Rosey (Daniel Francis) and Stan (Roger Alborough) in Cops: photo Robert Day

It is 1957 Chicago, a time of riots and mob violence.It was also a period where the Chicago Cops were not the most scrupulous of forces and faced pressure from the people and the press. Here at London's Southwark Playhouse, in the intimate space of the Little, we are in the precinct where four cops of different ages, class and race struggle to work together to formulate a plan to find a star witness in an upcoming trial before he is found by the mob.

Cops is the second play by New York playwright Tony Tortora and is directed by Andy Jordan. With Anthony Lamble's effective and considered staging on two levels denoting the grubby interior of the precinct and the stark, cold stakeout location, the scene is set. We meet the team as they interact and play out the tedious routine of their job roles despite the promise of the surveillance programme. Despite their planning they are ultimately more the Keystone Cops than proficient Chicago Cops, failing at every step of the way.

Essentially a play whose focus is more on the inter-relationships of the four cops holed up together in their claustrophobic setting, Cops is character driven and as such relies on the spoken word to create their profiles and back stories. Each of the four depict their past with clarity, leaving no doubt as to their current behaviour. Against the supposed plot of finding the key witness we observe a microcosm reflecting the corruption, racial tensions and unrest that exist outside of the precinct. Allusion is made to the politics of the day, namely Martin Luther King, Rosa Parks and Sputnik but none are fully developed. 

Action is limited with the play relying more on the script wherein we are presented with nostalgic reflection, disillusion, racial slurs, constant bickering and accusations. Despite the gallant efforts of the cast, the pace remains pedestrian and somewhat tedious, particularly with the raised voices as arguments develop and pitch soars. It was a relief at the end of Act 1 when a splendidly directed fight (D J Johnson) broke out between Rosey, tired of the racial insults, and Fox, the cocky rookie. This was well played and injected energy and distraction from the otherwise tedium.

At two hours plus and in two acts, Cops is a demanding ask of its cast and audience. Praise is offered to the committed performances of Roger Alborough, Daniel Francis, Jack Flamminger and James Sobol Kelly who projected their characters with conviction and mention should be given to Ben Keaton as the fifth cop whose role was less defined.

Listings

 


Southwark Playhouse, 77-85 Newington Causeway, London SE16BD
Playing until 1 February 2020 
Monday-Saturday 8 pm, Tuesday and Saturday matinees 3.30 pm

Tickets: £22/£18 concessions
Box office: 020 7407 0234  online www.southwarkplayhouse.co.uk
Social Media: Twitter@swkplay   
#COPSSwkPlay 
Facebook Southwark Playouse
Instagram swkplay
Age recommended: 15+

 

 


 

ONCE UK TOUR REVIEW

Ashcroft Playhouse, Fairfield Halls, Croydon

9/1/2020

 

‘Once’ starring Daniel Healy and
Emma Lucia began a UK Tour at the Ashcroft Playhouse in the newly renovated
Fairfield Halls in Croydon on the ninth of January 2020 to a packed house and
well-deserved standing ovation.

From the moment we stepped into
the auditorium the atmosphere was electric, with the incredible cast already
onstage having what composer Glen Hansard knows as a ‘trad sesh’ (where the
music is played for the love of music, and you simply join in when you know the
song). This inviting and informal start to the show was so welcoming and uplifting,
setting the tone for the beautifully human story.

 

‘Once’ is truly a show with music at its heart,
from the beautifully haunting ‘The Hill’, to the hilariously upbeat ‘Broken
Hearted Hoover Fixer Guy’, and this is highlighted by director Peter Rowe and
Choreographer Francesca Jaynes as they fluidly weave the instruments into the
movement and narrative. The choreography is led by the chorus and their
instruments, every step taken or move made being used to emphasize the emotion through
the music.



Daniel Healy and Emma Lucia as
Guy and Girl have a seemingly effortless chemistry, with Lucia’s bold and
confident Girl beautifully contrasting Healy’s awkward and hesitant Guy. These
two are soft and gentle in comparison to the other characters who are very
strong and heightened; whether it’s Billy, the rock and roll shopkeeper who aggressively
refuses to work with the Bank Manager, or Reza, Girl’s Czech flatmate who’s miniskirt
and lipstick were an indication of her expressive sexuality even before she
started after Guy, these characters are established and well defined from the
outset.

