ELERGIES FOR PUNKS, ANGELS AND RAGING QUEENS  

Union Theatre, 21st May 2019 

Presented by Union Theatre, Elergies for Punks, Angels 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

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

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

* * * *

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

 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 

 

The Worst Witch is advertised as for 7+ years, which might have been why its 7pm opening show wasn’t packed out on a school night.

It certainly deserved to be. For Emma Reeves’ adaption, based on Jill Murphy’s famous schoolgirl sorceress, is, literally, enchanting!

A bubbling cauldron of original music, song, dance, comedy and magic, with some death-defying broomstick-flying thrown in, this is a family show which even the most hardened of theatregoers can’t fail to enjoy.

Directed by Theresa Heskins at a cracking (or should I say, cackling) pace, The Worst Witch follows the adventures of Mildred Hubble, an ordinary girl who accidentally finds herself in Miss Cackle’s Academy for Witches.

An outsider in many ways, through a play she has written for the school to perform, she tells her story of how she dealt with being different, bullying and evil, with the girls and their teachers playing themselves. But, of course, as in the best storylines, not everything goes to plan - with electrifying results.

There are many stand-out performances in this production. The girls may look (and act) like 10-year-olds, but their acting, singing and dancing tell you otherwise. They are accomplished, all-round-performers.

Danielle Bird shows a great talent for clowning as clumsy Mildred, but packs a punch with rock-star-like singing. Rosie Abraham is perfection as the snobbish bullying Ethel, the sort of child you go into adulthood still having nightmares about. My eyes were continually drawn to Rebecca Killick who carries an air of authority as Mildred’s best friend Maud, even though at times she is delightfully excitable, while Consuela Rolle lights up the stage as extrovert Enid.

On the teaching front, Rachel Heaton as assistant head Miss Hardbroom has a look that still sends shivers down my spine. Miss Cackle, on the other hand, reminds me of a (not so flamboyant) Dame Edna Everage, and her evil twin of Tracey Ullman (sorry Tracey, nothing personal!) and keeps us thoroughly entertained.

Apparently, The Worst Witch was around long before Harry Potter, but due to my great age it was decades after my childhood so I’d never heard of Jill Murphy’s eight books and three CBBC TV series. But all the components of this production, with its nice little touches, had me spellbound. No wonder it’s going into London’s West End. Matilda, you have a rival!

Photo: Manuel Harlan

The Worst Witch is at the King’s Theatre, Edinburgh until May 12.
It then continues touring:
May 22-26: Birmingham Hippodrome
May 28-June 1: Liverpool Playhouse
Jul 24-Sept 8: Vaudeville Theatre, London

Courtrooms can be as dramatic as the most powerful of plays, and barristers can be even more theatrical than the most histrionic of actors.

I should know. I was a Crown Court reporter for five years and, though it was decades ago and the King’s current production is set in Boston, The Verdict felt so authentic it took me back to those days when I witnessed daily a different kind of theatre performed on an oak-panelled stage.

The oak-panelling is there is this beautifully presented play from the consistently satisfying Middle Ground Theatre Company. But in the capable hands of the multi-talented Michael Lunney (artistic director, director and designer, who also plays the kindly bar owner Eugene Meehan) the imposing courtroom is almost overshadowed by the impressive, 3-D effect backdrop of a snowy Boston, lit with that cold winter luminescence by Jeremy Barnaby, in sharp contrast to Meehan’s bar’s warm glow.

With a shabby office on the side, the scene is set for a powerful production both cast and audience can really get their teeth into.

There is certainly nothing histrionic about the performances in this latest version of Barry Reed’s famous play. As a down-at-heel gumshoe who sues the Roman Catholic Church and a hospital for gross negligence after his client is reduced to a vegetative state, Ian Kelsey is totally believable. A world away from his former roles in Coronation Street, Doctors and Emmerdale, as Frank Galvin, a hard-drinking attorney who can’t pay his rent, at first he appears slightly seedy, but when he sets his mind to fighting for justice, his passion and Kelsey’s emotional performance brought tears to my eyes on more than one occasion. It was fortunate then that the ever welcome Denis Lill, as Frank’s mentor, is on hand to deliver the funny lines, which he does, as always, with aplomb.

