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Kate Sumpter and Meaghan Martin: photo Ali Wright
The Actor’s Nightmare comprises six shorts by Tony Award winning playwright and Actor Christopher Durang, best known for his 'outrageous' and often 'absurd' comedy and includes the UK premier of some of his finest works. The specially crafted stand alone piece, presented by 3 hearts canvas and Over Here Theatre Company offers a disturbing but also (occasionally) extremely funny parody that spares nothing and no-one. From Euripides to Tennessee Williams, with some Beckett and Shakespeare thrown into the pot, the barbs are sharp and witty and offer an insight to the eccentricity of the entertainment industry in LA and New York, with occasional digs at HBO.
What is it like to face your audience with a memory gone blank, to feel the daggers of your fellow actors as they await their cue? To offer a carefully scripted monologue only to have forgotten the much needed notes and to then bluster your way through the agony of performance or to find yourself on stage with no clue as to why you are there? These are the experiences of Accountant George Spelvin who is mistaken as an understudy and forced to perform in a play of which he has no knowledge and primly twin-setted Mrs Sorken, complete with dinky handback and pearl necklace, whilst she delivers her monologue in the short of the same name. Desire, Desire, Desire attempts a poke at Tennessee Williams's The Glass Menagerie, Cat On A Hot Tin Roof and A Streetcar Named Desire and there are further allusions to much studied and performed playwrights in Business Lunch At The Russian Tea Rooms, Woman Stand-Up and Medea. Nothing is spared and all genres are parodied.
Having been welcomed into the intimate space of Park90 to the glorious tones of 'Brush Up Your Shakespeare' and 'Lullaby of Broadway' we are invited to 'step into a nightmare' and absurd journey. We are onlookers, voyeurs to the shallow and neurotic experiences of the artists who are desperate for fame and glory.
There are particularly striking moments and performances by this committed ensemble. At the start, Mrs Sorken, played by Kate Sumpter with delicious comic timing and comfortable interaction with her audience, set the scene for what was to follow. Strapping ourselves firmly into our seatbelts, we prepared for what promised to be a rocky ride but disappointingly did not always deliver.
There were moments of hilarity, none more so than in 'Medea' where the cast's enactment of the Greek chorus was achingly side splitting. Whilst irreverent in the extreme, it would be nice to think that Euripides offered a wry smile from his distant cloud. Against this was the disturbing portrayal of the stand up comic who relied on her laughter machine at her destitute gigs (Meaghan Martin).
But, disappointingly there were also scenes that just did not hit the mark. Yes, we got the allusions to Tennessee Williams and the repeated cries of 'Stella, Stella, Stella' but these were overplayed and became tedious. Similarly so the parody of Endgame which fell flat. With no interval, the final sections of this 100 minute production were beginning to bore and I found myself wishing for the end. After such a strong beginning, there were too many stilted junctures which lacked lustre and failed to resonate. Such a pity!
Featuring an ensemble cast of Meaghan Martin, Kate Sumpter, Stefan Menaul, Adrian Richards and Layo-Christina Akinlude,under the direction of Over Here Theatre Company's Director Lydia Parker, The Actor's Nightmare was an interesting piece albeit one which offered smug, self congratulation as you identified the different pieces that were parodied.
Note: 3 hearts canvas (founded January 2019 by Meaghan Martin/Oli Higginson),pair each production with a charity - on this occasion The National Autistic Society.
At London's Park90, Clifton Terrace, Finsbury Park, N4 3JP
Dates: 16 July – 10 Aug 2019
Age guidance: 12+
Access Performances:
- Dementia Friendly Performance, Mon 22
July 15.15
- Relaxed Performance, Sat 27 July 13.00
Performances:
Mon – Sat Evenings 7.45pm, Thu & Sat Matinees
3.15pm
Prices:
Standard £18,
Concessions £16.50, Child (Under 16) £13,
Park Up members (16 – 23 July) £10,
Groups
– buy 10 tickets, get the 11th free.
Booking:
www.parktheatre.co.uk
020 7870 6876
*10% telephone booking fee, capped at £2.50 per ticket.-
Elaine Pinkus - 0 comments
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Calendar Girls the Musical by Gary Barlow and Tim Firth is
without question a production of great integrity and warmth. It is inspired by
the true story of a group of ladies, who decide to appear nude for a Women’s
Institute calendar in order to raise funds to buy a settee for their local
hospital, in memory of one of their husbands. The show has huge amounts of
humour and pathos concentrating on the overwhelming support of a community to
create something quite extraordinary.
One of the key successes to this life affirming, heart-breaking
yet glorious tale is the immaculate direction from Matt Ryan. The subtle time
changes and repeated patterns onstage underpin moments of emotional highs and
lows with great effect. Alongside this precision the Yorkshire countryside is
recaptured in a simple yet beautiful set and lighting design by Robert Jones
and Oliver Fenwick respectively.
The apparent simplicity and energy of this remarkable tale
belies its huge heart which is safe in the hands of an outstanding cast. The score does not demand anything more than great
vocals coupled with exceptional storytelling and here we have it in bucket
loads.
The company are universally strong from Sarah Jane Buckley
(Annie) and Rebecca Storm (Chris) as long term friends alongside Sue Devaney
(Cora), Julia Hills (Ruth), Lesley Joseph (Jessie), Lisa Maxwell (Celia) and
Judy Holt (Marie.) The dynamic of this
group is utterly engaging throughout as are the scenes involving the excellent
trio of Tyler Dobbs (Tommo,) Danny Howker (Danny) and Isabel Caswell (Jenny.)
The husbands stand stoically by watching their loved just
shirk tradition and create something ground breaking. There is not a weak link
in the characterisation of this great team.
There is so much to enjoy in this celebration of humanity
and community. The effect is powerful and long lasting; a show that no doubt
will touch the hearts of the audience in many different ways but the overriding
joy and triumph of friendship in the face of adversity is quite beautiful and
the spontaneous standing ovation definitely well deserved.
Petra Schofield-
Petra Schofield - 0 comments
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The Finborough Theatre’s Autumn season features three premieres, all discovered by the Finborough Theatre’s Artistic Director Neil McPherson – a rediscovery from a classic British playwright, written in 1970, but never before seen in London, alongside two European premieres from female playwrights – a hit Off Broadway play from the United States, and a multi-award-winning new play from New Zealand/ Aotearoa.
The season opens with the London premiere of a 1970 touching domestic family drama, Go Bang Your Tambourine by Philip King, playing 6-31 August 2019. Following the death of his mother, devoted Salvation Army member David lives alone in their North Country house. But tongues begin wagging when Bess, a local barmaid, moves in as his lodger…
The season continues with the European premiere of Anahera by Emma Kinane, returning to the Finborough Theatre where it received a staged reading in Vibrant 2018 – A Festival of Finborough Playwrights. Winner of the Most Outstanding New New Zealand Play at the Wellington Theatre Awards, Anahera is a stunning new play on parenting and childhood, following a newly qualified Māori social worker supporting the distraught parents of a missing child. It plays 3-28 September 2019.
Rounding off our Autumn season is another European premiere, The Niceties, an Off Broadway hit by Eleanor Burgess, a new American playwright in her European debut. An ambitious young black student and her esteemed white professor meet to discuss a paper on the American Revolution. But as the question turns to who gets to tell the story of America, and how, the fault lines of racial and generational divides are sharply illuminated. It plays 1-26 October 2019.
Finborough Theatre Artistic Director Neil McPherson says: “Our new season features three richly different plays I have discovered for the Finborough Theatre, including a rediscovery from a classic British playwright, written in 1970 but now seen in London for the very first time, alongside two stunning new plays, both by female playwrights new to the UK, from the United States and New Zealand/ Aotearoa.
The Finborough Arms, our pub home, was taken over by an entirely new management and extensively refurbished at the end of last year, and now offers a wide menu of traditional pub favourites, all cooked on the premises.
I look forward to welcoming you.”
– Neil McPherson, Artistic Director
Performance Times and Prices
Tuesday to Saturday evenings at 7.30pm.
Saturday and Sunday matinees at 3.00pm.
For Go Bang Your Tambourine, Anahera and The NicetiesPrices for Weeks One and Two – Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats.
Previews £14 all seats.
£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.
£14 tickets for residents of the Royal Borough of Kensington and Chelsea on the first Saturday evening, when booked online only.
For Go Bang Your Tambourine and Anahera
Prices for Weeks Three and Four – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.
For The Niceties Prices from 15-20 October – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.Prices from 22-26 October – £25, £20 concessions, except Tuesday Evenings £20 all seats, and Friday and Saturday evenings £25 all seats.
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Carolin Kopplin - 0 comments
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The Cast of FIVER - photo: Danny_with_a_cameraHave you ever looked at a five pound hote and wondered 'Haven't I seen you somewhere before ....?'
FIVER follows the story of a humble £5 note as it passes through the hands and pockets of several people in London, each in a significant moment of their lives. One is a busker, another is homeless and living on the streets, a further is a bereaved son and his father, there is a teacher, bullied students, an impending birth and romantic duos, to name but a few. These are the various scenarios performed as an ensemble piece by a talented and exciting cast of five who embrace each cameo with conviction, energy and empathy.
