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This may have been my favourite Panto ... ever. There, why beat about the beanstalk? I've just saved you 5 minutes of your life. Buy a ticket. Merry Christmas!
Still here? Okay I'll tell you more.
First, it's spectacular! Eye-popping scenery and costumes are outshone by dazzling lighting, epics sets, a MASSIVE giant ... and a flying machine to take your breath away!
Next, it's entertaining! Just as many jokes for the adults as for the kids and they hit that perfect rhythm so that just before the mirth is lost from one, another comes right along. Performances from the stars (Elaine C. Smith, Johnny Mac and Jonathan Watson) were great and the audience of kids and families raised the roof! I must admit that I laughed loudest when the young audience members were asked to join Johnny onstage - hilarious!
Music from the live band led by James Dunsmore was lively, upbeat and had broad appeal. The 8 strong troop of dancers were energetic and talented and were rewarded with the traditional yet impressive gold-encrusted costumes for the finale!
This is a great family show and well worth the ticket price. Book early to kick start your Christmas feel good season this year.
Jack and the Beanstalk
King's Theatre Glasgow
Sat 30 November - Sun 5 January 2020
www.atgtickets.com/glasgow (bkg fee) -
Emblazoned across the stage is ‘The Greatest Show on Earth’ - which says it all really!
Why is it? Well, where do I start?
The KIng’s panto last Christmas won the Great British Pantomime Award for Best Pantomime of the Year, but if you thought that was good you’re in for even more of a treat this year.
Once again the famous King’s panto has pulled out all the stops, no expense spared. The sets are from the London Palladium and the circus-themed extravaganza features world famous (and death defying) circus acts.
At the heart of it all is, of course (with apologies to Hugh Jackman), the greatest showman, co-writer and dame extraordinaire Allan Stewart, with his long-time cohorts Grant Stott and Andy Gray, back this year after illness meant he missed last year’s production - and what a welcome the audience gave him! It’s an absolute joy to see these three working together while at the same time having a great laugh (which they often do!).
Not to be outdone by the terrific trio, newcomer Jordan Young, River City’s bad boy (well, one of them!) does a sterling job as Joey the Clown, even walking the high-wire and delivering an admirable monologue at breakneck speed!
This time round Stewart is Dame May McReekie, the owner of a circus which won’t use animals. Gray is her hapless husband, while Young plays a naive clown desperate to be star of the show and marry the McReekie’s daughter Goldilocks (Gillian Parkhouse).
But there’s another circus in town, owned by Baron Von Vinklebottom, who loves being cruel, and Stott gets plenty of boos as the villain, especially as so many people these days are aware of cruelty to animals and campaign against it - a nice message amongst all the razzmatazz.
Enter the three bears who, finding the McReekies sheltering in their home, vow to save their circus - until the vile Von Vinklebottom kidnaps them. Clare Gray, Ross Finnie and especially the hip swivelling Darren Brownlie as Baby Bear are hilarious and their accents are had people crying with laughter, eh!
There’s more of a story than most to this panto but it certainly doesn’t go short on entertainment.Thrills, but hopefully not spills, come in the form of The Berserk Riders, four motorcyclists whose terrifying act had me on the edge of my seat, and the amazing Great Juggling Alfio from a large circus family in Spain.
This panto has it all: topical jokes which promise to keep up with the news; a wee bit of audience participation, and a singalong, but most of all it’s a thrilling, dazzling, sensational explosion of colour and fun, superbly presented. My face was aching with laughing so much.
Oh, and it beats The Lion King, about to start at the other end of town. The panto’s animals, from a massive gorilla, giraffes, hippos, elephants and zebras to kangaroos and chimps, were on stage first!
Goldilocks and the Three Bears is at the King’s Theatre, Edinburgh until January 19.
Box Office: 0131 529 6000
capitaltheatres.com
Image: Douglas Robertson -
The Traverse Theatre and Edinburgh-based theatre company Grid Iron are each renowned for their innovative productions, so when they get together…!
Not for them, a traditional Christmas story, jingle bells or tinsel, but a series of Chinese stories combining folk tales, martial arts, and the supernatural.
Tattered muslin hangs on the stage and above the seats, some of which are also covered in the fabric, and mist swirls around the auditorium as we wait for whatever is in store for us.
The Traverse is known for being a new writing theatre, but not on this occasion. In fact, it’s unusual for any theatre, unless they are performing Shakespeare, to present on stage for the first time in the UK stories which are 400 years old. So, in a way, it is another first.
Two of the three storytellers, Chinese Luna Dai, and Robin Khor Yong Kuan, a Malaysian Chinese living in London, grew up with these stories, penned by one Pu Songling. He wrote about ghosts, immortals, demons (and foxes!) to illustrate his thoughts on society and government, some of which are still relevant.
The production is indeed strange. For a subject so unworldly, the storytellers are very much down-to-earth, especially Pauline Lockhart, co-founder of Wildfire Theatre, whose idea it was to do the show. Co-writer and co-director (with Grid Iron’s Ben Harrison), together with Dai and Kuan she unfolds each story as if we’re all having a chat in our sitting rooms. And her pure Scottishness and talent for comedy makes sure we keep our feet firmly on the ground.
However, Ruth Chan’s at times haunting at times thrilling music and Bright Side Studios stunning video designs take us to another dimension as the three storytellers act out their tales...of a ghost who has to fight a demon so she can come back to life and marry a mortal; a man whose pupils leave his eyes to see what he can no longer see; a hideous fiend who takes on a disguise and rips out a man’s heart; a woman who becomes involved in a love triangle with a ghost and a fox spirit....
There are eight tales in all (a lucky number in Chinese), chosen from almost 500. Apart from the graphics they are simply presented, which often makes them a thing of beauty.
Strange Tales is at the Traverse Theatre, Edinburgh until December 21.
Box Office: 0131 228 1404
traverse.co.uk
Image: Tommy Ga-Ken Wan
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It is said that, on a visit to Edinburgh in June 1841, Charles Dickens came across the gravestone of one Ebenezer Lennox Scroggie, whose inscription described him as a ‘meal man’, meaning he was a merchant. However, Dickens misread this as a ‘mean man’ and later wrote, ‘To be remembered through eternity only for being mean seemed the greatest testament to a life wasted’. Two years later he began writing A Christmas Carol!
Most of us are familiar with the story of Scrooge (those who lean towards being mean often trot out ‘Bah! Humbug! at this time of the year!), but adaptor and director Tony Cownie certainly makes the most of Edinburgh’s connection.
Set against a backdrop of Edinburgh Castle, a lot of the action takes place beside the gates of Greyfriars Kirkyard - cue the immortalised terrier, Greyfriars Bobby, much to the delight of the audience, best friend of Tiny Tim. The story of how he becomes a Freeman (sorry, dog) of the city adds an extra layer to this production, though it remains traditional in so many ways.