The magic of this show is how
beautifully it captures the mundane, the simplicity in the unfinished, the
beauty in the imperfect. Their story is the one we all know, guy meets girl,
but without the fairy-tale perfection, which, combined with the incredible
music, allows us to focus on the true emotions. Pegged as ‘the musical the
world fell in love with’, it’s no question that this music and story transcend it’s
Dublin setting to a much wider relativity; there is little to do but let the
music take you away and to join these eclectic characters in their Irish world.


The UK Tour is running in
theatres around the UK throughout 2020.

  Richard Ede and Elliott Ross: photograph Elena Molina

 Andy Dickinson's Shackleton and his Stowaway at London's Park90 commemorates the Imperial Trans-Antarctic expedition of 1914-16. It recounts the experiences of the ill fated vessel 'Endurance' but more focuses on the relationship between its leader, Ernest Henry Shackleton and stowaway 18 year old Perce Blackborow. Harking back to the disaster in early 1915, when the 'Endurance' was trapped in ice, later to sink, we are told how Shackleton's crew had been forced to abandon the ship, to live on floating ice and face despair. In April 1916 three small boats eventually reached Elephant Island. Not one member of the expedition died and this was due to the heroic efforts of Shackleton and his powerful resolve and leadership.

Shackleton's account was published in 1919. Now, directed by Simone Coxall, the Stolen Elephant two hander with Richard Ede as stoic Shackleton and Elliott Ross as the cheeky stowaway plays out a version of these events from the perspective of the two titular protagonists, exposing the strength and determination of survival. Why did this cheeky young fellow stow away? Why simply to meet his idol, the man he so looked up to and revered. In monologue, dialogue and action we observe the vulnerability of these two polar characters and the shift of their relationship as it develops. We feel the biting cold and turbulent surf which are achieved in no small part by the physicality of the pair but also complemented by the stark lighting, powerful sound effects and effective projections (Enrique Munoz Jimenez) against the bleak backdrop. Poignantly these include a vision of the actual crew of the 'Endurance' who experienced the trauma of this Trans-Antarctic expedition, causing us all to intake a solemn breath as we were faced with a history that perhaps most of us were hitherto unaware.
 
Shackleton and his Stowaway relies heavily on the spoken word, written and performed in lyrical style which offered a poetic grace and drew us into the situation of the ill fated crew. At times the address felt like a lecture, as Ede made direct contact with the audience but with such conviction and clarity that we could not help but hang onto his every word. Despite the 'wild wilderness' and the cruel, unforgiving majesty of the bleak landscape, there was a wonder in his delivery at the profound essence of Nature. Shackleton laid no blame on the elements for their situation but gasped at the intensity. To the visual swell of the rollers, the swaying of the actors as they lost their footing, the infinite white of the snow and the sounds of strong gusts and gales, we too felt the ferocity of movement, so much so that I rather wished I had not had a coffee beforehand and would willingly have reached for some travel pills.

Through Coxall's considered direction and the lyrical rhythm of the writing, plus of course the credibility of the performance, this was a strong production and was deserving of the applause it received at the close. Stolen Elephant have extended the length of the play to two hours, with an interval. In honesty, it was a relief to have that short break from the suffocating terror and we could settle once again into Act II, which offered more of an insight into the two characters.

Perhaps Shackleton might have at first appeared selfish, enjoying his folly and being reckless, but as the play progressed Ede convinced us that this explorer was a strong and caring leader who would protect his men at all costs, risking his own life on more than one occasion to rescue them from their doom. I could understand how his men must have regarded him and followed him unconditionally. As it quotes in the programme: 'When disaster strikes and all hope is gone, get down on your knees and pray for Shackleton' (Sir Raymond Priestly, Antarctic Explorer and Geologist).

Park 90 is an intimate space and full use was made of the small stage area, which was set between two adjacent sides of the audience. We were immersed in the performance but were not actively involved, rather more we were invited to be observers and to be informed. And because of the honesty of the delivery as told by Shackleton (Boss) and the young stowaway whom he harshly labelled 'idiot' but to whom he softened as time went by we were spellbound. With creative use of ropes to form the rigging and boxes as bare furnishings, sledges and boats, there was likewise a visual credibility to the production which we shared and enjoyed from start to finish.


