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Directed by Sally Avens, Paul Sellar's The Gold Killing (2015) is a drama of intrigue, investigating the underground world of big business and international crime. The central character is Joe Stein (Robert Glenister), ex-boxer now entrepreneur who, with the aid of dubious finance, has created his own little Brighton Riviera and is now attracted to an investment into a Ghanian Gold Mine. But this is a new world, where treachery and intrigue, ruthlessness and lies govern and where the Mafia and Russian Oligarchy have a strong hold. Naively Joe believes that having a little 'mazel' (good luck) will see him well, but of course that would be too easy. As Joe concedes, 'Money comes at a price'.
Following the success of his previous radio drama, The Moonflask, this two part thriller exposes the underhand dealings of those who seek control, who manipulate those around them to move them ever higher and onward, achieving a high life of wealth at the expense of those who are brought down on their journey.
An ex fighter, will Joe recognise when it is time to leave the ring or must he continue to rotate the treadmill in order to survive and to secure the safety of his beloved wife, Val and daughter?
Past associates will lie and deceive, who is to be trusted? Joe has been around a bit but does not always see what's coming. It may seem 'kosher' as old friend Sydney (Stephen Critchlow) purports, but of course it isn't. Accused by Val of playing a gamble with their futures, Joe has some tough decisions to make.
Robert Glenister is convincing as Joe Stein and is supported by a strong cast, including Pip Torrens, David Hounslow, Amelia Lowdell, Danny Sapani, Obi Abili, Alex Tregear, Rhiannon Neads and Stephen Critchlow.
‘The Gold Killing’ was BBC Drama of the Week and is now published by Bastei Lubbe on Audible.
*note: The review of How To Build A Supertower is by the same playwright. -
How to Build a Supertower, the latest play (2019) by acclaimed playwright Paul Sellar, is presented in four parts on BBC Radio 4, each approximately 45 minutes and directed separately by Jessica Dromgoole, Jonquil Panting and Sasha Yevtushenko. A drama centering on the raising of an iconic new London Skyscraper (The Hourglass) in the City of London's Lombard Street, to stand as a symbol of strength and power in times of uncertainty. This is an underworld thriller about greed, fear and fraud, where outward appearances count for everything but where assured investment is essential and success rests on key connections. Prophetically, the higher you build, the further you fall!
Mirroring the complexities of the four stage development of London's Gherkin and the high rise debate of London's skyline, the Hourglass is a building heavily criticised for marring the London landscape, for its countless health and safety problems, its reliance on high-powered commercial and residential investment and considered an architectural folly that overspent and over borrowed in times of uncertainty.
Self made tycoon, Max Silver (portrayed superbly by Robert Glenister) is inspired by The Shard and The Gherkin and wants a slice of the architectural London landscape. He must rely on his streetwise know how and ruthless deal making to achieve financial victory in his battle to make a tidy profit as well as to secure a safe future for his family. Foremost a businessman but up there with his priorities are his wife, daughter and brother.
It is Max who must make the decisions, Max who must take the risks and the weight of this burden shapes his every waking moment. He is well connected and will call on his contacts to rescue the business from the brink of catastrophe. But problems are relentless and against the avalanche of those who would seek his downfall, those who put obstacles in his path, those who fabricate the reality for their own gain and those who seek revenge for past deeds, we share the turmoil of Silver's mind.
Breaking the fourth wall, Glenister draws us into the character of this tycoon, sharing with us the minutiae of the project, intensely researched by Sellar, so that we might gain insight and understanding into his wheeling and dealing. As patriarch of a family who are so reliant on him, from daughter Zara (Katherine Press), wife Carol (Catherine Cusack) and brother Teddy (Sean Baker), he will take them under his wing and bring them into his dynasty. The central lynchpin, all depend on him. With more juggling than a circus performer, Max must keep the balls spinning and up in the air. At each step forward, there is a potential setback and shortcuts will cause disaster, as we know from recent experience in London's high rise towers.
His iconic new skyscraper, the London Hourglass, has passed through the stages of design but investment is lacking security. Finance must be top dollar but his international investors own reputations which are somewhat murky. Will ambitious politicians put the brakes on; will fabricated journalism sacrifice his success for the sake of newspaper sales; will Max be beaten? More than a challenge, this exciting new building represents power but at a high personal cost. Sources must be chosen with care, collecting only those which can be trusted and avoiding others who delight in deception. Surprisingly moral in some respects, overtly ruthless in others, Sellar has created a character in whom we can empathise and that must be attributed to his skills and artistry.