Thanks to designer, award-winning Neil Murray, it looks like a Victorian Christmas card, and there are even carols (beautifully sung by a community choir), sometimes with brass band accompaniment.
But I think even Dickens would approve of Cownie’s slant on his festive tale. In fact, it’s absolute genius!
Scotland is renowned for its pantomimes and although this is more sophisticated, Cownie manages to incorporate our favourite pantomime characters, especially among the Ghosts of Christmas Lang Syne, Nooadays and Future. There’s even a programme full of ‘interval activities’ like word searches and spot the difference for young theatregoers.
Lots of over the top comedy is to be had, especially from Grant O’Rourke as the hapless policeman, Steven McNicoll as the flamboyant Fezziwig and Belle Jones and Nicola Roy as ancient crones collecting for the Salvation Army.
There is nothing comic, however, about Crawford Logan’s role as Scrooge, except when he is scared! He plays the miserly old grump to a T until he sees the error of his ways and then his humility brought tears to my eyes.
I only wish Jacob Marley had been wearing ghostly make-up.
That said, this is an extraordinary show and tickets should be on everyone’s Christmas present list.
An Edinburgh Christmas Carol is at the Royal Lyceum Theatre, Edinburgh until January 4.
Box Office: 0131 248 4848
lyceum.org.uk
Image: Mihaela Bodlovic -
Let Me Be Your Star is the theme of the latest production
from Imperial College Musical Theatre Society, a talented and enthusiastic troupe of students, joining forces to bridge the gap between arts and
science.
This entertaining evening of musical theatre takes the
audience on a journey through a wide range of styles, featuring show tunes from
Hairspray, The Greatest Showman, Hamilton, Joseph and the Amazing Technicolour Dreamcoat,
Thoroughly Modern Millie and The Book of Mormon.
If you’re already a fan, you’ll enjoy revisiting your
favourites, and if you’re new to musical theatre, this medley provides the
perfect introduction to this popular genre.
Let Me be Your Star is showing on 4, 5 and 6 December at
the Union Concert Hall, Beit Quad, Imperial College, Prince Consort Road,
London SW7. Doors open at 7pm, show starts at 7.30pm. Free entry.
https://www.facebook.com/events/761778604249438/
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Written by American David Javerbaum, this energetic off beat comedy made its debut on Broadway in 2015 to a positive critical reception, and is now making its way across the globe. (This is largely thanks to Javerbaums brilliantly satirical twitter account @thetweetofgod)
A version of this show is also currently being performed in Spain and this is its UK premier. Apparently Javerbaum worked closely with lead actress, comedienne Zoe Lyons, to tailor the script to appeal to a UK audience, however the premise remains the same: God has returned to earth for a brief time (90 mins) in order to update the 10 commandments for the age in which we live. ( She still likes the odd bit of smiting but these days she’s much more LGBT friendly!)
Although their styles couldn’t be more different, Zoe Lyons could definitely have given Morgan Freedman a run for his money in the role of god. She made the part her own and her comic delivery was just fantastic. Supporting cast also deserve a mention, Tom Bowen gave a solid performance as a pretty boy angel Gabriel but it was Matt Tedford’s gloriously Pythoneque Arch angel Michael that really stole the show. I wish I had made a few more notes about the over all content but unfortunately I was too busy laughing so you’ll have to have to go and see it and draw your own conclusions.
An act of god runs at the vaults until January 12th tickets £25
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It’s very rare for a play to last for 27 years in the West
End and yet Woman in Black has been
running at the Fortune Theatre all these years.
Based on Susan Hill’s acclaimed ghost story the book was adapted for the
stage by Stephen Mallatratt. It’s now in its 9th year playing at the
Rafael Solaria theatre in Mexico and has been translated into 12 languages and been
performed in 41 countries.
Woman in Black is
effectively a play within a play, with the central two actors showing how
tension and suspense can be created with the most basic of sets and props. The actors use storytelling techniques to
allow the audience to use their imagination to build the atmosphere,
constructing an illusion of tension as the horror of the storyline builds.
A lawyer obsessed with
a curse that he believes has been cast over him and his family by the spectre
of a Woman in Black, engages a sceptical young actor to help tell his terrifying
story and exorcise the fear that grips his soul. It all begins innocently enough, but then, as
they reach further into his darkest memories, they find themselves caught up in
a world of eerie marshes and moaning winds.
In addition to running in the West End, the play has been
touring the UK since 1989. It is on the
GCSE and A-level theatre and English syllabuses ensuring that audiences are
predominately made up of schoolchildren, who hold on to one another as the
anticipation of ghostly presences puts them on the edge of their seats.
With only two speaking roles in the play, the actors have to
have incredible stamina, energy and resilience to get through 8 shows a week
for the 40 weeks they’re hired to play the roles. In addition to remembering all the lines and
playing a variety of roles, they both go on an emotional journey that must
exhaust them both by the end of the show.
The current two actors playing the roles on the theatre tour
are Robert Goodale and Daniel Easton, who both give 100% commitment to the
characters they play and the story they’re relaying. It’s exceptionally
difficult to have to constantly adjust to a new theatre week after week and the
vast auditorium of the Waterside Theatre can make it hard for the two actors to
engage the audience. They both worked extra hard though to overcome the challenge
and judging by the screams and jumps around the theatre they succeeded in
scaring people at the relevant moments. I felt the play probably works better
in a small intimate theatre, but it’s good that this production can be adapted
accordingly.
The play runs at The Waterside Theatre to Saturday 30th
November.
https://www.atgtickets.com/shows/the-woman-in-black/aylesbury-waterside-theatre/
Further details can be found on thewomaninblack.com
Reviewed by:
Yvonne Delahaye
26.11.19
@yvonnedelahaye
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Obsessed with the apparently perfect life of a couple (Scott and Megan) she watches as her train passes by their house, Rachel suddenly finds herself the witness, and even worse, a suspect when Megan goes missing.
Adapted from Paula Hawkins’ best-selling novel, The Girl on the Train rattles along at speed right from the start, with Rachel updating us from her point her view. We discover straight away that she's an alcoholic who suffers blackouts, which means she’s going to be an unreliable narrator. Or is she?
Conversely, Rachel turns out to be extremely reliable in her determination to solve the mystery of the gaps caused by her blackouts and Megan’s disappearance. In fact without Rachel, the officer in charge of the investigation, D.I. Gaskell, might have forever remained on the wrong track.
Samantha Womack, best known for her award-winning performance as Ronnie in EasterEnders, is excellent in her portrayal of Rachel as the joyless, downtrodden divorcee who copes with loss by drowning her sorrows, whilst showing hints of the capable woman she once was.