FIVER is the creation of Alex James Ellison (Writer/Producer/Actor/Guitarist) and Tom Lees (Writer/Musical Director/Producer)) who was nominated for a Broadway World award for Best Musical Director and who has been MD for several productions including the Sondheim revue, 'Just Another Story'.
At times reminiscent of 'Rent' and with shades of Sondheim, Lees has created an exciting score of ballads, duets and street rap, performed with superb harmony and energy by the committed 5-person cast. Accompanying them on guitar is Ellison who from the start engages with the audience and spends much of the time sitting amongst them whilst he strums along to the numbers, Lees on piano, Matt Billups on drums, Florian Belbeoch/Will Robertson on cello and Sam Pegg on bass. And this score certainly hit the right note. Unlike many musicals that carry one or two 'dud' numbers, there were no disappointments. Each of the songs mirrored exactly the mood of the moment and was strong in structure. Of course I had my favourites but in truth all were deserving of merit and it would be difficult to single out any one number.
In 2017 a workshop of FIVER ran at London's Crazy Coqs. Since then, Ellison and Lees have expanded the show both in terms of length (now 2 hours 10 minutes including an interval) and complexity. 'We are massively excited to see the changes come to life on the stage'. And they have every right to rejoice in their success.
The series of sketches explore the connection and relationships between the various characters who all share the common denominator of the £5 note. Would this fiver change the life of the homeless man, could it offer hope and joy even for a few moments to those who possess it? With the high energy of the opening number 'Change Is Bringing Me Down' to the hope and joy of 'My Day', the yearning plea of 'Whisper It To Me' and the punch of 'Gotta Keep My Head Down', the pace did not falter and subtly the disconnection linked.
The 'Little Studio' of the Southwark Playhouse is an intimate space seating approximately 120 people. This offers an intimacy and involvement in the characters and the audience were entirely invested in the piece. The tiny stage allows only for a minimum of props and it is down to the performance of the cast that each scenario took on a life of its own. Yes, the audience took to their hearts this likeable bunch who were well deserving of the rapturous applause and standing ovation given at the close of the production.
Full credit must be given to the outstanding cast, whose voices soared and whose versatility was convincing. Played by Luke Bayer, Aoife lesham, Dan Buckley, Hiba Elchikhe and Alex James Ellison, FIVER is playing in the Southwark Playhouse Little Studio from 3-20 July 2019 and is a veritable treat.
Listings:
photographs: Danny_with_a_camera
Southwark Playhouse, 77-85 Newington Causeway, London SE1 6B
Wednesday 3 July - Saturday 20 July 2019
Monday - Saturday 20.00 hrs Matinees Tuesday and Saturday 15.30hrs
Running Time 2 hours 10 minutes including the interval
Box Office 020 7407 0234 www.southwarkplayhouse.co.uk
Tickets £22 and concs £18
Social Media:
Twitter
@FIVERMusical
@swkplay
Facebook
FIVERMusical Southwark Playhouse
Instagram
@FIVERMusical
@swkpla
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Elaine Pinkus
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Since the massacre of Tsar Nicholas II and his family in 1918, mystery has surrounded his daughter, the Grand Duchess Anastasia.
Did she die or did she survive? And, if she survived, what happened to her?
By the buzz amongst the audiences at the Theatre Royal Windsor this week, it is something that still fascinates many people.The latest production to come out of the Bill Kenwright stable, Royce Ryton’s story of one, of many, women who claimed to have been Anastasia, certainly got them talking.
The Anastasia File is, for the moment, exclusive to Windsor audiences. It is clearly a work in progress. The scenery is almost non-existent and what there is of it looks makeshift. And the minor characters, of which there are many, need fleshing out by more than just two actors, one of whom looks too young for many of the roles he is playing.
But, having said that, theatregoers are not being short-changed. Under the sensitive direction of Roy Marsden, Jenny Seagrove’s performance as ‘Anastasia’ needs no embellishments.The play opens with her as a convincing old lady, being interviewed by a policeman who is trying to put to rest the mystery which his father, a police inspector, worked on when ‘Anastasia’ was pulled out of a canal after a suicide attempt, and placed into an asylum for three years.
Cue that time, and Seagrove transforms into a deeply troubled, frightened young woman who is almost comatose with fear. What follows is a heartbreaking story as the authorities try to discover her identity, an identity she wants to keep secret. But when she can no longer stand so much questioning she blurts out who she is and, slowly and painfully, she tries to convince people that she really is Anastasia - a process which Seagrove must find exhausting as her character swings from emotional outbursts to almost childlike happiness. My only criticism is that, throughout the years covered in the story, she wears her original nightgown and goes about barefoot. I can only think that this is to emphasise that, until she can prove she is Anastasia, she is rootless and homeless, with no real identity.
Andrew Lancel won a Villain of the Year British Soap Award for his part in Coronation Street as Frank Foster, but as the Inspector he is certainly not typecast, but authoritative and kindly as his character befriends Anastasia and fights her case.
The only remaining cast members are Richard Winsor and Rosie Thomson who are to be applauded for playing so many different roles, even if they mainly look all the same!
The Anastasia File is at the Theatre Royal Windsor until July 13.
Box Office: 01753 853888
theatreroyalwindsor.co.uk
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Clare Brotherwood - 0 comments
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A packed theatre last night just shows how popular this musical continues to be and it was heartening to see how very many young children were in the audience. Telling the story of little orphan Annie who, at 11 years old, believes her parents are somewhere ‘out there’ and trying to find her, this production has a very impressive cast of orphans, the highest production values, some excellent adult performers and let’s not forget Sandy (Amber the labradoodle)!
Annie lives in a home run by Miss Hannigan (Craig Revel-Horwood) in a seemingly desperate situation but ever optimistic of some sort of escape. Freya Yates played Annie on opening night with great assurance and charm. She has a great voice for one so young. Revel-Horwood was more pantomime than tyrannous and more intimidating in his role as Strictly judge than as Miss Hannigan. He is great of voice and dance but plays the role in a very relaxed way and for gentle and obvious laughs rather than anything deeper or three-dimensional; this is his last week in the role.
Annie's lifer changes when she is chosen to spend a couple of weeks over Christmas at the home of billionaire businessman, Oliver “Daddy” Warbucks, played charmingly and with ease and authenticity by Alex Bourne. Grace Farrell, Warbucks’ kind and graceful secretary, is elegantly played by Carolyn Maitland. On stage they are a great match.
This touring production is pretty much true to the original production, which means it felt slightly ‘ploddy’ in some areas, even with Colin Richmond’s really bright and interesting sets and the fabulous costume design. Plenty of well-known musical numbers here, It’s a Hard Knock Life performed by the orphans with gusto, the inimitable Tomorrow of course, and You’re Never Fully Dressed Without A Smile were standout numbers.
Richard Meek and Jenny Gayner are great as the conniving Rooster and Lily and they definitely bring some ‘oomph’ to the end of the first half which seemed to suffer from an energy dip as the interval approached. Their performance of Easy Street (with Revel-Horwood) is sharp and funny.
The key to the success of this ensemble production is the relationships between the performers and in particular the energy and charisma of the youngest ones. There are three teams of performers for the orphans. On opening night it was 'Team Rockefeller' - Honey-Rose Quinn (Molley), Tilly Stephany (Duffy), Francesca Robinson (Tessie), Aliya Bashir (Pepper), Chancé Quaye (July) and Tori Ryan (Kate); all utterly marvellous. As one little girl said to me at the interval ‘They are so talented’, and yes, they really are.
Musical Director and pianist Daniel Griffin is a dynamic lead and his orchestra were top notch. Annie is a family classic and received a good reception at MK on Monday. Much more could be done to update it to feel more relevant to the world today but clearly the producers and directors have gone for a traditional take on the story.
Plays MK theatre until July 6th. 2 hours 5 minutes incl. interval
0844 871 7615
https://www.atgtickets.com/times/annie/milton-keynes-theatre
booking fee applies-
Catherine - 0 comments
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"I'm sick to death of this particular self. I want another."
Orlando: poet, lover, adventurer. After an encounter with a traveller woman, Orlando is transformed forever. With original live music, comedy and movement, join us in a joyful queer romp through history as we travel from the court of Queen Elizabeth I to 20th Century London, via Constantinople and the high seas.
"A masterful adaptation... a splendid piece of theatre" - Daily Info. "succeeds in teasing out provocations within Woolf's story" - Newbury Weekly News.
Audience comments:
"Witty, inspiring, moving, musically smashing"
"I'm uplifted by the whole experience - buzzing in fact!"
"Words would not have enough impact to explain how incredible the performance was"-
Lou Corben - 0 comments
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Dirty Dancing needs little introduction as it launches into
a Bristol run. An iconic film following the story of “Baby” Houseman and her dancing teacher Johnny Castle. They meet
in 1960’s American summer camp where romance blossoms against a backdrop of
racism, social rules and the wholesome American dream. The show, as with the
film, features the hit songs 'Hungry Eyes', ‘Hey! Baby’, ‘Do You Love Me?’ and
the ever popular ‘(I’ve Had) The Time Of My Life.’