Max is engaged in a fight of complexity where seemingly impossible challenges pop up at every turn. Political intrigue, constant opposition, resentment payback (Paul Hickey), building problems, cloak and dagger, international reputation and, of course, an economic downturn - a fair sized melting pot that gathers ingredients as the play progresses.
Is the London Hourglass another Gherkin, accused by many as a magnet for trouble, public scandal, corruption, a white elephant, a symbol of private failure and hubris, a political folly or, conversely, is it a piece of magnificent architecture with a bad financial deal attached to it?
Deserving of the accolade accorded to him as an innovative playwright, Sellar has achieved a play of international intrigue, business corruption and credibility with a cast who engage fully.
Sure, be well connected, gain funds from those whose own successes will attract the confidence of future investment but be careful to ensure damage limitation, which is nigh on impossible. An economic downturn or unforeseen circumstances can, as we all know, bring the whole pack of cards tumbling into a scattered heap of confusion. No such thing as loyalty here, each man for himself.
The art of the deal is knowing when to give in and Max is fully aware of that fact. He will seek ways to keep his business out of administration, settle old scores, remove enemies, make his own deals and safeguard those dearest to him, whatever the cost.
And did he achieve this? Ah, that is for you to find out, no spoilers here. Having tuned into the first episode, I was hooked and was impelled to go straight on to episode 2, and from there both 3 and 4. It was compelling - no mean feat for a three hour radio drama. A stellar cast coupled with dramatist Sellar's insight and play construction, portraying reality with its twists and turns, is no less an achievement than the building of the Supertower itself.
Catch it on BBC Radio 4 (first aired in 2019)
https://www.bbc.co.uk/sounds/play/m00082dj
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Wait For Me enjoyed its digital premiere on Monday 5 October 2020. Written and devised by Sam Cassidy and directed/choreographed by The Greatest Dancer finalist Ainsley Ricketts, Wait For Me is a major new British dance musical portraying a tale of life, loss and eternal love, where the strength of the latter can overcome the strongest of adversity and death itself.
Writer Sam Cassidy was in the process of putting together this exquisite piece as a stage performance before the onslaught of Covid. Undeterred, he recognised that the absence of live theatre had created an immense void and that audiences were 'hungry for a theatrical online fix'. He explained that with the aid of cinematographer Nick Ross they could choreograph the entire show on camera, allowing wide sweeping shots that would blend into intimate close-ups so that the emotion on the faces of the dancers would be shown. This succeeded on every level and portrayed with absolute empathy and clarity the joy and anguish of each moment.
In its bubble of six the cast were isolated for three weeks, living together and seeing nobody else. Matt Carmazza's technical team led them through three days of filming, keeping the cast apart for the entire time and coping with the trickiness of process. And the result? A wonderful piece of ethereal beauty, offering a true connection of emotion.
The intimacy of performance transmits across the void of our surreal existence in these strange times and it is with full respect and admiration to cast and creatives that they had the strength of resolve to offer this heart-warming and emotional tale through the channel of online media to an audience shaken by isolation and withdrawal.
We begin in the realm of Heaven where two celestial angels dance in swanlike fluidity through eternity, forever entwined in their euphoria and love until they are recalled to Earth to fulfil a sacred task. Now separated, they each receive a mortal soul and must act as protectors and guardians to find the soul mate of their charges. It is only at that moment of discovery that the two angels may be released to continue their everlasting dance.
Both a love story and a life story Wait For Me tells of Jack and Emma whose destiny is to be made whole, to unite in true love and, despite the tragedy and sadness that awaits them in their journey, their mutual love, support and commitment will ensure their eternal dance until they too are separated to secure a future love destiny for their own charges.
The synergy, dynamism and sincerity of the talented cast featuring Ainsley Ricketts, Chrissy Brooke, Clarice Lanta Lilly, Jaih Betote and vocals sung emotively by Eloise Davies and Bluey Robinson achieve a stirring performance of this sublime theatrical dance piece. Powerfully realised through Rickett's exciting choreography and Mark Benheim's haunting orchestration, episodes of raw, naturalistic fluidity of movement alongside heart breaking stillness and true empathy are magnetically portrayed.
In total, Wait For Me is hypnotic and draws in the viewer to the different chapters of life where there is beauty and awe in love, agony in loss, fearsome protectiveness and support and survival beyond the limits of time.
Captured on our screens through the effectiveness of subdued lighting (Matt Carnazza), sound design/music engineer (Will Vaughan) and technical capability of the creative team, Cassidy's Wait For Me was a joy and a privilege to behold in these times of extreme separation and sadness. I would urge you to see it.