There are lighter moments where Womack induces laughs with a mere movement and facial expression, her droll manner belying the desperation that drives her character. Rachel Watson could easily be dismissed as weak and unstable, however Womack ensures she maintains dignity, making the second half of the play, where she forgets to drink and begins to believe in herself, much more credible.
For the stage adaptation we, the audience, become voyeurs, watching the characters in their respective homes. The set is dark, the only light coming from the living rooms, just as you might see them from a train carriage. Rachel remains on set throughout, and as her investigations tear down her beliefs, about herself as well as everyone around her, she becomes stronger and forgets her need to drink.
As the action moves from room to room, the set turns in parallel with Womack’s passage across the stage, keeping the journey in motion. At times, clever projection on to the backdrop creates the illusion of a train speeding past, blurring the scenery.
The cast are all convincing in their roles. Oliver Farnworth, most recently seen on TV as Coronation Street’s doomed Andy Carver, shows a dark but vulnerable side as Scott, demonstrating an acting prowess developed at Bristol Old Vic and from treading the board on stages regionally and on the West End.
Bringing The Girl on the Train to the theatre after the huge worldwide success of the book and subsequent movie was always going to be a challenge, but Rachel Wagstaff and Duncan Abel have done a first-class job. If you don’t know the plot already then this thrilling whodunnit will have you in suspense. If you do, then you’re still in for a surprise as the stage version comes with a twist. Either way, The Girl on the Train carries you through a web of lies and lost memories to a shocking denouement. The question is, will there be a light at the end of the tunnel for Rachel?
Book a ticket now and find out before it departs Blackpool Opera House:
www.wintergardensblackpool.co.uk/whats-on/the-girl-on-the-train
Remaining shows: Friday 22nd November 7.30pm, Saturday 23rd November 2.30pm and 7.30pm.
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The spiegeltent in Leicester Square offers audiences a chance to step back in time. This mirrored time machine offers a glimpse into the debauched, decadent world of cabaret, headed by the magnificent Mistress of Ceremonies, Bernie Dieter.
Dieter leads the audience through evening, and provides some of the high points of comedy. Her audience interaction is fun and non-threatening, managing to maintain her song while being manhandled across the stage by four ‘volunteers.’ Her repartee is slick and spot on, playfully teasing the audience resulting in belly laughs.
The acts on stage may be subject to change but they are all among the best at their art. They perform with a cheeky sexiness, flirting with the audience. There are moments of beauty and serenity, a counterpoint to some of the more bold performances. Ballet, juggling, aerial work and a sword swallower who puts you on the edge of your seat, transfixed on her performance. Even though you want to look away, you simply cannot take your eyes off the spectacle before you.
The backdrop to the performances is provided by the in house band, headed up by David Bates and vocals from Kelly Wolfgramm. The music matches the decor and atmosphere of the spiegeltent, and helps to build an evening that is the perfect start to the festive season.
If panto is not your thing, or if you want an evening free from the politics and world outside, then step inside La Clique - you will not be disappointed. You might be surprised, excited, titillated, but never disappointed. -
Do I dare to suggest that ENB’s production of Le Corsaire
ushers in the season of good tidings and joy in Milton Keynes? This ballet is a
visual extravaganza with beautifully detailed sets, ravishing costumes, an
array of characters – pirates, slaves, pashas and concubines and jolly set
pieces. What is not to delight the audience? The story is somewhat weak. It is
loosely based on Byron’s 1814 poem The Corsair, which was then transformed into
a libretto by Saint-Georges and Mazillier, but the version we see is by
Anna-Maria Holmes. The music is also an adventure - a cocktail of music by nine
composers, notable among them Delibes, Drigo, Adam and Minkus. Their atmospheric music played by the ENB orchestra
conducted by Gavin Sutherland is exceptional and forms a wonderful pairing with
the movement on stage. The choreography merges the music and the steps
magically.
What is the story? It is the adventure tale of a pirate,
Conrad (Francesco Gabriele Frola) and his sweetheart, Medora , beautifully
interpreted by Erina Takahashi. Medora is kidnapped by Lankendem the slave
trader but after many contretemps she is rescued by her dashing pirate. Finally
together the lovers sail away, not into the sunset but into a ship wreck! But this is jumping the gun (or off the
plank!) The first act opens in the bazaar where Lankendem (Ken Saruhashi) – the
baddy – is selling slaves to the Pasha – a delightfully doddery comedic pasha portrayed
by Michael Coleman. His assistant (Shevelle Dynott) is an altogether captivating
character too. The scene is set in an unnamed foreign city very much like
Istanbul; the ‘foreignness’ of the set is thrilling with water sellers and shop
keepers and slave girls and a myriad of
other characters. The dancing in this act is breath taking. Mention must be make
of Shiore Kase as Guinare but, for me the highlight here was the athletic flexible
dancing of Jeffrey Cirio in the role of Ali.
But all the dancers are exceptional ; Erina Takahashi and
Shioi Kase are lithe and seemingly weightless; both are delicate and Takahashi expresses sweetly the love she feels for
Conrad. Frola is a strong, athletic
dancer, performing the most amazing grands jétés and sauts de basque seemingly effortlessly
in his solo dance but the pas de deux with Medora is the pièce de resistance of the ballet,
fairly traditional, but accomplished and
tender; theirs is an excellent partnering.
Act ll, the Pirates’ Cave and Act lll, the Pasha’s Palace are both set in visually
stunning sets. Bob Ringwood is responsible for the design ondemf these and of
the exquisite costumes. It is in these acts we see the denouement of the story –
the fight between Birbanto (Erik Woolhouse) and Conrad, and Birbanto being the escape of the lovers by boat in a violent
storm which although ends in their drowning they will be together forever.
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ENB’s Le Corsaire is at Milton Keynes Theatre until
26th November
0844 871 7653
Booking fee applies
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A simply stunning adaptation of Mary Shelley's novel Frankenstein by award winning writer Rona Munro. A real treat and pleasant surprise to see such a high quality work touring the UK.
The magic starts almost immediately, when the Scottish actress playing the 18 year old writer Mary Shelley starts her opening monologue in direct communication with the audience. Eilidh Loan was performing in her professional debut having only recently left drama school and is a similar age to the writer.
The other connection is Loan is also a writer. This clearly helped her connect with the role in a way that made her performance stand out. She connected so deeply with the lead character that she brought home the reality of an 18 year old writing this complex and now legendary story of the creation of a monster of a human being.
The play takes us on a journey of the writer from a blank sheet of paper as she first starts with the idea, moves on to create the characters who perform her thoughts, then pause, as the writer hits a mental block. The roller coaster of writing, matched with the evolving story unravelling in front of us, is complex to write, but so effective in it's delivery.