Listings

Venue: Park90, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP
Dates: running until 1 February 2020
Age guidance: 12+ (although I would suggest 16+)
Performances: Mon-Sat evenings: 7.45 pm; Thurs/Sat matinees: 3.15 pm, relaxed performance Thurs 30 January at 1 pm.
Prices: Standard £18, concessions £16.50, Group tickets available.
Booking: www.parktheatre.co.uk or 020 7870 6876 (10% telephone booking fee).
 

L-R Rachel Hosker (Ismene) and Annabel Baldwin (Antigone): photo Ali Wright

As a French A level student (way) back in the day, my favourite piece of studied literature was Jean Anhouil's 'Antigone' adapted from the Sophocles classic. It had a profound effect on me and I held as a heroine this strong willed, tragically committed young girl of around 15 years of age. Perhaps she was naively obstinate, perhaps far too blind sighted in her resolution and unwilling to accept argument or persuasion, instead standing firm to her point of principle. A strong young female figure to be admired or criticised? Was she a tragic heroine or a misguided, impetuous young girl? 

Lulu Raczka, of Holy What Theatre, has adapted this Greek tragedy and rewritten it from the perspective of the two sisters, Antigone and Ismene. Written in modern language but retaining the epic weight of the tragic tale, her 'Antigone', directed by Ali Pidsley, presents these two storytellers exploring the idea of deconstruction and reconstruction, rebirth and reinvention.

Our two protagonists are from a much despised family. They are the daughters of an incestuous marriage between Oedipus and his own mother, Jocasta; they have two brothers who are at war against each other and they are shunned by all. Now living alone with their Uncle Creon, ruler of Thebes, they are isolated, living out their destiny hurtling downwards as the fates dictate. 

Despite their zest for life, their glitter and sparkle, they are highly charged and terrified of the lives they experience. To begin we see them rise from a circular mound, filled with dust and gravel, symbolic of the ritual grave soon to be dug, of the confines of Thebes and the rituals in which they are imprisoned. It is in this small space that they dream together, role play conversations, fantasize about sex and future love, dance and gambol, chatter and gabble. They have only each other to bounce their ideas against and do so with an intensity, never pausing in their sparring, leaving one breathless as we observe their extremism.

They know that it is unlikely they will fulfill their teenage dreams. Their destiny has been written by the Gods and like their brothers, must be realised. But until then, they will enjoy their dreams and mutual challenges. And so life has continued until they learn that their brothers have been killed in battle and that Creon has dictated that only the 'good' brother, Eteocles, may be buried; that the 'bad' brother, Polynices, must be left exposed outside of the gates of Thebes, to wander without peace for eternity.

'Tig' and 'Issy' are destitute and as foretold, older sister Antigone makes it clear that she will not stamp the titles of good/bad to her brothers as they simply were obeying their calling. She must bury Polynices and save him from his dreadful eternity. Jumping free from the circular confines, she performs the act of burial of her brother, facing the penalty of death by her uncle and leaving behind a destitute sister.

This is a fine piece of acting by Baldwin and Hosker, who have immersed themselves into their roles and perform with high energy. It was almost unbearable keeping up with them as they danced, gyrated and ranted. This was an intense performance and the audience were held spellbound. Coupled with this were the bright lights and loud sounds of throbbing heartbeats, shovel scraping gravel and disco music (I Will Survive) that created a frenzy bordering on the edge of madness. And we too teetered with them as we felt reason slip away and hysteria replace it.
 
At 85 minutes with no interval, the production was entirely captivating. We were held throughout but, and I regret having to say this, the final ten minutes were just a step too far in their extreme deviation from the original. Nevertheless it was shown that without Antigone, Ismene was a shadow of her self, lost in torment and guilt and that perhaps was the most meaningful of the final moments. Unable to die with Antigone but terrified to live on, she too was condemned.

A story of civil disobedience or a story of bravery, courage and principle? The outcome was fated, inevitable and unavoidable, predicted by the Gods and destined to be fulfilled. Maybe irreverent at times and offering moments of teenage angst, Raczka's 'Antigone'  offers an alternative take on this timeless classic and, produced by Imogen Clare-Wood, certainly offers an original slant, reminding us that these two tragic sisters were only young girls, denied the future they so yearned.
    