Listings
Running Time 50 minutes
Social Media
Facebook/ticket availability: 'WaitForMeLive' Facebook page: £10
For a snapshot: https://www.youtube.com/watch?v=0tksWt1TBqI&feature=youtu.be
Instagram WaitForMeLive
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This was an invitation to review that I simply could not resist. Having enjoyed this group in performance two years ago and had a thoroughly good time with chortles galore, I was interested to experience how this might play out in a virtual theatre. Using state-of-the-art technology and rigorous social distancing, the company planned to receive live suggestions from the audience, watching at home, via the chat box to create a full-length brand new musical. They would perform behind clear screens and only the band would wear masks as they would be more open.
The entire premise behind this Olivier award winning Showstopper! The Improvised Musical, brainchild of Adam Meggido (performing tonight) and Dylan Emery is that the cast creates new (and never to be repeated) productions each performance, entirely improvised from audience suggestions which supply the setting, title and musical styles which shape the performance content. As such the audience is integral to the success of the show and I hoped that the remote audience would be up for it. And they certainly were. Whilst we waited for the start of the show comments came thick and furious on the chat section reflecting the anticipation, expectation and support from the gathering. To our delight Andrew Pugsley, in his role of Performance Director, joined in the chat and further established a close bond with the audience.
'Where will tonight's story be set' and 'You're in charge' flashed across our screens in large white letters. And the chat increased with endless suggestions of setting, theme and ideas ranging from The Muppets to Hamilton, with a soupcon of Sondheim and zany content suggestions, including Who Battered Mrs Batty! Delicious fun. What would be chosen? After a short deliberation by the cast and consideration of the numerous suggestions, it was settled. There would be a hot air balloon floating over New York in which two socially distanced couples (ha ha) would go back in time and maybe change the course of their lives and of the political history of the USA, making great use of a taxi and a job at Macy's.
From get go the confidence and talent of the cast and band did not waver. Harmonies, understanding, interaction and teamwork held strong with melodies and lyrics that would challenge even the most well known of composers. Each number held merit in its own right with one of my favourites coming at the close of Act 1 in the style of Hamilton. Look out Lin-Manuel Miranda.
The Band, comprising Alex Atty (percussion) and Duncan Walsh Atkins (keyboard) created a faultless mix of music and tempo with alacrity and understanding, offering cues to the performers who worked together in tandem. Well done to tonight's performers: Pippa Evans, Adam Megiddo, Ruth Bratt and Justin Brett whose voices soared and whose role play raised many a laugh. And further congratulations to Andrew Pugsley who engaged the 400 strong audience. With few props including some outlandish hatwear, this was a visual treat.
Much work had to be done to ensure the safety of the performers and band. During the interval we were given a virtual tour of Behind the Scenes and the work done by the crew, headed by Damien Robertson. The cast were interviewed and it was clear that they embraced these new changes in such bizarre times as exciting and stimulating which certainly played out during the performance.
The advertised running time for the show was 1 hour and 20 minutes but in fact ran over and was two hours, including the 10 minute interval. A tad too long in my opinion but I was in the minority. From the tone of the chats, the enthusiasm of the audience held high and at the close they clamoured for more.
A theatre atmosphere is created through the interaction of audience members with the cast where they are close up and personal and where it feels like a meeting of old chums out for the evening. Despite our distance, this managed to achieve an intimate feel. From the chats of the live audience beforehand and during, this too was a meeting of friends, old and new, whose 'woohoos' and virtual claps signalled their support and enjoyment. It couldn't work, it shouldn't work but by golly, it did. We may be separated by distance at this strange time in our history, we definitely miss the physicality of the theatre but in this socially distanced concept, Meggido and Emery have achieved a fun-filled evening through their wizardry and the skills and talents of cast, band and crew and have reignited the flame of performance. Are we in control? We may think we are, but think again.
Congratulations to the team for adapting to these weird times and for providing such a great evening to its audience with their delightful musical, improvised of course, called 'The Balloon Where It Happened' - oops, sorry Lin-Manuel Miranda (again).
A nod to one of the many hysterical lines: 'I'll sell so many gloves, you won't believe how many people have hands!' Hey it is improvised.