I was delighted to see so many other Scots actors and hear their accents too, a rare treat in this part of the world. I was quite proud realising the full talent being leaps and bounds above a lot of the plays I see in London.
I don't think I'm biased but go see for yourself, and you'll enjoy the experience of a powerful adaptation coming to life, as well as a monster of course.
Frankenstein is in Richmond Theatre until Saturday 23rd November 2019, then off to Glasgow next week.https://www.atgtickets.com/shows/frankenstein/
Douglas McFarlane is founder of UK Theatre Network and a London reviewer. -
Giuseppe Verdi was a
Shakespeare obsessive and spent many years trying to put together an opera
based on King Lear. He abandoned the idea but his immersion in the study of
tragedy resulted in his own masterpiece: Rigoletto. a portrait of a man caught
in a corrupt world, the escape from which can only be obtained through
vengeance.
Jester to the Duke of
Mantua, Rigoletto wields his wit like a knife. His mocking of Count Monterone after
the duke’s seduction of Monterone’s daughter results in a curse that
conditions Rigoletto’s subsequent life. He seeks revenge on his
employer for kidnapping and seducing Gilda, the daughter he loves and has kept
hidden away from the intrigue of court life. The fact that Rigoletto was
tricked into helping the duke to do so adds to the darkness to come.
The tale, based on a
Victor Hugo play, brought out in the score what we now think of classic Verdi
but was revolutionary for the time: a constant throbbing menace providing a black
background for memorable tunes such as ‘La donna e mobile’. In this Glyndebourne
production Thomas Blunt’s control of the orchestra and the score is the
foundation for the many musical delights of the evening.
The
Georgian baritone Nikoloz Lagvilava has great vocal style in the title role, though
many would say there’s more to acting though than occasionally looking a bit
goggle-eyed at the horror of it all. Gilda is played with panache by Vuvu Mpofu
the South African soprano. Act One saw her struggle a bit with the lower
registers but from ‘Tutte le feste al tempio’ in
Act Two she soared. Top marks of the night go to Italian tenor Matteo Lippi as
the duke. His singing is consistently sweet and powerful conveying the swagger
of a character who has more testosterone than his trousers can bear. The Russian
bass Oleg Budaratskiy is greasily menacing as the assassin Sparafucile.
But what
distinguishes this production in the setting. Not for director Christine Lutz
the mores of 16th century Italian court life; she has chosen to
transpose the action to the Hollywood of the silent era. The duke is a studio
owner, Rigoletto a Chaplinesque figure and, among the cameras and studio
paraphernalia, courtiers become a collection of PRs, lighting men, gofers and
hangers-on.
In the
age of the Weinstein scandal and #metoo, this should carry substantial weight
but in many ways it fails to engage. Sure, Lutz has some good ideas – her interpretation
that Gilda is perhaps the child of Monterone’s daughter brings a hint of the horror of incest to
the duke’s seduction and the fact that Rigoletto has looked after Gilda for 17
years adds weight to the enduring power of the curse.
But some of the innovation
is plain confusing. Why, during the
overture, does a man
take most of his clothes off and scribble on the floor? Why does this character
appear during an emotional scene and start scrubbing? Why is there newsreel of
a much older Rigoletto – ‘Charlie’ being
interviewed?
There’s a certain
clumsiness too. The moment when the curse bears its tragic fruit and the
curtain falls on the devastated Rigoletto is one of the great moments in opera;
by having older versions of the duke and the jester stab each other to death at
the same point seems a senseless over-egging.
It’s bold, brave experiment
that doesn’t quite work. But the music is forever and well worth the price of
admission.
Rigoletto is at Milton
Keynes Theatre on Saturday Nov 16 at 7.15pm-
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Rom-coms don’t come any more rom or com than Donizetti’s L’elisir
d’amore and Annabel Arden’s Glyndebourne production is the frothiest, lightest,
gladdening confection of superb singing, fine acting, inspired setting and
masterly musicianship imaginable.
Lez Brotherton’s evocative village square set, dominated by
a grand yet slightly decaying house, places the action in the rural south of
Italy in the early 1920s.
Poor honest bloke Nemorino is in love with posh bird Adina,
all sass, class and sharp as a tack. She knows of his feelings but gives him
the ‘it’s not you, it’s me,’ routine, and his cause seems lost when the
handsome but vain Sergeant Belcore arrives in the village with his men and
takes a shine to Adina. When Nemorino hears Adina reading to her workers the
story of Tristan and Isolde, he is convinced that a magic potion will help him to gain her
love. The mug.
Enter itinerant quack Dulcamara, who is
only too keen to relieve Nemorino of his cash in exchange for his miraculous
elixir, which is actually cheap wine. Told to wait until the next day for the
effects to kick in (so Mr Snake Oil can scarper), Nemorino is nonplussed when
he discovers that Adina and Belcore are to marry that evening.
Cue screwball fun and dramatic reverses all
round.
Sehoon Moon’s Nemorino is a wonder. His light,
pure, beautifully controlled tenor is the ideal vehicle for Donizetti’s
yearning arias. He also displays comic timing straight out of the Norman Wisdom
Hapless Innocent handbook. It’s an endearing and tender performance. Benedetta
Torre is also in fine voice as Adina. A warm soprano, she comes into her own in
Act 2 when her indifference to Nemorino gives way to first affection then love.
Matthew Durkan’s swaggering
Belcore, provides a fine comic counterpoint to Nemorino. Big guy versus small
and braggartry versus diffidence. Yet again it’s a warm performance in which Belcore
never comes off as evil or a scheming villain.
Misha Kiria is a splendidly
dodgy Dulcamara, imperiously strutting the stage but aware of his fakery in his
asides to the audience. He is partnered by the mime Maxime Nourissat as his
rascally assistant, who provides the production with some proper Grade A smut
that surprises and amuses in equal measure.
The Glyndebourne Chorus look
like they’re have a whale of a time as the scandal hungry villagers, and down
in the pit Ben Glassberg maintains the essential link between the music and the
action with the aplomb you’d expect.
If you’ve never been a fan of
opera, this is one to change your mind.
L’elisir d’amore is at Milton
Keynes Theatre on Thursday Nov 14.-
Quentin Fox
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How many of us can remember being in a nativity play at
primary school? Wearing a t-towel on my
head I was a shepherd at 5 years old with my older sister having the starring
role of Mary. For those of us who went on to become professional actors,
nativity plays are often the first experience of being on stage in the
limelight and from those little acorns many of today’s stars are born.