Listings

Antigone: Holy What's All Female Reinvention of the Sophocles classic

Playing until 1 February 2002 at London's New Diorama Theatre, 15-16 Triton Street, London NW1 3BF

Box Office: 020 7383 9034

 

Brown (Hudson Brown) and East (Sam James Page): photo Mark Senior

Boasting a 14 strong cast of newly graduated drama students making their London debut as Rugby schoolboys and more experienced actors in the senior roles, Thomas Hughes's Tom Brown's School Days with musical arrangements by Ralph Warman, has shifted its timeline from the mid 19th century to the days of ration and war battles in 1941. This charming adaptation by Director Phil Willmot, focuses on the formative years of the young men of privileged class who were preparing for their role in the armed forces, to serve King and country as leaders, inspiring their men. As one of the Essential Classics Season to mark the 75th anniversary in May 2020 of VE Day, this presentation offers a respectful tribute to those young men who fought so bravely against tyranny.

Staying pretty close to the original, the setting is Rugby School, which was attended by Hughes as a young boy. The novel followed the experiences of young Tom Brown as he moved through his school years, making friendships, facing bullies, rebelling at times and desperately trying to maintain a strong moral code. This production likewise follows the trials and tribulations of the young schoolboy who is thrust into the traditions of the public school system and strives hard for acceptance whilst staying true to his own self.

As the play begins, to the harmony of voices of the young school boys, Dr Arnold, 'radical' headmaster newly appointed to the school, addresses the gathering with a stirring speech commending valour, honour and honesty. It is vital that his boys prepare for the leadership roles they will surely follow as officers in the war effort, leading their men and standing strongly as an inspiration to them. As such, his charges must always be honest if they wish to remain in this hallowed environment. And so it is essential that the code is followed: never to snitch, to retain comraderie, to see off bullies and to accept one's punishment if justly administered. Thus are the traditions of Rugby School. It is the more poignant, therefore, when young Brown is unjustly accused of not playing the game, of exposing the bullying of Flashman to Dr Arnold and thereby losing the esteem of his fellow pupils in the IVth. But never mind, all strengthens this youngster's resolve and shapes his character!

During the production there were some touching moments, not least of which was the singing of the boys who performed their hymns, war songs, some popular ditties of the time and even the odd shanty to the accompaniment of a single guitar of piano, or a capella. Their innocent renditions stood out sharply against the foreboding destiny that they would surely face and encouraged many a gulp from this reviewer.

Staging was perfectly in keeping with the style of the direction, with its  old fashioned wooden table serving as desk and bunk bed, cosy headmaster's study, cluttered dorm - all achieved on the small space of the Union Theatre and themselves taking many 'roles' as they adapted. With occasional swirling mists of smoke, it was never far from our thoughts that outside of these harboured walls was the world of violent bombing, fires and destruction that these young innocents would soon enter.

Much praise to the physicality of the piece. Using the whole space, the boys cavorted and sat about, fought and japed as young boys of yesteryear novels always did. It felt delightfully authentic and the enthusiasm of the cast drew in the audience to their antics.

An ensemble piece where all played to their strengths. Well done to the young Brown (Hudson Brown), East (Same James Page) and their fellow classmates, as well as the dastardly Flashman (Alex McKeon). Playing the well meaning but idealistic Dr Arnold was James Horne, who brought to his role an honest performance that convinced he had the school and the boys at heart; so too his deputy Grimstead, played with conviction by Toby Wynn-Davies who was ultimately won over to the new ways. Furthermore, the desperation and devastation of those who could not serve because of injuries incurred in the 'Great War' was terribly sad and portrayed honestly by Ralph Warman as Stebbings.

With its basic themes ever present, Willmot has shown that the sentiment is timeless and can resonate at whatever period it is read. Sure, we in the 21st century are more cynical but one cannot deny the honour and bravery of these young boys. This was a fitting and touching production, played movingly by its cast and presented thoughtfully and respectfully by its director and his creative team. They have certainly marked the 75 anniversary as a tribute in this excellent production.

Photography: Mark Senior

Running time: 1 hour 45 mins to include a short interval.

Listings

Season ticket offer: £50 to see all three plays of the Classic Season: Tom Brown's School Days, Blitz and Peace In Our Time. 