Showstoppers have offered a variety of online experiences on their website, completing 24 hour song challenges for the likes of Elaine Paige, Ramin Karimloo, Derren Brown and Jenna Russell, featuring a subject matter and a musical style of each celebrity's choosing. Other productions have included three full episodes of The Showstoppers' Online Storytime for Kids and a live-streamed Alternative Eurovision Song Contest. Suggestions were passed via social media and tech wizard, Ali James, collected the ideas and shared them with the cast. The Alternative Eurovision Song Contest was staged as a tribute to this year's cancelled Eurovision song Contest and featured original songs by both the Showstopper cast and special guests, raising over £7000 for The Care Workers' Charity.
First appearing at the Edinburgh Festival (Fringe) in 2008, playing to an audience of under 100 in a morning slot housed in a portakabin, they have since enjoyed 11 years of fun, frolics and huge success with the Edinburgh Festival Fringe, West End runs, an Olivier Award and a BBC 4 series.
Photograph:
Hugo Glendinning
Listings
This production is available to watch until Sunday 30 August 2020.
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Tickets are £9.50, Concessions: £6.50 plus booking fees
To book, visit Eventbrite at
https://www.eventbrite.co.uk/e/showstopper-the-socially-distanced-improvised-musical-tickets-116417683425
Every ticket sold helps to keep these talented artists working and the company to stay afloat during these trying times.
To catch more about the show, visit https://youtu.be/xiHphre8474
Do check out their website: https://showstopperthemusical.com/ where you can check out a variety of snippets and two further productions.
Twitter: @TheShowstoppers
Facebook: theshowstoppers
Instagram: @showstoppermusical
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Some of you may be familiar with the tale of Fanny and Stella: Two male actors Boulton and Park who caused a stir in the 1870’s (Long before Oscar Wilde had even put pen to paper.) performing on stage as ‘Those funny he she ladies’. Alas their refusal to confine their drag to the stage, lead to their arrest and trial for ‘conspiracy to commit sodomy’ a crime for which they were eventually acquitted (An early victory for the LBGT brigade) This musical production by Glenn Chandler tells their tale, or rather allows them to tell it themselves, imagining that after their acquittal Fanny and Stella have put on a show to revel in their new found notoriety...
I arrived at the venue: The eagle on Kennington lane, Vauxhall, after 5 months of no theatre the mood is somewhat somber, we are ushered outside to our socially distanced seats by staff in gloves and visors, where we sit silently behind our face masks wondering what is going to transpire.
Fortunately any lingering notes of foreboding are swept away as soon as the cast come on stage and we are introduced to our heroes or should that be heroines? And their band of merry men.
This show is musical theatre with a capital T, deliciously camp and uproariously funny, I very much enjoyed the way the dialogue payed homage to Victorian music hall style with Gilbert and Sullivan esq levels of innuendo!
On a slightly serious note however you do get a sense of just how hard it would have been for Boulton and Park (And probably many others like them.) To be accepted on their own terms and Iive the lives they wanted in an extremely rigid and non permissive society.
Jed Berry and Kane Verrall as Fanny and Stella were perfectly cast and played their roles extremely well but credit must go to the supporting cast who were all excellent, especially mark pierce for his hilarious turn as the Scottish landlady.
(I was also very impressed on the date I went to see this show that all the performers managed to do their choreographed dance routines in heavy costumes and stage black in 30 degree heat!)
After months of no theatre and corona uncertainty a romp like this was just what the doctor ordered. Catch Stella and Fanny while you can at The Eagle, Vauxhall until August 25th. You won’t be disappointed! See link for more info http://fannyandstellamusical.com/ -
A more beautiful, heartfelt and poignant analysis of the huge aching gap that the pandemic has driven between people might be harder to find right now. This time specific mini musical by David Hunter and singer / songwriter Caroline Kay cuts through the pain and isolation of lockdown for a couple who are apart.
It is clear from the outset things are not well, but the glorious editing of face time, text messages and zoom calls just makes the distance greater and the decisions more powerful.
Without doubt there is the sense of Jason Robert Brown about it but the skill and melodic honesty of this new writing is both exciting and inspiring.
Both performers turn in fine performances, the non speaking extras add a realism that steers it from any hint of self indulgence. Which brings a further level of reality.
This piece whilst being a refection of our time is so much more and perhaps a writing partnership well worth exploring. Well worth watching and if you can, donating.
An interview between David Hunter and Caroline Kay is posted below; detailing their unique creation and how they have yet to meet.
David &
Caroline talk about writing ‘The Space Between’ in Lockdown... without actually
meeting!
Were you aware
of each other’s work before this project?
David: People
have been telling me to work with Caroline for years! As actors and
singer/songwriters, we have always moved in similar circles but somehow
completely avoided each other! Bizarrely it took Lockdown to finally bring us
together!