Nativity the Musical
was written and directed by Debbie Islitt (co-composed by Nicky Ager) based on
her 2009 film, which became part of the Nativity
film series. The musical is set in
Coventry, where failed actor Mr Maddens
has become a primary school teacher at St
Bernadette’s primary school. His nemesis
is Mr Shakespeare, his former best
friend, who gets 5 star reviews for his nativity production at private school Oakmoor.
As the unhappy, serious, unambitious Mr Maddens, Scott Garnham is perfectly cast. Mr Maddens has settled for living a mundane life with his dog. Cracker, after his girlfriend Jennifer left him to pursue a career as
a Hollywood producer. His life is turned
upside down by the arrival of teaching assistant, Mr Poppy, whose childlike behaviour and creative flair make him an
instant hit with the kids.
Scott Paige (Mr Poppy)
is a comic genius with impeccable timing and high-octane energy that drives the
show forward at breakneck speed. He is
very, very funny and immensely likeable and I’m sure we’ll be seeing a lot more
of him in years to come.
Charles Brunton is sublime as the scheming Mr Shakespeare and his song and dance routine
playing Herod is absolutely
hysterical. Penelope Woodman as Mrs Bevan
is also very funny as is Jamie Chapman as the camp theatre critic, Patrick Burns.
The whole cast with the children acting, singing and dancing
their socks off is superb, making it a totally joyful evening’s
entertainment. The set and costume
designs by David Woodhead are stunning, colourful, sparkly and inventive.
There are some great songs as well including ‘Sparkle and Shine’, ‘Nazareth’, ‘One Night,
One Moment’ and ‘She’s the Brightest
Star.’
Never work with children or animals as they certainly do
draw the attention, so I have to give special mention to Pepper the Dog who
plays Cracker. She is absolutely delightful and is a total
pro being carried around the stage enjoying all the attention. She even has her own Instagram page!
This enchanting show will put a smile on your face and helps
us all to remember what Christmas is all about.
The show runs to Sunday 10th at The Waterside Theatre,
Aylesbury and will be transferring to The Eventim Apollo in London for an
all-star Christmas run.
Reviewed by:
Yvonne Delahaye
6.11.19
@yvonnedelahaye-
Yvonne Delahaye - 0 comments
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Miriam Margolyes (Nell Stock) and Mark Hadfield (Sydney Stock): photo Pete Le May
Irish playwright Eugene O'Hare has previously played this venue with his first full length Black Comedy, 'The Weatherman' which received positive reviews as a study in character. Sydney & The Old Girl is his second premier at this venue and once again features Mark Hadfield, who took a lead in the previous production and has shown his stripes as an actor of great versatility. Alongside is veteran of stage and screen Miriam Margolyes and accomplished actor Vivien Parry.
It is always a joy to see Miriam Margolyes in performance and over the years I have been privileged to see her in many. Sure we know her for her recent TV forays but let's not forget this is an acclaimed actor, as well as a strongly opinionated and outspoken individual. For some she may be 'marmite' but in this performance she demonstrated the skills that have coloured and shaped her career these last 50 years and gained her the many awards she has deservedly earned. In this piece her presence fills the stage and when she is offstage, she is sorely missed. A veritable tour de force in her role of Nell Stock, Margolyes is convincing as a frustrated, malevolent but vulnerable old lady nearing the end of her sad, guilt-ridden life.
In truth this is a three hander with each actor working alongside the other to achieve the total effect. With a single stage set of the interior of Nell's East End home, which is sorely in need of repair (mirroring her own life) occasionally lit by the flashing blue lights of passing emergency vehicles, the dependence is on the performance which is achieved highly by this trio. Utterly believable in their roles, we are drawn into the awfulness of the existence of mother and son whose haunting past has created the monster their lives have become.
A troubling piece in its reality, but then isn't that so with all black comedy! Sydney Stock (Mark Hadfield) has been caring for his wheelchair bound mother, Nell (Miriam Margolyes) for some 50 years and hardly ventures out for personal pleasure in the London metropolis. A troubled soul, Sydney has been broken by events in the past and is now bound to the shackles that tie him to his wickedly cantankerous mother. Act 1 sees their continuous sparring and spitting of words. Life is bleak and the most enjoyment that each can achieve is through the verbal destruction of the other. There is nothing else. Dredging up the past, pointing fingers of blame, shouting accusations is the norm for this pair and is building up to a climax that we can feel and dread.
In the middle of this is the committed Irish care worker, Marion Fee (Vivien Parry) whose good nature and openness leave her vulnerable to the pulls and abuses of both mother and son. Caught in their trap she is a victim that unjustly carries their accusations, the only thing that both can agree on.
Margolyes is a master of character portrayal. When I saw her all those years ago in 'Dicken's Women' I was mesmerised by her skill and ability to adopt the gestures and nuances that brought her characters to life. Now, some years later, she has achieved the same with Nell Stock. Of course her diction and intonation are clear but it is her physicality, her body shifts and facial expressions, that are the real deal. You are completely drawn in, transfixed entirely. She was Nell and her audience were invested in her portrayal. With a setting that demands the audience is seated on three sides, I was occasionally frustrated when her back was to me as I missed seeing those wonderful looks and grimaces that made her so compelling but it did not detract from the excellence of her performance and she rightly received her ovations.
Vivien Parry was likewise convincing. Her voice was restful and reassuring; she was the well meaning care worker and despite the harsh and racist insults thrown at her by Sydney, she maintained a professionalism that convinced you of her role.
And then to troubled, traumatised Sydney (Mark Hadfield), whose internal stifling of past fears and experiences had rendered him as an unpleasant bigoted individual on the edge of his personal volcano. Misshaped by his past, he has become an adult terrified of life, unable to cope and on the verge of insanity. Sirens and loud noises create psychotic episodes, nothing would surprise us. Both he and Nell are unable to maintain any civility and take a sinister joy in their mutual goading and destruction, which ironically hide their strong inter dependence. Hadfield's projection of his mood swings was convincingly terrifying as we were never quite sure of what he might do.
There could never be a happy ending to this story. A black comedy, directed by Philip Breen has moments of humour and, particularly in Act 1, raise wry smiles and for some uncomfortable laughter. This is an untenable situation, all too familiar with many families living in similar situations. And yet we can smile, which is testament to O'Hare's writing and character depiction. The past is hideously comfortable and familiar, the future is all too bleak in its unknown. What else remains but to survive another day - 'Life goes on - don't it bloody just!' A fine piece achieved by the three strong cast and the creative team, Park Theatre can now add to is growing list of great new writings Sydney & The Old Girl which should transfer after its limited run at this intimate and delightful venue. I believe the production has sold out, but it is worth trying to grab a ticket if any become available.