From the outset it struggles with the insistence on copying
the film moment for moment rather than creating a stage adaption. The use of music
as backing tracks by the onstage band is monotonous and on the rare moments
that the characters sing the numbers do not extend the narrative and seem completely
out of place. The repetitive scene shifting denies any opportunity for
characterisation and it is ultimately far from satisfying.
Aside from the production decisions, the show is well cast
and the company work hard. The final moments are clearly the most impressive
when the show explodes with a song and dance routine that the show has lacked beforehand.
It is a long time to wait to see the full talent of this excellent company. The
audience respond to this well alongside any moments of suggested intimacy and
nudity with relish; often masking any opportunity for those onstage to create
credible characters or savour any real moments of drama.
The casting is strong. Michael O’Reilly (Johnny Castle) is
in fine form and well matched by Simone Covele (Penny Johnson) their routines
are fiercely impressive. Katie Eccles (Frances “Baby” Houseman) holds the
central role well. Colin Charles (Tito Suarez) is great fun and the onstage band
fit in well to the overall design.
The set is practical yet the episodic and overly brief scenes
never allow us to fully engage with the characters. The show will no doubt
attract film fans wherever it plays. But ultimately this artistically thin and
underwhelming production is disappointing.
Petra Schofield
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Petra Schofield
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Kwame Kwei-Armah's 2004 show "Fix Up" is revived at London's Tower theatre. The show is equally as relevant now as it was 15 years ago. Kwei-Armah's play is about the battle between old and new and the struggles of living in a capitalist society. With gentrification rising all over the country authentic local businesses like Brother Kiyi's are few and far between.
Fix up is set in an unconventional bookshop in Tottenham, North London. The shop itself is a meeting point for the community, where Brother Kiyi puts profit making aside and instead cares more for sharing the knowledge of Black History with others. Kiyi is struggling to keep up with the payments of his shop yet refuses to sacrifice the integrity of his business and freely lends out his books with the kind hearted assumption that they will be returned.
While the threat of losing the shop looms Alice, a mysterious mixed race girl walks in and throws all the characters out of sync. Unsure of her intentions with Kiyi, her curiosity with the shop appears to be a search for her own identity in a society that aims to mold you into who they'd like you to be. I was particularly pleased to see the issue of interracial prejudice explored in the play, a subject that is not often investigated onstage but that is very prominent in society.
I came to see one of the first performances and though everyone gave heartfelt performances throughout it oftentimes felt as though a couple of the actors were just warming up to the show and weren't as present as they could've been. That being said there was a particularly beautiful performance by Isaiah Bobb-Semple playing Carl, a boy fighting for his voice to be heard amongst the strong personalities in his community yet ultimately his heartbreak is heard by us all.
Whilst things may not end as we'd wish in this story there's definitely a sense of resolve. A beautifully directed piece by Landé Belo to accompany Kwei-Armah's writing.-
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Blackpool Opera House, until Saturday 29th June
This is a show that needs no introduction. Even if you've never seen it you will most likely have done the Time Warp. It’s astounding and it’s definitely in another dimension – and that’s why 40 years after its West End debut the Rocky Horror Show is a cult smash hit musical.
I caught the anniversary tour of Richard O’Brien’s shockingly fabulous production at Blackpool Opera House, the perfect venue for this glam rock meets Frankenstein meets Funny Girls spectacular.
The excitement begins even before curtain up, with audience members who have yet to lose their "Rocky Horror virginity" learning from the more experienced. Seasoned fans arrived with props for various parts of the show, and dressed in a fabulous array of fishnets, basques and high heels.
From the second it begins, the performance is fast and furious, with little needed in the way of fancy sets – the main thing is that there’s plenty of pink, purple, red and black shimmer, and a nice big upright bed for the more racy scenes.
Obviously, it’s not for the faint-hearted.
The Rocky Horror Show is the story of two squeaky clean college kids whose car breaks down at a creepy mansion. They meet Dr Frank ‘N’ Furter, the sweet transvestite from Transsexual, Transylvania, and his equally flamboyant family and friends. And so begins the path to the young couple's corruption – and also that of Frank’s creation Rocky Horror, a tanned and golden, back-flipping creature played by champion acrobatic gymnast Callum Evans.
Directed by Christopher Luscombe, this production is wonderfully cast, Kristian Lavercombe's comic timing as the narrator was spot on and he has the required genius ability to come up with witty retorts to the audience’s famous talk-back lines.
But for me the real revelation is Duncan James. A fan of Blue from my clubbing days, I first saw him on stage as Jack in Birmingham Hippodrome’s panto Jack and the Beanstalk in 2014. James began to pursue his first love of musical theatre when the Blue Boys took a break from performing together, and his natural ability took him quickly to the West End, with parts including Billy Flynn in Chicago and Warner Huntington in Legally Blonde. And now he appears to have stepped effortlessly into the high heels of the larger than life character of Frank ‘N’ Furter.
We already know what a great singer James is from Blue, but the combination of his vocal talent with the likeable, comic and outrageous persona he creates means his performance is as entertaining and charismatic as it can get, and his renditions of the iconic songs Sweet Transvestite and I'm Going Home are superb.
Time is fleeting to catch this show in Blackpool – there are just two more nights to go. Book tickets here: https://www.wintergardensblackpool.co.uk/whats-on/rocky-horror-show
And for those who are nervous about it being their first time, check out the Virgin’s guide here: https://www.wintergardensblackpool.co.uk/stories/what-to-do-if-its-your-first-time-at-the-rocky-horror-show
After Blackpool it’s Dublin, further information on tour dates and bookings here:https://www.rockyhorror.co.uk/tour-dates-
Kirstie Niland - 0 comments
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By Quentin Fox
It’s 30 years since Fame The Musical made its debut on
Broadway and this anniversary production has already had thousands of people
shaking the moths out of their legwarmers.
The stage show is based on Alan Parker’s immortal film and
follows the lives and loves, the triumphs and disasters of a cohort of students
at New York’s High School For The Performing Arts.
All are brilliant in their fields, but will talent be
enough to gain the fame they all desire? For this is not a simple feelgood tale
– we see the characters sweat and sometimes fail to become the people they
could have been. In line with Parker’s vision it’s very much an issues-based
yarn that, though still set in the early 1980s, in many ways chimes in with today’s
societal concerns: identity, drug abuse, intimacy and sexuality among many.
As the catchline for the movie stated: ‘If they’ve really
got what it takes, it’s going to take everything they’ve got.’
Fame The Musical has seen seven West End runs since its
inception, so it has clearly found a place in the hearts of theatregoers. This
time round Nick Winston, the director and choreographer, has opened up the show with some new songs and has
cranked up the dance numbers to new heights of energy and skill.
He’s helped in his endeavour by Morgan Large’s set, which
is composed of head-and-shoulders shots of alumni , at once bringing to mind
both a high-school yearbook and casting bibles such as Spotlight, used by
directors to select actors for parts.
Also of immense value are the
contributions of actors in the cast who have already found fame: Mica Paris is outstanding as Miss Sherman, the school
principal, whose rendition
of ‘These Are My Children’ exudes heartache and soul; former Hollyoaks star Jorgie Porter charms as Iris, the queen
of the ballet class; Keith Jack, who had
a good run in the TV talent show Any
Dream Will Do, plays Nick, the confused and confusing Shakespeare maven.
There are great individual performances from the rest of
the 20-strong cast: Jamal Kane
Crawford brings depth and moves to the character of dancer Tyrone; Stephanie
Rojas displays first rate acting and singing as Carmen, the diva destined to
crash and burn – her ‘In LA’ marks a poignant Act 2 turning point; Molly
McGuire’s Serena steers an amusing and likeable course between ingénue and
ingenuity; and Albey Brookes provides some
broad-brush comedy as Joe the Brooklyn goofball. The only casting mis-step is
the casting of Simon Anthony as Schlomo, scion
of a musical family. An excellent actor, singer and instrumentalist, and who
displays massive heart in the part, it’s a bit of a strain to take him
seriously as a 17-year-old.
There are other performances worth
highlighting, but that’s exactly the problem with show: whose story is it? While Nick Winston
has done a fine job in creating a punchy and likeable show, he’s fighting
against a vehicle that’s structurally weak. There are so many characters their
story arcs become fleeting and shallow; even in an ensemble piece such as this
it’s good to have a narrative lead to follow.
In addition, the music and lyrics, in the
main, lack that show-stopping quality. Tim Whiting as musical director works
hard to invest some power but it’s an uphill struggle.
Not the production’s fault, but certain
tiredness now afflicts the book. Surely the chippy ghetto kid is now a cliché? And
who laughs at fat gags these days?
In pleasing audiences for so long we know
that Fame The Musical will live forever; it just needs an overhaul to learn how
to fly again.
Fame The Musical is at Milton Keynes Theatre
until Sat 29 Jun 2019. This production is recommended for ages 12+ it
contains sexual, drug, mental health references and mild swearing.-
Quentin Fox - 0 comments
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Transformation is the buzzword at The Mill at Sonning.The word’s dictionary definition is ‘a dramatic change in form or appearance’, and at the Mill it comes in spades.