Together with a sterling cast and some lilting Irish music from Lynette Webster, this rivetting play is another winner for Middle Ground.

The Verdict is at the King’s Theatre, Edinburgh until May 4.
Box Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
May 7-11: Eden Court Theatre, Inverness
May 21-25: Theatre Royal, Plymouth

Kelsey Grammer, Peter Polycarpou and Danielle de Niese photo Manuel Harlan

Michael Linnit has pressed for four years the return of Man of La Mancha since last it played here some 50 years ago and is now the project of Michael Grade and Michael Linnit, the production team that brought Sweeny Todd, Carousel, Sunset Boulevard and Chess to London's Coliseum. Most remembered for its iconic song, 'The Impossible Dream' Man of La Mancha is inspired by Dale Wasserman's Miguel de Cervantes' Don Quixote. Featuring a strong cast whichincludes Kelsey Grammer, Peter Polycarpus, Danielle de Niese,Nicholas Lyndhurst and Cassidy Janson, this Tony award musical is playing at the London venue from 26 April 2019 until 8 June 2019.

Quick Synopsis: it is 16th century Spain and we are in the grim dungeons where Miguel de Cervantes and his servant are awaiting trial by the Inquisition. In the grimy cellar that is their dungeon there is a pecking order, an established hierarchy of the longer serving prisoners who set upon the hapless duo. In his trunk, Cervantes has his unfinished novel 'Don Quixote' and to protect it from those who are keen to attack him, he prepares his defence by acting out the role of Alonso Quijano who, in his delusion, believes himself to be a knight errant named Don Quixote de la Mancha,who has set off on a fantastical quest with his manservant Sancho Panza. And this is a basic premise to this tale. 'When life itself seems lunatic who knows where madness lies? Too much sanity may be madness and maddest of all is to see life as it is and not what it ought to be.'

Director Lonny Price has held to the original but has also made an attempt to bring it more into the 21st century by costuming the cast in trainers and giving the baddies,ie the prison governor and the inquisitor black leather clothes, supposedly to make them appear more sinister? This seemed unnecessary and I am not convinced it added anything to the production. The set itself is a dungeon interior with walls spattered with graffiti but is too reliant on lighting to create the illusion of the windmill and the mirrors of the Knight of the Mirrors and a hydraulic platform for the inquisitors. This too was disappointing as I believe the impact of the windmill should have been far stronger and, frankly, if you were distracted for a moment you would have missed the effect.

So did the production team achieve their impossible dream? Their objective was that the audience leave the theatre inspired. That like our knight errant we too can be honourable  and do the right thing: 'to fight for the right without question or cause'. We may not always follow the safe and obvious path but we should not be scared to dream, to have our 'Dulcinea' moment. Sadly I don't think it quite hit the mark.

Certainly Kelsey Grammer (Miguel de Cervantes/Alonso Quijana/Don Quixote) was a strong lead. His voice carried effectively and he gallantly embraced his role. However, timing was slow and reduced the impact of his character. Similarly he was too often off stage and his absence was felt. With his loyal manservant, Sancho Panza (Peter Polycarpou) they made a striking pair with great potential but again I felt that Polycarpou was restrained from giving his role more and I am sure he would have relished the opportunity to do so. Danielle de Niese (Adonzo/Dulcinea) was majestic. Her voice soared and she immersed herself entirely in her role. We did not doubt the tragedy that was her life and the hope for self-worth inspired by Quixote. In his role as governor/innkeeper, Nicholas Lyndhurst enjoyed some comic moments but these were short lived and stilted at points.

In all the production lacked pace. Too often it felt 2-dimensional with silences that begged to be filled. The cast in general were keen in their roles but the ensemble was frequently redundant,idling on the sidelines. Interestingly this underused group brought energy and zest when they performed their ensemble songs or dances and gave life to this rather flat production.

But full praise to the ENO orchestra, directed with energy and fun by David White. They were outstanding and I loved the percussion (in particular the castanets) which created the Spanish feel.