Listings
Sydney & The Old Girl
Venue: Park200, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP
Dates: 31 October - 30 November 2019
Age Guidance: 14+ (but I would suggest older)
Performance Times: Mon-Sat evenings 7.30 pm, Thu & Sat matinees 3.00 pm.
Prices: Standard £18.50-£32.50 with concessions available.
Booking: www.parktheatre.co.uk or 020 7870 6876 (10% telephone booking fee capped at £2.50 per ticket)
Running Time: 2 hours 30 minutes (incl interval)
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Elaine Pinkus - 0 comments
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Do yourself a favour and get to the West End and watch a great play with a
talented cast.
There, hopefully that should do it. A review with the conclusion at the beginning. No
need to beat around the bush and read through a long explanation. Tickets can
be bought here….
http://www.lovetheatre.com/uktheatre/tickets/22562/Death-of-a-Salesman
Now for those wanting to know why, let me tell you more to convince you. Firstly, have a look at the image.
The Piccadilly Theatre and it’s surrounding area is going through a nice transformation.
It’s no longer a hidden backstreet theatre, it now has a pedestrian walkway
making the theatre entrance look like a 1930s Hollywood movie venue.
Which it was of course. The first talkies were shown here at this venue when it
was a cinema. The new architecture outside brings that West End feel back to
the venue.
Opposite, I highly recommend visiting Zendel’s. An intriguing and
long-established restaurant and events venue which has many nooks and crannies,
not least of which is its expansive restaurant in the basement serving first
class food. Once you’ve been fed well, nip across the road and enter an old classic theatre in
style, with the red carpet out for the stars and paparazzi showing interest in
the arriving celebrities coming along to support the production.
Settle down with an “ordertorium” which Ambassadors have introduced across all their
theatre venues to allow you to get your ice cream and Pringles brought to your
seat by clicking on an app.
Now, Arthur Miller’s play “Death Of A Salesman” was what initially caught my
attention as something to review. On looking at the program, I then noticed a
familiar face. Wendell Pierce (or Meghan’s dad in Suits as I called him before
I had to look up his name), is playing the lead role. I thought he was
brilliant in Suits and looked forward to seeing what he was going to do with
this role.
The play opens with a guitarist off stage, strumming a melancholy tune, setting the
vibe which was followed by one actor after another coming on stage and singing
lightly, each with a different vocal tone. A lovely touch which was
complimented by the dim stage lighting and meagre set with props (table, chairs
etc) hanging above ready to drop during scene changes. I read it in the
program it was first performed at the Young Vic earlier this year, and it
certainly gave me a feel of a fresh production using some smaller venue ideas.
It worked well.
Pierce plays the father of a generally loving family and works hard and travels
hundreds of miles often not seeing his family. When he does, he has high
expectations for his sons, whom he hopes will be as hard working as he is and
is dismayed when he doesn’t see that happening.
His sons look to their father seeking love and attention, but it’s often missed
because of his inner thoughts, gruff attitude and desires of their success.
Their mother is ever attentive and interprets the situations well and fills the
void with her love and understanding.
I realised that this 1940s family is no different from the modern day family
which is possibly even tougher, where there are two parents working hard and
heading home later after work or staying away to keep chasing their hard earned
cash to improve the life of their family, but ultimately losing on important
family time as a result.
The first act ends leaving you thinking what the young family are going to do with
their father who is increasingly looking and sounding unwell, not being as
successful as he makes out, and is constantly grumpy when he’s at home. This
allows for lots of discussion in the bar at the interval. On this occasion I
bump into Dominic West in the gents, stop to let Graham Norton pass as he
headed to a private bar and edging politely past Patti Boulaye towards the very
busy public bar.
In the second act Pierce was outstanding and deserved the long-standing ovation at the
end. He brought star quality to the London stage and acted his socks off to
ensure he delivered to our expectations. His fellow cast members did a great
job do, but this was Pierce’s stage and he owned it. As I said, do yourself a
favour and get to the West End and watch a great play with a talented cast.
http://www.lovetheatre.com/uktheatre/tickets/22562/Death-of-a-Salesman
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Douglas McFarlane - 0 comments
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With a catalogue of hits heavier than a 1980s phone book to choose from, the creators of Motown the Musical were surely onto a winner when they decided to write a show covering the first 25 years of this iconic record label. But musical theatre is more than just music and the modern theatregoer has set a high standard for their musical entertainment.
The pedigree of the songbook is irrefutable with hits across the alphabet from The Jacksons' "ABC" to Smokey Robinson's "You've Really Got A Hold On Me" and 60 songs in between from artists such as Diana Ross, The Temptations, The Four Tops, Stevie Wonder and, of course, Marvin Gaye.
The story of the rise and fall of Motown is set against a backdrop of racial unrest in the US across the 60s and 70s with the conclusion of the show set at Motown's 25th anniversary celebrations in 1984. With such powerful inspiration for music of black origin across this era, it is easy to relate these pieces to their time either as protest or escapism. Sadly, the story of the show makes little reference to this rich backdrop; focussing instead on Gordy's passion for his company and his failing relationships with his wife and, later, with Diana Ross.
The presentation of the show is incredibly slick with very smooth scene changes enabled by full height electronic screen sliders moving effortlessly into place with co-ordinated full colour images giving an impressive light show as well as providing practical scenery. Designer, David Korins, did not skimp on the budget! Ethan Popp's smart musical arrangements were another key ingredient as this huge score involved a great deal of mashing and merging.
On stage, Edward Baruwa, presented a likable Berry Gordy but, while there was little mention of the 8 children the man fathered via 6 relationships in this period, Mr Baruwa was a little unconvincing as the womanising CEO. His passion for the company came through in several key moments, though, and his singing voice did not disappoint. Karis Anderson was an ideal choice as Diana Ross. Close your eyes and you could almost be transported in time to hear Diana Ross at her peak. Nathan Lewis and Shak Gabbidon-Williams delivered well in their roles as sidekick, Smokey Robinson, and the inimitable Marvin Gaye.
I'm sorry to say that the whole cast had to dig deep into their reserves of professionalism as the Glasgow audience were incredibly poorly behaved. Sadly the noisy distractions from the audience were alcohol fuelled. The worst audience I have ever had the displeasure to be a part of. The cast are to be lauded for their commitment to their art.
This is a great show with an incredible score. The book is a little one-sided regarding this period of history but the cast will have you gripped from start to finish.
Motown the Musical
King's Theatre Glasgow
Tue 29 October - Sat 16 November 2019
Mon - Sat evenings 7.30pm
Wed & Sat matinees 2.30pm
Tickets £13 to £55
www.atgtickets.com/glasgow (bkg fee)-
Cameron Lowe - 0 comments
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You Win Again Celebrating The Music Of The Bee Gees - Aylesbury Waterside Theatr... (atgtickets.com)You can’t beat a bit of Staying
Alive to warm you up on a cold autumn evening; guaranteed to get your blood
pumping and your feet moving. Having sold more than 220 million records
worldwide, The Bee Gees are one of
the world’s best-selling artists. In 1997 they were inducted into the Rock and
Roll Hall of Fame and have written and produced several major hits for other
artists, as well as their own hits.