As this is a theatre review, its latest production, Noel Coward’s classic comedy of manners, must take priority.
Set in 1930s France, designer Michael Holt’s terrace overlooking the Mediterranean in Deaville quickly and cleverly transforms into a sumptuous apartment in Paris.
Transformations continue with the characters themselves. Blissfully in love with their new partners, divorced couple Elyot and Amanda find themselves in adjoining rooms while on their respective honeymoons. They then discover they still love each other, but run the whole gamut of emotions when they begin to realise why they divorced in the first place and transform from dewy-eyed lovers to arch enemies, vindictive and vicious.
As Elyot and Amanda, Darrell Brockis and Eva Jane Willis are a match made in Heaven. The production begins at a rather slow pace and the first act dragged a little on opening night, but it certainly gathered momentum once these two started bouncing off each other, especially Willis as the vivacious Amanda. And by halfway through the second act it was positively flying, thanks in part to director Tam Williams, and with some very entertaining (and physical) scenes, delivered with the help of fight director Alison de Burgh.
Musical interludes from Brockis and Willis, sounding remarkably like Noel Coward and Gertrude Lawrence, together with a Gallic contribution from musical director (and convincing French maid) Celia Cruwys-Finnigan - complete with beret, striped top and accordion - add an extra, and welcome, dimension.
As Amanda’s new husband Victor and Elyot’s new wife Sibyl, Tom Berkeley and Lydea Perkins begin the evening as rather irritating: Victor a bit too nice, though and Sibyl petulant and immature, but they certainly rise to the challenge laid down by Noel Coward and their final scene is something to behold. Another transformation indeed!
And so the theme continues. For the Mill, although an historic, indeed listed, and unique Thameside dinner-theatre venue, is being transformed, not only with an ongoing and tasteful refurbishment (copper bowls in the ladies’ loo!) but also with a varied programme which now incorporates not only its ever popular productions and series of Sunday night concerts but also daytime functions such as a book club, Knit & Natter, storytimes for little ones, afternoon tea events, and comedy & magic. And it is licensed to hold weddings. Already famous for its all inclusive two-course dinners, it now even adds dinner party catering in your own home as well as a new bar menu. Certainly a venue with star quality!
Private Lives is at The Mill at Sonning until August 3.
Box Office: 0118 969 8000
www.millatsonning.com
Picture: Andreas Lambis
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Clare Brotherwood
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Imagine visiting an enchanted world where the Little Folk
are having a party and you’re invited along.
From the very first note sung by crystal pure female vocals that beckon
the dancers to the stage, we’re transported into the magical world of the Emerald
Isle where mystery, myths and legends abound.
When the Celts arrived in Ireland over two thousand years
ago, they brought with them individual styles of dance and music. Initially Irish dance was performed by
Druids, who danced in rituals to their pagan gods. After converting to Christianity the
traditional dances continued, with the circle dances of today beginning after
the Anglo-Norman conquest in the twelfth century.
Rhythm of the Dance was originally created for a 3 week tour
of the US back in 1998. 21 years later
and the show has been seen by over 7 million people worldwide, touring in over
50 countries to critical acclaim.
This new production has been created by Producer Kieran
Cavenagh, who has updated the format to breathe new energy into Irish
dance. It’s a terrific show that grabs
your attention and pulls you into its magical embrace and holds onto you all
evening.
Choreographer Dane McKerman, who is also the lead dancer,
has done an incredible job with all the routines, adding humour and energy to
all the performances. Lead female dancer,
Amy Marie Prior, is so light and nimble you feel as though you’re watching a
Fairy Princess on the stage.
The traditional Irish dance routines, with rigid upper
bodies and serious faces, makes you focus on the legs and feet of the
troupe. The agility and speed of
movements is quite astounding and they seem to glide across the stage, tapping
in their heavy shoes and balancing on pointe in complex movements. The lightness and swiftness of all the
dancers is entrancing as you feel they are almost flying through the air.
What is very special about this show is the immersion of the
band in the story. They all sat at the
back of the stage, moving forward to perform individual songs sometimes using
the Bodhran drums to call and respond to the dancers. The flutes, pipes, acoustic
guitar, banjo and accordion all serve to draw you in and convey you to the
magical Irish country. Musical director Shane Moran has done a superb job with the
musician/singers and they’re all a key to the appeal of this show.
The backdrop showing scenes of the picturesque Irish
countryside and coastline really does help to transport you into their
enchanting world. You feel part of the
Craic and with a standing ovation at the end I know that all the audience had
as good a time as I did.
The touring schedule is very hectic with ‘one nighters’
around the country, making the cast’s energy and exertion even more impressive.
Full details can be seen on www.rhythmofthedance.com
Reviewed by:
Yvonne Delahaye
20.6.19
@yvonnedelahaye-
Yvonne Delahaye - 0 comments
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Don't listen to critics is my advice, make sure you get out there and see theatre despite what I think, or anyone else out there. Especially the high brow papers who are privileged to get invited free to some great theatre, then rush back to their desks and write some nonsense about a totally different play that you and I saw.
Much like you see on social media these days, for every person who takes time to comment on your post, there's an equal amount of people who will go against your opinion or view.
It's just the way the world is.
I remember once performing in a comedy at the Edinburgh Fringe. It was a lot of fun, and we played to packed audiences every night. The laughter was constant and we knew we had something special. One review in the press the next day said "the audience laughed their head off. We think they should get out more". Well they were out, and they did laugh, isn't that the point ?
So in a similar fashion check out the three headlines. Two of them use 'monstrous' and 'misfires' in the same title. Written by two different journalists. Who is copying who ? Then the one in the middle says it was brilliant.
My view ? A great night at the theatre. John Malkovich has so much energy and jumps out of the stage every second he is on. It really didn't matter what the play was, he exudes talent and is a joy to experience live.
The play ? Well, of course this will divide audiences. An elderly couple next to me never stopped laughing and were amazed at the talented David Mamet 'writing something to make us feel that way is a real talent' they enthused during the break. To my left were two young gay guys. They never laughed. Looked glum during the interval and appeared not to enjoy it.
There were some uncomfortable few moments at the end of the first act and it was clear that this was the intention of Mamet. Everyone was supposed to feel unsettled with negative emotions. It was an experience that is rare in the theatre, but so important. How do we really understand the disturbing experiences of someone faced with a movie guru asking you unwanted intimate questions ? Well, we all felt that and if we didn't get it before, it was loud and clear and it hurt.
Malkovich was complimented on stage with a competent team who never came close to shining, but that was the point of the massive character and the charisma of the acting talent behind the role.
The level of tenacity to get what he wanted in business and in life, with no shame or connection with anyone's feelings or his own humanity, was the simple but powerful message. How can someone escape such manipulative and subtle coercing through use of emotional blackmail and psychological twists and turns ? Not easy, such is the power of such a beast.
It was the hottest ticket in town last night, with David Suchet (Inspector Poirot), Zoe Wannamaker and her Glasgow born acting husband Gawn Grainger, Adrian Scarborough (Gavin & Stacey), and comedian Rich Hall were just a few of the faces I noticed in the seats in front of me.
Only a few people gave a standing ovation. The rest of us were quite happy sitting and watching the gentle acknowledgement of the real person behind Malkovich knowing he'd done a great job. One he'll be doing throughout the summer months at the Garrick Theatre in the West End.
On leaving the building someone said "of course they'll change the script before it gets to Broadway", as a reference to the potential legal issues of something that makes little effort at hiding the fact that they were showing us a truth to what a character like Harvey Weinstein is actually capable of.
Bitter Wheat is on at the Garrick Theatre until Saturday 21 September 2019.
https://www.nimaxtheatres.com/shows/bitter-wheat/Review by Douglas McFarlane
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Douglas McFarlane - 0 comments
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‘While The Sun Shines’
London in the Blitz, and identities get confused: time to make hay...
A revival of Terence Rattigan’s war time
farce. ‘While the sun shines Was a
smash hit in the West End when it first came out in 1943, and the fact it’s still
getting laughs more than 70 years later proves Rattigan to be an exceptional comedy
writer.
On the eve of his wedding
the young Earl of Harpenden (Bobby to his friends) makes the mistake of inviting
Joe - a drunken American Lieutenant, to spend the night in his apartment.
Things start to go wrong the next morning when the Earl decides to set up Joe
(the Lieutenant) with Mabel Crum, a former girlfriend with a penchant for
Americans.
However when The Earls fiancée
the charming Lady Elizabeth unexpectedly turns up at the flat (fresh from an
evening of intense conversation with a young French officer) Joe make his move
thinking she must be Mabel and throws Bobby’s marriage plans into disarray.
To further complicate matter
the French officer with whom Elizabeth had such a lovely chat also decides to
show up and pledge his affections
And as if all that wasn’t enough
Bobby’s future father in law The duke of Ayr and Stirling (A cash strapped
aristo with a penchant for the gee-gees) decides to pay his daughter a visit,
and as I’m sure you can imagine much chaos ensues…
Side splittingly funny and
fabulously Non PC, ‘While the sun shines’ bubbles with witty one liners and satirical digs at the English upper classes.
