phone company’s access
charge)
Tickets: Tickets
from £13
Groups Hotline: 0333
009 5394
Access Booking: 0800
912 6971 (Bkg fee. Calls cost up to 7p per min plus your phone company’s access
charge)
Online Booking: www.atgtickets.com/Aylesbury
(bkg fee)
Reviewed by:
Yvonne Delahaye
10.12.19
@yvonnedelahaye-
Yvonne Delahaye
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