The brothers Maurice, Barry and Robin were born on the Isle
of Man and in 1955 formed their own rock and roll group called the Rattlesnakes. When the family moved to Australia, the name
changed to the Bee Gees (the Brothers Gibb) and after returning to the UK in 1967,
producer Robert Stigwood began promoting them to a global audience.
You Win Again –
celebrating the music of the Bee Gees is a tribute show that is touring the UK
after a run in London’s West End. It’s
tough to perfectly create the sound of the Bee Gees, but the guys work hard at
emulating their heroes. The trio are supported by a very talented group of
musicians, dancers and a stunning female vocalist who sang a few solo numbers.
Opening the show with You
Win Again, the group sang some of their earlier hits including Massachusetts, To Love Somebody, Message to
You interspersed with a narrator telling their story. The show really gets
going when we move forward into the mid-70s with Jive Talking, How Deep is Your Love, Nights of Broadway, More than a
Woman with everyone on their feet for You
Should Be Dancing just before the interval.
The success of the Bee
Gees is extraordinary with 6 consecutive Number one hits, but it was their
distinctive falsetto sound and harmonies on Saturday
Night Fever that transformed their careers with the album selling 30
million copies. The disco era lives on
through that iconic film and the songs will always get people up dancing at any
party.
Towards the 80s though things were changing and to keep at the
forefront of an ever-changing music industry, they wrote and produced hits for
artists including Dolly Parton & Kenny Rogers (Islands in the Sun) and Diana Ross (Chain Reaction).
After 45 years of activity, the group retired after Maurice’s
untimely death at the age of 53 in 2003. Six years later they reformed and
continued to perform together until Robin died in 2012. Barry Gibb continues to perform and in 2017
played Glastonbury singing Staying Alive
with the security guards doing the iconic dance routine at the base of the
stage.
You Win Again
really is a celebration of this great trio of brothers and a reminder of some
of the classic songs that will survive for decades to come.
For further details, visit their Facebook page.
Reviewed by:
Yvonne Delahaye
29.10.19
@yvonnedelahaye-
Yvonne Delahaye
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It is extremely rare to meet the
inspiration for a musical – or even a film – but on a damp Tuesday evening in November,
Steve Pateman, the man whose troubles, and successes, were the motivation
behind Kinky Boots was in Milton Keynes in full boot regalia! However, his personal story has been eclipsed
by that of the hero, Charlie Price, in the 2005 film Kinky Boots and the musical
of the same name launched in the States in 2012.
Kinky boots is an uplifting tale of
adversity overcome through hardwork, persistence, generosity and luck. Charlie had
tried to escape provincial shoe manufacturing Northampton and his father’s
factory - Price and Son - to make a new life with his domineering, ambitious girl
in London. His kind gesture to intervene in the assault of Lola, a drag queen, -
where poor Charlie came off badly – led to his fascination with her flimsy
shoes and Charlie proceeds – after much soul searching and design failure - to
produce niche market stiletto boots fit for ‘ladies, gentlemen and those yet to
decide’ and for man- size feet in the world of drag queens. He is a success.
Although the musical is based
on Charlie (Joel Harper- Jackson) the musical’s star is Lola, the drag queen,
played flawlessly by Kayi Ushe. Both characters are believable. Lola is complex
– tough when in the role of Lola, yet vulnerable as Simon. Charlie and Lola
have an unlikely relationship – provincial boy and stage entertainer – but it
is Charlie who is changed most by their relationship, growing into manhood
helped, in part, by the love and respect of Lola.
Kayi Ushe as Lola,The Queen of Drag
is feisty and charismatic on stage and has a powerful voice. Yet Ushe, despite
his size and loudness, rarely dominates, but blends in with the ensemble. Lola
partners beautifully with Charlie in Not
My Father’s Son and another notable moment is the tango to What a Woman Wants with Don (Demitri
Lampra) and Pat (Lizzie Bea), where Ushe is in control. Both Lola and her all
male Angels are wonderful dancers - their timing is perfect, their energy indefatigable
and all is done in the highest of heels. Jerry Mitchell must be commended for
his wonderful choreography – especially the conveyor belt scene.
The music and lyrics for
Kinky Boots are by Cyndi Lauper , but regrettably there are no really memorable, catchy
tunes ; the musical is based on the book by Harvey Fierstein and film by Geoff
Diane and Tim Firth. The result is a
sassy, sexy show, full of fun and frolics. The message – apart from high heels
are sex – is that community and family are important, as is the acceptance of
those who are ‘different’.
Kinky Boots is definitely worth
a viewing; it is optimism and escapism par excellence.
Kinky Boots is at Milton Keynes Theatre until Saturday 9th
November
www.atgtickets.com
0844 871 7652
Booking fee applies
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Ali Smith - 0 comments
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Harry Houdini died on October 31st (Halloween) 1926
Official cause of death:ruptured appendix
possibly the after effects of a punch to the stomach
possibly a psychic attack by a group of angry spiritualists
As the greatest illusionist of his age Harry Houdini kept up the mystery right down to his final moments
This daring one man show by Barry Killerby attempts to tell his tale…
...'I have never seen a theatre so empty on press night’... was my first thought when taking my seat in the auditorium at the Cockpit theatre for this show.
However when combined with the smoke and mirrors lighting and perfectly minimal set, the empty seats just seemed to work to heighten the sense of melancholy as we are introduced to an ageing Houdini reflecting on his career: From humble beginnings arriving in America as a child of Hungarian jewish immigrant parents to becoming the greatest stuntman of the 20th century.
The performance takes a candid look at both Houdini’s personal and professional life such as his loving relationship with his wife Bess who helped him with certain aspects of his performance, as well as exploring his drive an motivation to keep pushing boundaries and performing increasingly more daring stunts.
It also documents his fascination with the darker side of life such a visits to lunatic asylums and in later years his crusade debunking spiritualism, (which had become enormously popular after the huge death toll of the first world war) but which Houdini felt played on peoples credulity an took advantage of their grief.
Although interestingly despite this his wife Bess held a yearly seance for him at the knickerbocker hotel in New York for 10 years after he died, (Alas he never put in an appearance!)
Despite being best known for his role as Mr Blobby, Barry Killerby is clearly a talented writer and performer, the last act of Harry Houdini is well researched and by turns both funny and poignant.