This is a musical that might have won previous awards but today feels outdated and may not enjoy the success of the previous musicals that the production team has brought to the Coliseum. Nevertheless, the memory of Kelsey Grammer's superb rendition at the end of Act I of 'The Impossible Dream' will stay with me for a long time to come and I hope that the production team continue to bring to the London stage those successful musicals of bygone eras.

(note: the role of Adonzo/Dulcinea is played by Cassidy Janson at some performances)

Man of La Mancha
London Coliseum, St Martin's Lane, London WC2N 4ES
Dates: 26 April - 8 June 2019
Performances: Mon-Sat 7.30 pm. Matinees Wed & Sat 2.30 pm.
Tickets from £15.Box office 020 7845 9300
 www.eno.org.


Twitter: @LaManchaLDN


Instagram: @LaManchaLDN

Adam Dickinson (Paul Simon) and Ashley Judd (Art Garfunkel): photo Hamish Gill

Stepping onto the dimly lit stage of London's Lyric Theatre, currently home to 'Thriller', two figures cast a silent, shadowy presence. The atmosphere was buzzing, with an audience full of expectancy and excitement. Lights lifted to offer the shining silhouette of Adam Dickinson (Paul Simon) and Kingsley Judd (Art Garfunkle) against a darkened background with only a small projector screen. This was their debut performance as the iconic duo Simon and Garfunkel and there are two more London performances to follow.

Not a tribute act but more an insight into and 'authentic tribute' to Simon and Garfunkel's musical journey and hugely talented development. Throughout the 2 hours 15 minutes we were treated to a delicious array of songs from their albums, each chronicling a stage in their lives against the setting of the times. With video projection casting newsreel footage and TV commercials reminding us of what life was like, each was placed firmly in context. Dickinson and Judd took pains to explain more fully at occasional junctures, making this more a quasi documentary rather than a biopic performance.

Supporting this talented pair were musicians Will Tucknell, Leon Camfield,Mat Swales and Kyla Brown who played with gusto and transparent joy. However, I more loved it when the boys sang acoustically rather than being accompanied and sometimes overpowered. Judd's 'Bridge Over Troubled Water' was spine tingling and you could have heard a pin drop in the silence of the auditorium, where many an attendee dabbed at their eye.

So there we are, childhood friends influenced by the rock music of the day to the wonderful folk legends that they became. From their humble beginnings as Tom and Jerry to their incredible global fame and the legendary reunion concert in New York's Central Park, which played to 50,000 fans. And then to their separation of ways where each followed their own path.

This was an evening of pure nostalgia, of memories where each of us was lost in thought according to the track and our own life experiences. And Dickinson and Judd did not let us down. They played with integrity and respect to the famous duo who have made such a mark on music and the world. Earlier songs and lesser known ones were included but there is no doubt that it was numbers such as 'Homeward Bound','I Am A Rock', 'Scarborough Fair', 'A Hazy Shade of Winter', 'The Sound of Silence' and 'The Boxer', (amongst many others) that truly resonated with the audience who devoured each and hungered for more. Yes, we all sang quietly along, faultlessly remembering the brilliant lyrics and relishing the memories. Perhaps we did not join in as much as the amiable pair would have wanted but that was only because we were having a ball listening and luxuriating in the songs.
 
Ending with a well deserved encore for this likeable duo who had brought to the stage the story of Simon and Garfunkel,all left with smiles on their faces and songs in their hearts. 

Of course not everything could be included and of course they were not the 'real thing' but this was never their intent and the two performers made that very clear. But given that it is unlikely that we will ever see Simon and Garfunkel perform together again this is a very enjoyable production. So, if you fancy a delightful evening with memories of days gone by when flowers were worn in our hair and protests were the right of the young, pop along to the Lyric Theatre, Shaftesbury Avenue, London on Monday 20th May or Monday 24th June when Dickinson and Judd will lead you through 'The Simon & Garfunkel Story'. But do book as there was not a spare seat to be had.