Set
and costume were on point and the cast were all excellent, although Julian Moore-Cook
as the American Lieutenant Joe Mulvaney and Michael Lumsdan’s portrayal of the
Duke of Ayr and Stirling - aka the father in law from hell, were truly memorable.
Overall a fantastic
production, and a really enjoyable evening, I can honestly say this is one of
the best comedy’s I’ve seen all year!
While the sun shines is on at
the Orange tree theatre Richmond until July 26th-
Siwan hill - 0 comments
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It sounded so promising, a theatre company called ‘pint of wine’ offering a three day bender of cabaret’ featuring music, drag, improv and stand up comedy. With another season of Ru Paul’s drag race gone and Edinburgh festival still a few months away surely this is exactly what the doctor ordered.
Pint of wine describe themselves as a theatre company who seek to ‘push boundaries, disrupt, challenge and engage an audience’.
Perhaps my expectations were too high, but tonight they did none of those things, instead Paulus our charmingly camp compare for the evening, lead us through a drama school style Show case of entirely competent performers, all of whom hit the high notes, remembered their lines, and occasionally made me smile, but none of whom rocked my world. If (like the two gentlemen sitting next to me) you were casting for your next show this would be fertile ground, but it’s not one to go to as a punter, and since this was the middle night of a 3 night run to be honest I was left a bit mystified as to why they wanted someone to review it the first place.
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Siwan hill
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This rarest of musical beasts returns to The King’s Theatre in Glasgow; the “Punk Rock Opera”
Green Day’s American Idiot. This truly is a ‘beast’ of a show in every respect; powerful, wild, (at times) ugly but also AWESOME!
Green Day’s 2004 release of the album “American Idiot” saw the modern punk rock band take a new direction. It wasn't originally intended that the album should convert to stage; more that it emulate a more thoughtfully developed album like the great rock operas ‘Quadrophenia’, ‘Ziggy Stardust and the Spiders from Mars’ or even ‘Sgt. Pepper’. In creating their Punk Rock Opera they were able to throw away their unwritten “rule book” and approach song writing from a whole new direction – a concept album. What was written may well have started as a concept, but what emerged on stage was REAL – very real, deep and (sometimes) purposely repellent. But when the score contains huge hits like “Boulevard of Broken Dreams”, “When September Ends” and the awesome title track, the audience are bound to leave the theatre feeling entertained.
BBC Waterloo Road’s, Tom Milner, leads the cast as Johnny (or Jesus of Suburbia) on a
year-long journey against the backdrop of reality for the lower middle classes of America following the 9/11 terror attacks. Johnny’s experience forms the basis of social comment on a nation which was fighting a culture war to determine its own morality while desperately trying to put a face on faceless enemies overseas. Milner’s voice is a weapon of mass destruction – perfect in this role.
Johnny is joined by two competing characters. “Whatshername” (beautifully voiced by X-factor’s Sam Lavery) represents ‘love’ while “St. Jimmy” (played with suitably manic fervour by Luke Friend) represents ‘rage’ – Johnny’s inner demon. Both characters are a massive influence on Johnny’s actions and lead to a dramatic downward spiral.
The supporting cast are small but fantastically talented. Each gets a chance to shine in this
dark dystopian reality. The band clearly play a strong role on stage and Samuel Pope (as Johnny’s mate, Will) plays a double role as guitar #2 – typical
of this multi-talented cast he sings, dances, acts and play’s some serious licks!
The choreography from Director / Choreographer, Racky Plews, is also a major player in the show
as the story unfolds almost like a ballet. Being a rock musical, Billy Joe Armstrong’s lyrics can sometimes be overtaken by drums and guitar, so the
choreography often plays a key role in outlining the lyrical intent. The exciting, contemporary (and often comedic) movement is delivered with verve by the energetic cast.
I highly recommend you see this show! It’s not for the faint hearted – it’s deep, dark, thought provoking, lyrically colourful (they swear a lot) and sexually
provocative … but this serves to deliver Green Day’s original message in a powerful format that is the perfect fit for your first ever Punk Rock Opera!
Green Day’s American Idiot
King’s Theatre Glasgow
Tue 28 May – Sat 1 June 2019
Tue, Wed, Thu evenings 7.30pm
Fri 5pm and 8.30pm
Sat 4pm and 8pm
Tickets from £17.90, Age
guidance 14+
Box Office 0207 2061179
(bkg fee)
www.atgtickets.com/glasgow (bkg fee)-
Cameron Lowe - 0 comments
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Until Saturday 1st June
A crash of drums, a flash of light…and Union J band member Jaymi Hensley has become a musical theatre star. In his first ever major stage role he’s receiving well-deserved rave reviews for his sensational performance alongside the fabulous cast of Joseph.
With polished acting and superb vocals – Close Every Door is breath-taking – Jaymi is surely destined for the West End. In interviews before the show he talked about meeting Jimmy Osmond and Joe McElderry who've played Joseph before him, saying: “I’ve never felt I’m more in the right place at the right time than I do right now.”
https://www.wintergardensblackpool.co.uk/stories/go-go-go-jaymi
From the audience reaction it would appear that thousands of fans agree, giving Jaymi and the cast a standing ovation at the opening night in Blackpool.
Tim Rice and Andrew Lloyd Webber’s cult show never gets old, and Bill Kenwright’s production provides the anticipated kaleidoscope of bright colours shining, with a spectacular set and costumes, high energy choreography and an excellent Elvis/Pharaoh (Andrew Geator) who, like Jaymi, is wonderful and new.
The vast Opera House stage offers the space to create magnificent Canaan and Egyptian backdrops, complete with sheep – including an especially “sheepish” one that kept falling asleep on the job, much to the delight of the audience.
As the narrator, Tina Hill’s powerful singing carries us through the ups and down of this biblical tale, subtly highlighting the drama and punctuating the proceedings with favourite comedy moments: “don't give up Joseph, fight till you drop we've read the book and you come out on top.”
The brothers are full of character and energy, creating the perfect motley crew; and the children’s choir is lovely, with all singers sitting very still throughout.
One of my favourite scenes is between Jaymi and his stage father Henry Metcalfe who create a beautifully touching scene when Joseph and Jacob are reunited, before Joseph takes final command of the stage in all his technicolour glory.
I would highly recommend catching this feelgood roller-coaster show before it hurtles on to Leeds.
Tickets for Blackpool at:
www.ticketmaster.co.uk/venueartist/254002/1953746
Next dates: 4 – 15 Jun LEEDS Grand Theatre 18 – 22 Jun DERBY Theatre 25 – 29 Jun IPSWICH Regent 2 – 13 July BIRMINGHAM Hippodrome 16 – 20 July OXFORD New
Photograph: Pamela-Raith-Photography-
Kirstie Niland
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Marlene Sidaway (Flora) and Kevin Tomlinson (Simon): photo Ben Wilkin
How could I resist? In its billing is the claim that Beneath The Blue Rinse is a wickedly funny high octane comedy about growing old passionately and disgracefully, where Tarantino meets Last of The Summer Wine. Written by Tom Glover, selected as one of three winners of the 2018 BAFTA/Rocliffe New Writing Showcase Competition and directed by Glen Walford, Beneath The Blue Rinse sets out to challenge the stereotypical cliche that surrounds the elderly and to show that 'age is no barrier to radicalism and relevance.'
Against the media slamming of the elderly, of the 'post war baby boomer generation' who are accused of undeservedly finding life less hard than it was back in the 1950s, it is about time that the vicious and barbed accusations aimed at this senior sector of society are replaced with a more relevant perspective.
Daily there are instances of the elderly being abused or exploited by those seeking to take advantage of their vulnerability or naive trust. Well, guess what, not all are susceptible to trickery and here is where the story starts. Security Advisor (not wishing to call himself a salesperson) Simon Sudgebury, played brilliantly by Kevin Tomlinson, is a cocky salesperson, a sort of Del Boy character, who exudes fake charm and arrogant confidence but comes a cropper when he sets out to cheat 75 year old Flora Parkin (Marlene Sidaway) by scaring her into buying an expensive Multi Model Security System. She may be 75 and in his opinion a 'silly bint' but quickly it is apparent that she is more a feisty old girl who refuses to be victim to the likes of Sudgebury and seeks revenge on such individuals. With her sex lover, 72 year old George (Ian Redford) there are surprises in store.
Designed by Felix Waters,the set (surrounded on three sides) is the cosy sitting room of septuagenarian Flora Parkin whose family portraits adorn the walls and whose dresser holds myriads of china pieces collected lovingly over a period of 40 years (dusting nightmare) suggesting a comfortable and settled old age. There we meet Sudgebury who is keen to gain his £2000 commission from his sale. But from the off it is clear that she is not the typical, naive and vulnerable stereotype he had anticipated.