Tonight was good but I feel like Killerby is just getting started, once he has performed this show a few more times and really found his metier it could be something quite spectacular.
Catch it now or else loose all bragging rights when in a few years it either wins an oscar or takes the West by storm!
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Siwan hill - 0 comments
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Luke Bayer as Robbie and Millie O'Connell as Velcro.Photo Pamela Raith
A contemporary rewrite of the much beloved classic fairy tale, Soho Cinders takes a new direction. Written by the multi award winning musical theatre partnership Anthony Drewe and Elliot Davis, with music by George Stiles, the scene has shifted from the land of make believe to modern day reality in London's Soho district, and in particular Old Compton Street whose pinks and blues provide a background vibrancy on the traverse staging (Justin Williams, Jack Weir). Filling the space are the enthusiastic cast directed by Will Keith. In their scuttling pace and energetic dance (Adam Haigh) the bustling tempo pulsates and conceals beneath its vibrant veneer the intrigue, scandal and political unease that populate its every corner.
No glass slippers for this Cinders; think more mobile phones! Struggling in both love and finance, naive student Robbie, played endearingly by Luke Bayer, tries hard to beat adversity. In the true tradition of fairy tales he has found his Prince Charming in the handsome potential Lord Mayor of London, James Prince (get the pun) played by Lewis Asquith. But hold on there! Prince is engaged to be married to Marilyn (Tori Hargreaves) and to complicate matters further, Robbie's wonderfully ghastly and gauche lap dancing twin step sisters, Clodagh and Dana, played to perfection by Michaela Stern and Natalie Harman, are doing everything they can to thwart any chance of his happiness. Add to the mix the not so fairy godmother Lord Bellingham (Christopher Coleman) and the villainous misogynistic publicity campaign manager William George (Ewan Gillies) and you have a fair old melting pot of intrigue and complexity that can only be lightened by magic and a little help from trusted friend, Velcro (Millie O'Connell), a modern day Buttons figure.
Stern and Harman are an absolute joy. Each time they appear we know we are in for a treat. In comic panto tradition they are outrageous and loud, filling the space with their larger than life presence. Bringing the house down with 'I'm So Over Men' we take them to our hearts, despite the wicked roles they are playing. Similarly Ewan Giles as William George plays a fantastic villain and it is tempting to boo and hiss as he struts around barking orders and manipulating his charges. 'The Tail That Wags The Dog' speaks volumes and he sings it with power and poignancy. Of course there are emotional moments when both O'Connell and Bayer dream of being ordinary, with lives less complicated, 'Wishing For the Normal' and Bayer moves us with his touching rendition of 'They Don't Make Glass Slippers.'
With a score that holds so many strengths and exciting choreography there is much to recommend this production. Sure it is not pure panto and at times the more sombre moments feel a little flat, despite the efforts of the hidden narrator with his quirky one liners which raise many a chuckle. They may be wishing for the normal but in the world of fairy tales, we don't want that. Nevertheless Soho Cinders has a charm of its own with its catchy numbers and saucy jokes so dust off your glass slippers and have some fun with the cast at the intimate venue of London's Charing Cross Theatre.
Listings
Place: London's Charing Cross Theatre, The Arches, Villiers Street, Charing Cross, London WC2N 6NL
Nearest Tube: Charing Cross (and main line) (2 minutes), Embankment (2 minutes)
Dates: 24 October - 21 December 2019
Times: Monday to Saturday 7.30 pm, Thurs and Sat matinees 3.00 pm
Running time: 2.5 hours with interval
Website: www.charingcrosstheatre.co.uk
Box Office: 08444 930 650
(Phone lines open midday to 6 pm, Monday to Saturday)
Footnote: It is advised that 12+ should be the minimum age. On a personal level, I feel that it should be older as some of the jokes are risque and really not suitable for children.-
Elaine Pinkus
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Writer and director Terry Johnson and a dream cast headed by Robert Lindsay should have their names in glorious Technicolor for what is a beautiful piece of theatre.
Beautifully written, beautifully acted, and beautifully staged, it is a fiction based on cinematographer and director Jack Cardiff, who brought to life some of the most iconic films in the 20th century.
Now suffering from dementia and going blind, he spends his time in the pub and in his Buckinghamshire cottage near the studios where he worked in Denham and Pinewood. There his son Mason has converted his garage into an inner sanctum where Jack can write his autobiography. A picture gallery of Hollywood film stars (some of whom were alleged conquests!) and the paintings he copied from the famous Masters, line the walls; there are a couple of directors’ chairs (of course) and the piece de resistance, his old movie camera.
It’s an absolute joy for old movie fans as Jack recounts working with the likes of Humphrey Bogart, Katharine Hepburn and Marilyn Monroe – in fact they too come to life on stage, as does filming The African Queen, complete with back projection of the jungle - and flies!
Tim Shorthall’s sets and his attention to detail are exemplary, as is Ben Omerod’s lighting, while Ian William Galloway’s video inserts, which sometimes take the place of the Hollywood photoshots, are magical and his jungle backdrop beautiful although, in one place a little out of focus.
But all this would mean nothing without Robert Lindsay as Jack. Funny, gregarious, irascible, vulnerable, I was enraptured from the moment Jack made his entrance trying to open the garage door, through his forgetfulness to his memories (when he took on the air of the music hall performer his dad had been, complete with songs) and, importantly, his relationships with his son, his wife and his carer.
That word beauty comes to mind again when I think of Tara Fitzgerald as his loving wife (who also excelled as Katharine Hepburn). Oliver Hembrough hits the mark as his frustrated son trying to keep his father in check (as well as playing Bogey and Arthur Miller), while both Victoria Blunt and Lucy, the booted, ‘earring-in-the-nose’ (Jack’s words not mine) carer she plays, are an inspiration – and Blunt doesn’t play a bad Monroe either.
As the script says, ‘you can’t put life on paper or celluloid’ - but you sure as can bring stories to life in the theatre.
This is hugely enjoyable on so many levels, despite the sadness, but I didn’t expect to be so very moved by the final curtain.
Prism is at the King’s Theatre, Edinburgh until Nov 2.
Box Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
Nov 4-9: Chichester Festival Theatre
Nov 11-16: Yvonne Arnaud Theatre, Guildford
Nov 18-23: Arts Theatre, Cambridge
Nov 25-30: Malvern Theatres, Malvern
Image: Manuel Harlan-
Clare Brotherwood - 0 comments
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Zorro: The Musical in concert London tickets: Cadogan Hall | UK Theatre - powere... (lovetheatre.com)Ricardo Afonso and Lesli Margherita star in the dramatic tale of Zorro: The Musical in concert at the Cadogan Hall. Book your Zorro: The Musical London tickets from £40.02 online with UK Theatre - powered by LOVEtheatre -
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