Union Theatre, Old Union Arches, 229 Union Street, London SE1OLR

Tickets for individual plays or season ticket: 020 7261 9876

www.uniontheatre.biz

Tom Brown's School Days is playing until 1 February 2020


   

Charlie Bence, Sioned Jones,Andrew P Stephen  photo Lidia Crisafulli

Billed as an alternative Christmas show with its message of hope and forgiveness, Charlotte Jones's Martha, Josie And The Chinese Elvis, recipient of the 1998 Pearson Best Play award, makes its first London appearance at Park90 having first appeared some 21 years ago outside of London. Today it has a somewhat dated feel and many of its references and awkward non-politically correct jokes belong more to yesteryear. But no matter. It retains a charm of its own and as a situational comedy succeeds as a play reflecting the complications of an endearing group of outwardly everyday folk.
 
Directed by Robert Wostenholme, we are plunged into a strange brew of ingredients. Each character has exaggerated traits and we might here accuse Jones of presenting these stereotypical profiles to enable her comic moments. Yet it works! Whilst we observe their strange quirks, we also engage with them and there are moments of pathos, empathy and sympathy alongside some well timed quips and repartee.
 
The setting is the Bolton home of disillusioned dominatrix Josie who lives with her daughter, Brenda-Marie, both played convincingly by Kellie Batchelor and Charlie Bence respectively. It is Josie's 40th birthday and she can no longer be 'chuffed' with her lifestyle. Midway through her treatment of client/friend Lionel (Andrew P Stephen) she retracts her whip from his scantily clad maid's outfit posterior and denounces her profession. Spurred on by him and with the support of her daughter, whose 'meaning' difficulties enable her to imagine and create positive illusions of snow and ice skating, they hold a party for her in the spotlessly clean retro lounge,much to the consternation of obsessively religious/superstitious cleaning lady Martha (Sioned Jones). Enter into the mix Vietnamese/Chinese Elvis (Matt Lim), hired to entertain the Elvis loving Josie, and the predictable bedlam ensues.

This well rehearsed cast with their impeccable precision, comic timing and repartee make for an enjoyable first Act, which moves along at high speed. It was easy to engage with their dynamics - the awkwardness of the hardly rehearsed but likeable Tim/Chinese Elvis, the annoying and relentless counting of Martha and the naturalness of Josie, Lionel and Brenda-Marie. But then, the unexpected appearance of an uninvited guest takes the audience into the 15 minute break following which Act 2, more serious in content, offers clarity and exposés of the individual back stories.

The atmosphere soon lifts and, with the help of Lionel's alcoholic concoction 'Catastrophe' the mood swiftly changes to one of fun, hope, friendship and optimism for the future. So I say to Lionel, pass me a glass and cheers to that.
 
Martha, Josie And The Chinese Elvis may appear somewhat dated and near to the knuckle on occasion, but it has much to commend it and as a gentle observation drama provides two hours of worthy entertainment.
 
 

Listings

Venue Park90, Finsbury Park Theatre,  Clifton Terrace, Finsbury Park N4 3JP 
Dates playing until 4 January 2020, Mon-Sat 7.45 pm and Thurs/Sat matinees 3.15 pm
Age Guidance 16+ 
Prices £18 with concessions available.
Booking www.parktheatre.co.uk  
telephone 020 7870 6876
*with 10% telephone booking fee capped at £2.50 per ticket
 

Jefferson Turner and Daniel Clarkson: photo Geraint Lewis

Jingle those bells. Christmas has come to London's Southwark Theatre with a resounding whoopee! Potted Panto, written and performed by Olivier Award nominees Daniel Clarkson and Jefferson Turner fills the space of this London venue for its fifth season. Since their inception in 2005, the fabulous duo has taken their productions throughout the UK and overseas and is expanding their listings for the future. And rightly so! This is a show not to be missed. Co-written and directed by Richard Hurst and strongly supported by their creative team we are treated to 80 minutes of crazy shenanigans, countless costume changes (astounding, Nicky Bunch!), brilliant audience participation and a whizz-bang ride through the much loved pantomime tales with which we have grown up.

This cheeky pair, who play off each other brilliantly, offer shortened versions of seven tales, including Aladdin, Dick Whittington, Snow White, Cinderella, Jack and the Beanstalk, and Sleeping Beauty adding their take and achieving guffaws galore. Somewhat reminiscent of The Reduced Shakespeare Company, this is high speed and high energy performance which leaves you breathless but gasping for more.

With their distinct personalities, each play off the other. It may seem like improvisation, and at parts it is as they respond to the feel of their audience, but it is closely rehearsed. With superb comic timing, they take all the parts, changing costumes and props at lightning speed and drawing gasps of delight from their audience, both young and old. Apart from a short appearance by the singing fairy (Charlotte Payne) and Mr Nut (Jacob Jackson), who somehow finds his way from Dickens 'Christmas Carol', the pair inhabit the stage for the total performance, never keeping still and using the space fully.