Irreverently funny in the fist half hour or so, there are laugh out loud moments and the audience were having a ball, enjoying every quip and joke. But the humour soon wanes as we enter the second phase of this one act Dark Comedy for it is here that Glover pushes through his message and exposes the high levels of abuse that many elderly are experiencing on a daily basis. Despite the humour and the absurdity of the situation being played, we find it difficult to laugh and feel uncomfortable.
Beneath The Blue Rinse is both thought provoking and deliciously entertaining, with its quick wit, outright howlers and absurdity. Glover has explained that he works organically and tied two strands together. Perhaps the second strand might be tightened as there were moments of awkwardness and silences.
With a cast who perform convincingly, a special mention must be given to Tomlinson whose timing and delivery make this an evening to remember.
To date I have been impressed with the productions that premiere at London's Park Theatre, many of which have transferred for longer runs following their successful performances at this venue. In association with Veritas Theatre/KEPOW! Theatre, Park has shown once again its encouragement for innovative and exciting new writings.
Footnote: Although not shown on press night, there is a complimentary 30 minute comedy that follows this performance, featuring Kevin Tomlinson and Abigail Hood, The Answer.
Beneath The Blue Rinse: 70 minutes: no interval
Venue: Park90, Park Theatre, Clifton Terrace, Finsbury Park,N4 3JP
Dates: 21 May – 15 June 2019
Age Guidance:14+
Accessed Performances: captioned performance Wednesday 12 June 19.45
Performances: Mon – Sat Evenings 7.45pm, Thu & Sat Matinees 3.15pm
Prices:
Concessions £16.50, Child (Under 16) £13, Park Up Scheme (21 – 28 May) £10,
Groups –
buy 10 tickets, get the 11th free.Booking: www.parktheatre.co.uk / 020 7870 6876
*10% telephone booking fee, capped at £2.50 per ticket.-
Elaine Pinkus
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Douglas McFarlane Founder and London Editor at UK Theatre Network Lots of views on this post, well done.
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ELEGIES FOR ANGELS, PUNKS AND RAGING QUEENS
Union Theatre, 21st May 2019
Presented by Union Theatre, Elegies for Angels, Punks and Raging Queens is a collection of stories, verse and songs in tribute to those lost to the AIDS epidemic, their lives, loved ones and legacies. My first encounter with this stunning show, I was blown away by the raw energy and honesty that lies at the heart of the production, alongside the great talent engaged onstage. The first congratulations for this breath-taking show goes to the cast and director (Bryan Hodgson) for the ensemble work. From the opening number (Angels, Punks and Raging Queens), right through to the conclusion (Learning to Let Go), the cast work as one to tell a multitude of incredible stories: funny, sad, reminiscent, regretful, all hold a place in truth and love, and all hit hard. Without a weak link, the cast were endlessly strong, endlessly emotive and endlessly giving. Creating such intensely diverse characters whilst being the strongest ensemble in London and multi-roling is intensely impressive.
Choreography by Adam Haigh was stunning; often understated, Haigh knew when to pull back with this production, and teamed up with Hodgson’s heart-wrenching direction perfectly to create a fluid fusion between direction and choreography within some scenes. Lighting by Alex Musgrave and set design by Justin Williams also came as a double act, as the stunningly simple but effective white raised square, lined with LED light strips, acted as a base for the sections of quilt laid down for each story. The time, thought and detail that was in each section of quilt was breath-taking; the multitude of teddy bears, the red pyjamas, the American flag, and each section really had the heart of each character inside, which made the finale ever the more heart-breaking. As the cast performed ‘Learning To Let Go’, they stepped away from the raised white platform that the show had been performed from, to reveal all of the sections of quilt laid out as one, in a tribute to the Memorial Quilt.
Book and lyrics by Bill Russell are heart-breaking and hilarious at the same time: going from “tossed my ashes like confetti… we did know how to party”, to “we gave them death as surely as we gave them life”, left the audience laughing out loud, shocked to the core, and more connected to those characters in the short scenes than I have ever seen in theatre.
My best friend and I sat and paid witness to this incredible production, and as the quilt was revealed, they grabbed my hand and held me, tears streaming down our faces, not letting go until long after the cast had left the stage. This show is so important, not only to the friends and families of those lost to the AIDS epidemic, not only to the members of the LGBTQ+ community to whom this is both a recent history and current issue, but to everyone. AIDS has touched so many people, directly and indirectly, historically and recently, torn people apart and brought them together. The people who are represented on the quilt are, through this wonderful show, not only remembered, but celebrated, and I think there are few better ways to do that justice.
This landmark show is only running until the 8th of June, and is certainly not one to be missed.
Photo credit- Mark Senior-
Charlie King - 0 comments
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The Marvellous Wonderettes at Theatre Royal Windsor Paul Thomas | UK Theatre Net... (uktheatrenetwork.com)IT'S marvellous, it's magical and it's a world away from the society we have to endure today. When music was fresh, alive and a whole new genre was beginning to entertain the teenagers of post-war regenerated countries yearning to break out of the confines of conflict.Enter...Rock 'n' Roll, doo-wop diddy, diddy, sequins, chiffon skirts, tight shirts, lame suits, quiffs and hair lacquer you could drown in.So down at the Theatre Royal Windsor, owner impresario Bill Kenwright, has brought four of the most sensational female voices you're gonna hear on tour anywhere in the UK this season.The Marvellous Wonderettes sashayed on to a stage not overly adorned by uneasy set design, but still encapsulating the era of two distinct years in the growth of arguably the planet's favourite form of music.It's 1958 in Act 1 and 1968 in Act 2, both at Springfield High School Prom, where we meet The Wonderettes: four girls who want love, and rainbows as big as their smiles ...and their voices.Sophie Camble as Missy, Rosie Needham as Cindy Lou, Louise Young as Betty Jean and Kara Taylor Alberts as Suzy, ooze beauty from every pore. Their harmonies are sublime, their phrasing past understanding and really captures the age. Their energy is infectious in the Grease-Style girly environs of the 50s and 60s.This really is a tour de force of fantastic vocals which Kenwright captures with alarming alacrity as he continues to walk us down the road of a golden age.Featuring over thirty hit songs from the 1950s and 1960s by artists such as Aretha Franklin, Neil Sedaka, Connie Francis, Bobby Darin, Otis Redding, Doris Day and Dusty Springfield, including Stupid Cupid, Son of a Preacher Man, I Only Wanna Be with You, Secret Love, Lipstick on Your Collar, Respect, Rescue Me, Dream Lover, Dream Lover, Lucky Lips, It's In His Kiss, It's My Party, Leader Of The Pack and so many, many more, this is a night of hits that are the fabric of our lives.It's a crinoline skirt cracker of of a night out..you'll be singing and dancing all the way home.Do yourself a bopping big favour and ditch the tellybox to do the doo-wop walk on down to the 'Royal' for a chiffon-flavoured flight of nostalgia and some of the best pop songs of all time .The Marvellous Wonderettes , Theatre Royal Windsor, until Saturday, May 25. Box office: 01753 853888 or theatreroyalwindsor.co.uk
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Paul Thomas - 0 comments
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Zinnie Harris’s new version of the Jacobean revenge tragedy, The Duchess of Malfi, makes Quentin Tarantino’s films look like Mary Poppins.
I don’t think I’ve ever seen so much blood on stage. The violence is gut-wrenching, not just in the physical sense but in what comes out of people’s mouths (and other orifices). I was transfixed.
John Webster’s original play, published in 1623 and based on actual facts (poor Duchess!), is said by some to be one of the greatest tragedies of Renaissance drama because of playwright John Webster’s poetic language and his complex characters.
The characters are certainly complex (a dysfunctional family to beat all dysfunctional families, with a young widow trying to make a new life despite her brothers; one stark staring mad and the other a lecherous Cardinal) but I wouldn’t describe Harris’s dialogue as poetic. It’s bang up-to-date and in-yer-face. She pulls no punches, both in her writing and direction. Sexual references, especially coming from a Cardinal, no less, would make a prostitute blush (not that people were pure in the 1600s!) and there’s much use of one particular word which, though said to have originated in Elizabethan times, is greatly used (unfortunately) today.
I’m not complaining. The production is riveting, both audibly and visually, and the acting is such that, at times, like when one more corpse joins the heap, I really felt someone was being killed for real.
A metal walkway and a stark white backdrop (contrasting with all that red gore) is mostly all there is to set the scene, and yet we are completely sucked into the world of the Duchess and her siblings. When her husband dies the young woman wants a new life but her brothers try to control her for power and incestuous leanings – and these lead to the most grisly and gory scenes I’ve ever seen on stage.
As the brothers, Angus Miller gives a thrilling performance as Ferdinand while George Costigan as the Cardinal is still making my skin crawl. They are the detritus of society, and so recognisable in today’s world.
Kirsty Stuart, in the title role, also turns in a spellbinding performance, running the gamut of emotions, from playful and provocative as she flirts with her steward and future (secret) husband, to a tragic, tortured soul forced to look at film of the shooting of her husband and son. And as the ghost who comes back to haunt her brothers she adds another, ethereal dimension.