LISTINGS INFO


THE SIMON & GARFUNKEL STORY

LYRIC THEATRE, SHAFTESBURY AVENUE, LONDON W10 7ES 
 

Monday 20 May at 7.30pm 

Monday 24 June at 7.30pm
www.nimaxtheatres.com


Running time: 2hrs 15mins including interval

Tickets from £15

All tickets include a £1.25 Theatre Restoration Levy 

twitter@TheSandGstory

www.thesimonandgarfunkelstory.com

www.mapletreeentertainment.com

Ben Hood (Ned Contraband) and Ben Alderton (David Carter): photo Robert Workman  

Directed by Roland Reynolds and written by Ben Alderton, 'Hell Yes I'm Tough Enough' takes us back to 7 May 2015 and the political scandal where the huge discrepancy between the opinion polls and the actual electoral result came to light. Undoubtedly the sentiments and themes could just as well be applied to our modern times of a broken political system, unrest, distrust and dare I say, the 'B' word. It was because of the Conservative majority of that election that meant Cameron was able to fulfil a manifesto commitment to renegotiate the British membership of the European Union and the subsequent referendum of 2016. And look where that has placed the UK now! And so it was, with somewhat mixed feelings, that I visited the Park Theatre 90 to see Alderton's production. What could he offer that we are not hearing or reading on a daily basis?

We are in an age where social media places both enormous pressure and huge influence on the public and to that end it is ruthlessly exploited by those who wish to self serve, to gain public approval in order to elevate their own status and gain power. Where is the line crossed? How can a system so broken be fixed?

Alderton states: 'Hell Yes I'm Tough Enough' is a political satire by Fragen theatre Company taking a tongue-in-cheek look at the unjust, corrupt and farcical pantomime that is British politics.' But that is an understatement. It is a cruel but justified expose into the vile and corrupt world of politics and in case we don't get it Alderton uses caricature to make it blindingly obvious. With overworked humour into names such as Nick Clog, Ned Contraband and Nigel Garage, not a character is spared. All are repugnant, apart from the naive newly graduated recruit, Patrick. And because of that, the credibility is overshadowed and we might laugh but does it fully resonate?

This fast paced production, whose script gushes rather than flows, places great demands on the cast who frequently trip and stumble over their words as they sprint onward to maintain momentum (excuse the pun). There is no doubt that they perform with energy and enthusiasm but voices  rise too high in their scrabbling to spit out the words. This sometimes reduces the play to a reading rather than a  performance.

So back to the play. It is the end of the failed five year coalition between Alderton's David Carter and James Bryant's Nick Clog. The 'red' team is now led by the incompetent and frankly pathetic (younger brother) Ned Contraband (Ben Hood) who is torn between the calming influence of his trusted guru Will (Michael Edwards) and ruthless, stop at nothing PR Sharon/Shaz Slaughter (Cassandra Hercules). Similarly, on the 'blue' team is the vile, bullying Carter and his team (mainly female) of PR controllers Glynnis (Annie Tyson) and new protegee Poppy (Venice Van Someren). On a side point, why is that when females are playing strong characters they must be portrayed in a crude and unnecessarily brutal manner, continually emasculating their male counterpoints in order to prove they are as good as, if not better! But I digress.

Enter newly graduated Patrick who has been invited to join the blue team and assist them towards change, to reinvent themselves as honest and trustworthy politicians who will work for the good of all and bring about much needed social reform. But of course that is idealistic and his eyes are opened to the seedy internal workings of the political machine, where honesty and truth matter little. It is about performance, of image (ad hominem). When on camera, the leaders must adopt an outward appearance to convince the gullible public who are desperate to believe, to have a truth that sits comfortably on their shoulders. It is not about truth. And this is shown even more so when the cameras are off and Alderton exaggerates the puerile, playground tactics of this vile group.

With Act 1 focusing on humour as the main medium, the second Act is far move serious. Despite Ned Contraband's closing speech in Act 1, reminiscent of Henry V's St Crispin Day speech, Alderton has felt the need to spell out his revelations more fully in the play's later stages. In total the running time stretches to 2 hours 15 minutes but could have been reduced. Even the fun and glitz of Janitor Corbz (Edward Halsted) sort of missed the point. With an ending that mirrored student satire the attempt at sincerity fell flat. Corbz's plea of 'These are people's lives. These circus antics must cease' failed to move. The audience was tired and it was time for the play to close.