Do we sit back and relax? No siree! We participate with glee in what can only be termed as 80 minutes of immense fun. Forget any inhibitions, join in and 'bring it on'.

What can I say? This 'alternative' pantomime is great fun with corny but laugh out loud gags, sing-a-longs, daft dances, buckets of poo (don't ask!) and an assortment of crazy props and costumes. It may not be traditional but that is its allure. It is disrespectfully glorious, creative and inventive, offers heaps of laughs and is not to be missed. Playing until 11 January 2020, this is a production of energy, escapism and chuckles with a resultant hoot and thunderous applause from the entire audience.

Good on you, Potted Panto. Must make sure I book a seat for December 2020's 6th production - please.

Listings Information

Venue Southwark Playhouse, 77-85 Newington Causeway, London SE1 8BD
Dates Running until 11 January 2020
Times Evenings 7.30 pm, Tues/Sat matinees 3 pm with additional Christmas matinees.
Booking www.southwarkplayhouse.co.uk no booking fees or 020 7407 0234
Ticket prices £25 (concession £20), family tickets £80
Twitter @swkplay @PottedPanto #PottedPanto



  

Paula James, Esmonde Cole and Matthew Cavendish: photo Manuel Harlan

Hurrah, it's that time of the year when we can indulge in whimsical nonsense, cheesy jokes, bright costumes and happy endings in festive productions. J Clare Productions have enabled exactly that with their charming rendition of the traditional Hans Christian Andersen tale The Snow Queen. Returning to the Park Theatre for its second year of panto this innovative company has offered their own take on this classic tale with a rewriting by Charles Way and clever direction by Abigail Anderson.

Featuring selfless Gerda (Ayesha Casely-Hayford) in her quest to rescue Cei,(Esmonde Cole) her closest friend from a bleak and cold future with the cruel, icy Snow Queen (Frances Marshall) we share the perilous journey across forests, mountains and hills where we encounter an assortment of characters who spur her on to success. There is music, laughter, audience participation and of course, some scary moments - what more can we ask for? It may not be high tech or lavishly costumed but that in itself is refreshing and moves us away from the gimmicks of large scale productions. 

In this intimate space a clever wooden set design (Gregor Donnelly) and blue, frosted lighting with a glimpse of northern lights (Richard Williamson) achieve just the right tone. We are there with Gerda, willing her forward as she continues in her arduous task, overcoming her fears to rescue her friend, Cei, a warm-hearted, happy go lucky teenager with a wide imagination who is easy prey to the will of the heartless Snow Queen and her icy shards.

The seven strong cast give it their all with their singing, dancing and boundless energy. They are entirely invested in their roles and we take them to our hearts. With the help of bickering flowers, snowball fights, cracked mirrors, a confused princess, ferile robbers and a talking Reindeer, Gerda defies the elements to save her friend. Justin Brett takes on many roles, including the deliciously camp Daffodil and injects some glorious comical elements into his performance. Playing alongside are Sarah-Louise Young, Paula James and Matthew Cavendish  who play multiple roles, clearly enjoying and savouring every moment and inviting many a giggle with their antics. There may be some darker elements but the younger audience members did not allow these to mar their enjoyment and joined in enthusiastically.

With its strong technical team, great physical movement (Lucie Pankhurst) and considered direction, The Snow Queen  is an endearing festive production, which will appeal to many a young child and adult. Take away the chill of reality, suspend belief for a couple of hours and be part of the icy landscape at London's Park200 theatre.  

Happy Christmas to you all. 

LISTINGS  
Venue: Park 200, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP 
Dates: 4 Dec 2019 – 4 Jan 2020


Age guidance: 5+ (children under 5 will not be admitted) 
Performances: Mon-Sat evenings 7.00 pm. Variable matinees at 11.00 am, 3.00 pm and 4.00 pm.  
Access performances: Parents & Babies, Mon 30 Dec 1.00 pm
Audio Described, Fri 27 Dec 3.00 pm Touch Tour 2 pm
Prices: Standard £18.50 - £32.50,
Booking: www.parktheatre.co.uk /
020 7870 6876

*
*10% telephone booking fee, capped at £2.50 per ticket.

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

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/

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.

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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