There are many layers to the others main characters and each actor rises to the challenge: Fletcher Mathers as the Maid, Graham Mackay-Brown as the Duchess’s secret husband and Adam Best as the malevolent Bosola.
Together with stark and, at times, alarming contributions from Ben Ormerod (lighting), Michael John McCarthy (sound), Jamie MacDonald (video), this is a real treat for fans of the horror genre, and definitely not for the feint-hearted.
The Duchess of Malfi is at the Royal Lyceum Theatre, Edinburgh until June 8.
Box Office: 0131 248 4848
lyceum.org.uk
Photo: Mihaela Bodlovic-
Clare Brotherwood
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This fucking lady
A one woman tribute to the talent of 20th century Australian actress Coral Browne.
Coral who? I hear you ask, No I’d never heard of her either, but having seen now seen this show about the life and times of the colourful Ms Browne who was the darling of mid century stage and screen I can see why writer Maureen Shirlock felt her story needed to be told
The play is set in 1980’s Hollywood with an ageing (perfectly costumed) Coral looking back over her career, from humble beginnings growing up in a Melbourne suburb before packing her bags age 21 and moving to London 1934 to a pursue a career on the stage.
Having landed she charms her way to the top, becoming first a west end star and eventually moving to Hollywood to pursue a film career with her second husband and fellow actor Vincent Price.
The script was well written but the actress Amanda Muggleton stumbled through it, I guess part of the problem with a solo performance is it must be tough to keep talking for so long, and although there were more than a few prompts I’m not going to lay into her because she picked her self up well each time and kept going, and for the parts where it came together it really was joy to watch: Raucous, side splitting and ever so naughty. As Carol recounts her adventures both on and off stage, these include filming a controversial lesbian sex scene in ‘The killing of sister George’
A chance meeting with soviet spy Guy Burgess which became the basis for Alan Bennett’s award winning drama ‘An Englishman abroad’ in which Coral played herself and received a BAFTA for best actress in 1984
And a string of famous lovers including an affair with society photographer Cecil Beaton. ‘But wasn’t he gay?’ I hear you ask, ‘Not with me he wasn’t!’ retorts Coral.
With such a star studded C.V it seems a shame that Corals Browne’s name has been forgotten hopefully this play will give her films a bit of resurgence, I know I will definitely be checking them out!
This f***ing lady is on at the Kings Head Theatre untill June 3rd
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Siwan hill
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I’ve said it before, and I’ll say it again, what I love about the Scots is that they have such a strong identity and they are fiercely proud of their heritage, especially their local communities, and their language.
And so it is with Lost at Sea.
Morna Young comes from a fishing community in the north east of Scotland, and Lost at Sea was her first full-length play. Now an award-winning playwright, actress and musician, she lost her dad at sea in a fishing accident in 1989, and in 2011 she began interviewing fishermen and their families so she could use real voices to create a fictional story to honour the many who have lost their lives.
The result is a powerful piece where people who have endured the harsh realities of fishing in Scottish waters come to life through a talented group of actors. Their faces may be familiar – Jennifer Black was, among many other TV appearances, DCS Templar in Rebus, and Tam Dean Burn’s recent TV series include The Victim and Trust Me, while Gerry Mulgrew (Billy) is a regular on Scottish stages – but in director Ian Brown’s production they are members of a coastal community which lives each day with death: Black, the stoic mother of Jock, whose body was never found, and Burn, the barefooted Skipper, a sort of master of ceremonies who connects Shona (Sophia McLean) to Jock (Ali Craig), the father she never knew. Through him she eavesdrops on the ghostly conversations leading up to her father’s demise – the rivalry, betrayals, love and ties that bind – and her hunt, as a journalist, for the truth.
It’s an ensemble piece, with a chorus, and movement, live music and Burn’s gravelly voice resounding intermittently in song. The language is that of the North East, though not incomprehensible to a Sassenach like me; rather it brings out the poetry of Young’s writing, and endorses the reality of the story, while the dramatic lighting, courtesy of Katharine Williams, and music and sound (Pippa Murphy) transforms a stage, virtually empty apart from a few chairs and a backdrop of waves, into a living, breathing location (complete with a haar!).
An audio memorial ‘in tribute’ list of names of fishermen and boats lost from Moray during the timeframe of the play (1970-2012), recorded by families who have lost someone, which ends the play, only emphasises the raw emotion this remarkable production incites.
Lost at Sea is at the King’s Theatre, Edinburgh until May 22.
Box Office: 0131 529 6000
capitaltheatres.com
The tour then finishes at the D&G Arts Festival, Easterbrook Hall, Dumfries on May 24.
Photo: Mihaela Bodlovic
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Clare Brotherwood
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Douglas McFarlane Founder and London Editor at UK Theatre Network Lots of views on this post, well done.
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Les Misérables at Milton Keynes Theatre Reviewed Friday 17th May 2019
SPECTACULAR! BOOK TICKETS NOW!
Since the musical’s first outing in 1985 to mixed reviews it has been translated into 22 languages, in 52 countries and seen by upwards of 70 million people. It is a global phenomenon and surely will continue to run as families pass on their love for it through the generations creating new audiences far into the future. This musical is woven into the fabric of my family and to say there were sky high expectations is an understatement. I am so delighted to say these were more than exceeded. Non-sung-through film or serial adaptations have never hit the mark for me, probably because my first encounter was with the musical during its first run. Les Mis, to me, is Kretzmer’s lyrics and Schönberg’s music and this orchestra, under the pacy direction of Ben Atkinson, do full justice to the range and depth of the score.
Leading this cast is the incredible Killian Donnelly as Jean Valjean with his nemesis Javert played by Nic Greenshields. The sheer physical presence and vocal power of these two immense talents shapes the show from the start and from the off it’s evident it’s going to be an extraordinary evening. Donnelly can do no wrong, defiant in ‘Who Am I?’, vulnerable in ‘Bring him Home’. Just wonderful. Greenshield looks like a colossus and his rendition of ‘Stars’ hits you in the solar plexus. Along with the innovative staging of his fall this is a powerful scene.
The lead female characters - Kate Hall, quite wonderful as the tragic Fantine. ‘I Dreamed a Dream’ was an early breathtaking show stopper, and ‘Come to Me’ with Donnelly delivers the anticipated tragic pathos. Bronwen Hanson, is suitably gentle as Cosette, and Tegan Bannister plays a feisty Eponine. Neither of the latter has vast experience and whilst very assured, their performances seem just a tiny touch overplayed in key moments.
An outstanding ensemble, most playing several parts from factory workers, prisoners, and pimps, to whores, wedding guests and constables, and each role played with utter dedication and commitment. When they are together for group numbers - ‘Look Down’, ‘Can You Hear The People Sing?’, One Day More’ there energy is palpable across the stalls. Marius, played by Shane O’Riordan is excellent, Enjolras (Will Richardson) is particularly wonderful. The key humour from The Thénariders (Martin Ball and Sophie-Louise Dann) is as to be expected, bawdy and coarse. Shame that Dann was not clearly phrasing during this performance so some lyrics, and therefore humour, are lost. So noticeable because every other cast member is pin-sharp in vocal delivery.
The scale of Matt Kinley’s startling sets shows just what can be created when not allowing any limitations of a touring production to impinge on vision. Buildings reach up into the eves, the astounding barricades stretch right across the stage. In conjunction with Paule Constable’s ingenious and precise lighting design, numerous little worlds are shaped. The use of projections to create space, depth and the passing of time is inventive and takes us below ground and into the heavens.
A PHENOMENAL production. I have not seen anything as fabulous as this for decades, and have not seen an audience react with such a lengthy and rapturous standing ovation ever! Go if you can.
With a much longer than usual run, until June 8th, and availability at a range of prices across some dates, for best availability Monday to Thursday performances call the theatre’s dedicated Les Misérables booking line on 01908 547669 (open Monday to Saturday, 12 – 6pm) or visit: https://www.atgtickets.com/shows/les-miserables/milton-keynes-theatre/.
Check daily for returns and last minute ticket releasesLes Miserables - Milton Keynes Theatre - ATG Ticketswww.atgtickets.com
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Catherine
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* * * *
F. Scott Fitzgerald’s The Curious Case of Benjamin Button is a tale which has long stirred the imaginations of its readers, charming us with its balance of mystery and relatability, and its central themes of life’s cyclical nature, its inevitable gain and loss of both respect and dependency, and the relentless passage of time.
Jethro Compton and Darren Clark’s new adaptation manages to honour these themes, whilst wisely not attempting to cram every detail of the original into the Southwark Playhouse’s ‘Little’. Instead, he provides a setting which supports the change in medium, taking the story’s mysticism and tying it to the oral storytelling tradition of Celtic folktales with a very well-constructed book.
The helplessness of both extreme youth and age were shown aptly through puppets, giving us characters literally unable to function without the help of another. Designed with the aesthetic of what might wash up in the sea, wood chips showed the wrinkled expressions of the elderly and bright coloured plastic bottles made the bodies and faces of the children. Unfortunately, however, I found these moments of puppetry the least convincing. Whilst their rough-and-ready design suited the storytelling backdrop if the show, this called for an especially sensitive approach to their operation which was not quite achieved.