This was a brave attempt at send up but I do feel that Alderton tried too hard, both in the caricatures and in his pains to remind us repeatedly of the corruption and deceit of those who trick and lie in order to self promote. We got it! But we got it quite a while before the end of the play and in that respect became immune to the message.

Listings
Venue: Park 90, Park Theatre, Clifton Terrace,Finsbury Park, N4 3JP
Dates:24 April to 18 May 2019.
Performances: Mon-Sat 7.45 pm. Thurs/Sat matinees 3.15 pm
Access performances: audio described Thurs 16 May 7.45 pm, touch tour 6 pm
Prices: Previews £14.50. Standard £18. Concessions £16.50. Park Up Members (24 April - 1 May) £10, Groups of 10 with a free 11th ticket.
Age Guidance: 18+
Booking: www.parktheatre.co.uk 0207870 6876 with a 10% telephone booking fee

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The shocking conclusion of Blood Brothers reminds me of another legendary production, Titanic. You know right from the start it will end in disaster, but you still will it not to happen - and even if you see it multiple times, the end feels equally unexpected and shocking.

This week Bill Kenwright’s UK tour is at the Winter Gardens Blackpool, and the staging of this final scene is even more tense than I remembered, with the audience on the edge of their seats.

Following in the footsteps of greats including Kiki Dee, Lyn Paul, Barbara Dickson, Petula Clark, Stephanie Lawrence and Nolan sisters Linda, Maureen, Denise and the late Bernie, Linzi Hateley steps expertly into the coveted shoes of Mrs Johnstone. She conveys the likeable, plucky, kind character with such skill and heartfelt singing you don’t condemn the desperate mother for giving one of her twins away. You just wish hard that she won't, and feel her pain at the consequences when she is terrified into letting him go.

Speaking about this iconic role Hateley said: “There are more these days than there used to be but there still are very few iconic female parts in musical theatre, where you think ‘I’d love to have a go at that at some point’. It’s got everything. It’s comedic, it’s incredibly tragic, she’s strong but she’s vulnerable - it has it all in one big package and it’s written so brilliantly by Willy Russell."

No wonder the award-winning Blood Brothers is known as the “standing ovation musical”. Since the show first opened at the Liverpool Playhouse in 1983, its power and popularity have never waned. Partly because its debates on rich versus poor and nature versus nurture will always be relevant, but mostly because Willy Russell’s script and songs weave comedy, sadness and anger together so seamlessly you’re swept on a rollercoaster of emotions from the second the curtain rises on the dead bodies of Mrs Johnstone’s twins.

Amidst timeless numbers including Bright New Day, Marilyn Monroe, Shoes Upon The Table and the heart-rending Tell Me It’s Not True - and a set that adeptly divides the social classes beneath the Liverpool skyline - Mickey (the one she keeps), Eddie (the one taken by her baron boss Mrs Lyons) and Linda (their childhood friend) form a love triangle. Equally convincing as mischievous kids, lovelorn teens and doomed adults by Alexander Patmore, Joel Benedict and Danielle Corlass, the trio depict the coming of age theme beautifully, from the fun days when their bond felt unbreakable, to the reality and inequality of adult life when their beliefs are shattered.

For this is when the themes of nature versus nurture and superstition come into play. Even though the twins are constantly drawn to each other, their very different backgrounds separate them; with their discovery of who they are, and what they might have been, resulting in a foretold tragedy.

Paula Tappenden is perfectly cast as Mrs Lyons, the polar opposite of Mrs Johnstone, and Robbie Scotcher is excellent as the imposing narrator whose watchful presence and menacing vocals warn us of the impending doom.

Blood Brothers is entertaining, emotional, educational - and this is an unforgettable and first class production. Catch it while you can at Blackpool Opera House.

www.wintergardensblackpool.co.uk/whats-on/blood-brothers