The folk tale aspect of this Celtic backdrop allows the story to be told by a cast of just five, creating an ensemble of storytellers, regaling us with deft multi-rolling, expertly played instruments and voices which blend and move together as one with supreme effortlessness. Darren Clark’s music is authentic and emotive, which has us tapping along one minute and crying another. His vocal arrangements are beautifully constructed, whilst the collaborative approach to orchestration, using whichever instruments were available to support them, keeps the narrative driving forwards.
A cast of multi-instrumentalists allows seamless swapping of instruments where necessary, whilst certain instruments provide colourful identity to the characters. This is actor-musicianship done right: whilst the story is being told we barely notice the instruments, but when they are featured they appear simply an extension of the character.
Most notable in this way is Joey Hickman, whose facial expressions and handling of instruments from the accordion to the trombone gives us the core of the show’s comic relief. Matthew Burns’ narrations from behind both the guitar and the drum kit provide the backbone of the ensemble, whilst his acting, particularly as Locryn, is sophisticated and tender.
In the title role, James Marlowe has the gargantuan task of portraying not only an old man with the mind of a child, but also a child with the mind of an old man, and all the shades in-between. Whilst he gives us the consistency we need in a show with so much multi-rolling, there is very little distinction to us in his characterisation of the different chapters of Button’s life, leaving our title character a little bereft of colour. Still, he handles the most emotionally intense scenes with enough poise that he carries us with him through his various ups and downs of loss and romance.
The younger and older Elowens, Philippa Hogg and Rosalind Ford respectively, are both as faultless as each other. Hogg charms us instantly with her soft, folky voice and playful characterisation, handling the fiddle with easy virtuosity, whilst Ford’s excellent voice is rich with colour and maturity, equal only to the choices she made in her various portrayals – all the while juggling the cello, cajon, shaker and tin whistle.
There is a lot of new musical theatre out there, and sadly the vast majority of it is not good. The Curious Case of Benjamin Button restores my faith, showing how well a story can be adapted and crafted to fit the intimacy of such a small space. In times of social and political difficulty, storytelling is what we need more than anything, especially when we can be reminded of the world’s little moments of magic. I sincerely hope this show will have a long and successful future.
The Curious Case of Benjamin Button runs at the Southwark Playhouse until 8th June, 2019.
https://southwarkplayhouse.co.uk/show/the-curious-case-of-benjamin-button
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Ollie Kaiper-Leach - 0 comments
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Photography: Simon Snashall
It has been more than 30 years since Neighbours and Home and Away won the hearts of UK 'Soap' lovers. I must confess that I was not one of the fans of this genre and hold up my hand to having a low tolerance of soaps, suds and all. However, I took a deep breath, cleared my head of this negativity, and joined the audience in the small space of London's Waterloo East Theatre to see Andrew Norris's (founder of ALN Productions) Summer Street, an Aussie soap musical.
With a desire to take his audiences on a trip down memory lane Norris has created a pastiche of those bygone days, exposing the addictive world inhabited by its stars, four of whom are now desperate to escape their miserable lives and resurrect their careers, whatever the cost.Their own lives echo their art - a soap opera. The original score is written by Norris who has paid tribute to Aussie soaps but also to the familiar records of the time. Playfully changing Kylie Minogue's 'I Should Be So Lucky' (1988) to 'Lucky Plucky Me' Summer Street attempts a tongue in cheek depiction of the Aussie soap operas of that time and to recapture the glory days of Kyle and Jason. But there is a problem. We might be familiar with the two afore mentioned soaps but that is where it stops and the 'in' jokes fall somewhat flat on the Brits.
OK, in recent years we have enjoyed Australian TV dramas such as 'The Slap', 'Safe Harbour' and 'Miss Fisher's Murder Mysteries' and are seeing the emergence of more but in the 1990s this was new and unexplored territory. As such, the allusions and references were lost on us.
The story itself: there is to be a one episode comeback TV special with the original cast of a previously popular and much loved Aussie soap. Played by Julie Clare, Simon Snashall, Sarah-Louise Young and Myke Cotton, this is a band of highly strung actors who miss the world of fame they once inhabited and which defined them. Desperate to make a success of this one off chance to resurrect their careers, they have regrouped but they have changed since they last appeared together and rather than resurrect their failed careers and lives they resurrect tensions that have never died, ironically creating their own soap drama.
So, four actors who play four actors who are playing eight parts! Confusing? Oh yes. With few props and no set changes, the cast bravely soldier on, laryngitis and all. But the script and score are unkind to their talents. With a dialogue, often garbled, faithfully mirroring the over exaggeration and banality of their originals, a plot with a denouement that puts the stamp on the ludicrous themes of soap operas, songs whose lyrics are overworked and melodies that are instantly forgettable, this soap fails to create the much needed lather. Billed as a 'hilarious Aussie soap opera musical', Summer Street did not live up to its hype.
A quasi work in progress since 2004, it still has a way to go. Since its recent appearance at the Brighton Fringe, five more numbers have been added and the production now stands at just over 2 hours. Sitting in the small auditorium, I rather wished Norris had desisted. Yes, there were moments of laughter, but these were few. Was this a trip down memory lane? Not really. That is not to take it way from the four actors who performed with energy and commitment, but generally it failed to hit the spot.Listings:
Location: London Waterloo East Theatre, Brad Street, Lambeth, London,SE1 8TN - nearest stations Waterloo and Waterloo East.Performance dates: 13 May - 2 June 2019: Evenings 7.30 pm and Sunday 4 pm.
Twitter @SummerStMusical@WaterlooEast #SummerStreet Website www.summerstreetthemusical.co.uk
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Elaine Pinkus
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On a mission from God, were the duo in the picture, a team of top musicians and two backing vocals, and bundles of high energy and charisma.
It was non-stop from the moment they took the stage. With down to earth banter, great humour, crowd participation and a good old knees up for most of the second half of the show.
If you're going to put on a performance and become the Blues Brothers, you've got to have ego, attitude, and a certain self-confidence in yourself.
Star of the show and also the producer is Chris Hindle, whose infectious energy shines off the stage which makes it hard not to enjoy yourself as much as he is. His friend and partner in crime Gareth Davey, compliments him well with quips, dance routines and playing the mouthorgan.
Funniest part was when they reverted back to their Leeds/Bradford accents which was endearing and won the audience over almost immediately at the start of the show.A mix of Soul, Blues and Motown, this is a great night out, a night to dance, party and let your hair down. The Richmond Theatre audience were in great spirits from the start and they were spellbound by Hindle's energy.
Look out for this fun night touring near you.
Review by Douglas McFarlane
https://www.thebluesbrothers.co.uk
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Douglas McFarlane
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Cannot wait to review this incredible show tonight.
Very popular so BOOK your tickets now. Don't miss out!
Best Availability Monday to Thursday performances. Call the theatre’s dedicated Les Misérables booking line on 01908 547669 (open Monday to Saturday, 12 – 6pm) or visit: https://www.atgtickets.com/shows/les-miserables/milton-keynes-theatre/.
Check daily for returns and last minute ticket releases.-
Catherine
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In the city of Bradford Adnan, a Syrian refugee stumbles upon a lit building in which he finds Cath, the community centre cleaner. Although not receiving the warm welcome Adnan may have expected after finally making it out of Calais and into the UK, Cath and Adnan soon find themselves entangled in each other’s lives.
When Adnan returns to Cath’s house to repay the £4 he owes her, Cath soon empathises with him and invites him to stay in her estranged son Jamie’s room. However, when Jamie decides to return home and take back his room tensions in the house rise as Jamie is not only fighting for his room but for the attention of his mother. Though Cath is thrilled at the prospect of reconciling with her son Jamie’s unexpected arrival leaves Cath stretched well beyond her means, providing support and guidance for Adnan whilst trying to ensure her son doesn’t leave her again.
Writer Grace Chapman was inspired to write this play after her family began hosting asylum seekers in their home and by the case of Rob Lawrie, the former soldier arrested at the Calais border trying to smuggle a child refugee in his van. This play not only depicts the very real danger and vulnerability refugees face when trying to make it into the UK but more so shows us what happens upon their arrival and the impact felt by the community they settle in.
Jamie though young and often selfish really doesn’t understand what Adnan has gone through to get here and the struggles he still faces. Jamie’s character represents those with a genuine fear of refugees that we see across Europe, viewing Adnan as a threat to his home, his finances and the attention of his mother. However, when learning about Adnan’s sister still in Calais you see a softening as his empathy for Adnan grows and a real internal conflict burns within him, a beautiful moment from actor Brian Fletcher. This play really shows how far a mother’s love will go with Cath hollowing herself out in an attempt to save Adnan and his sister whilst struggling to make space for her son and reconcile the damage of their past.
Director Nicholas Pitt did a wonderful job of keeping the audience engaged, with a play that is set in only one room and a continuous back and forth between characters the play runs the risk of becoming stagnant. However, aided by the movement direction of Dan Canham and lighting of Greg Cebula the air in the space was lifted with beautiful transitions and lighting states foreboding the future.-
Afia
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