Caroline: Yes.
As David is a leading man in the West End, I’ve been aware of, and admired, his
immense talent for years – I saw him in ‘Waitress’ earlier this year – and
because I’ve followed him on social media, I had also listened to his original
music. We both did solo gigs in January with Lambert Jackson Productions, and a
charity event online during Lockdown, and I think the promo for these gigs may
have put us slightly more on each other’s radar.
Whose idea was
it?
David: I came up
with the beginnings of an idea about a couple separated by Lockdown, with all
the drama played out through video calls - Zoom, FaceTime etc. But we developed
the story together as we wrote the songs and explored these characters.
Caroline: David
got in touch with me with the idea of a new short musical about a couple kept
apart by Lockdown and asked what I thought about it and if I wanted to write it
with him. We chatted about the concept and story, and then began the writing
process.
When did you
start writing?
David: We
started on the 14th of May and basically had everything written in three weeks.
Then began the planning, filming, mixing and editing - which took much longer
than the writing. It’s incredible how much planning had to go into the
recording. Everything you see in the video happened live, in one take and took
some serious planning!
Caroline: The
whole project has been put together in under two months, and though it’s just
only 13 minutes of content, I think that’s a real feat for new writing,
particularly given the fact that it all happened in isolation without so much
as a Zoom call or Facetime! David has two kids and various gigs, and I was
lucky to still be working my part-time office job from home, along with writing
my own musical, so I think we worked pretty efficiently!
What was the
process of collaboration?
David: We kept
in touch purely by WhatsApp. It wasn’t intentional at first, it’s just how we
started batting idea back and forth. Caroline would play around with a chord
structure or a musical idea for a song and send something over and then we
started firing lyrics and melody ideas at one another. I can honestly say every
moment of the musical has been discussed and agreed upon by both of us. If one
of us wasn’t completely happy, we’d hash it out and find the best solution.
We’re both very open and accepting of other ideas, whilst being ready to
passionately stand up for ones we truly believe in! It’s been a really easy and
enjoyable collaboration.
Caroline: It was
a really balanced collaboration in which we both continually progressed the
piece together. After lots of chatting about story and character, I’d start by
playing around at the piano with some chord structures and melody ideas which
I’d send to David for thoughts. The music and melodies would develop from
there, and then we’d delve into the lyrics. Sometimes David would suggest whole
verses of lyrics that we’d then work on, and other times we’d each contribute
alternate lines naturally as we went. When we had the bones of a song created,
we’d both go through it with a fine-tooth comb, questioning certain lines and
lyrics and making changes
.
How did you
communicate your ideas?
David: Purely by
voicenote and text - we’ve never spoken in any other way! It gave us time to
listen and re-listen to ideas, reflect on them and voicenote back again. More
often than not we’d be on the same page and we’d often voicenote one another at
the same time to find we were passionately making an argument for the same
thing!
Caroline: We
communicated solely over Whatsapp and I think we did a great job of expressing
our thoughts and opinions – which can be a hard thing to do in any
collaboration, but particularly one so new that neither of you have even met!
I’m proud of how honest we were able to be with each other; able to stick up
for an idea if we felt strongly about it but equally good at listening to each
other and sometimes finding compromises.
Did the Lockdown
affect your work?
David:
Massively. First and foremost, it encouraged us to finally work together, but it
also gave us our subject matter and the tools for
telling the
story. It’s amazing to think I’d never heard of Zoom a few months ago and now
it opens a new musical we’ve written!
Caroline: Yes, of course, but I’m not sure that it was a negative
effect. Working in different countries and never having so much as a phone call
or video chat about the project is definitely going to affect a collaborative
writing process, but, strangely, it worked for us! Aside from Lockdown
affecting how we worked; it also very evidently affected the piece itself as
the story is set in lockdown too.
Did one person
write the lyrics and the other the music or was it more collaborative?
David: It was
extremely collaborative. Caroline would usually lead off with a musical idea
and then we’d bat ideas back and forth.
Sometimes one of
us would write a whole verse which would stick, other times we’d discuss a
single syllable for hours! We considered and scrutinised every last word and as
a result we’re both utterly thrilled with the final result. It’s easily the
most satisfying creative process I’ve ever been a part of.
Caroline: It was
definitely collaborative on both counts, but I would say that I led with the
music side of things to get us started with each song, and David often led with
lyric ideas. We each had equal say and opinion on both aspects though, and once
we had put together a rough song structure, we would both work on melodies and
lyrics alike.
Did either of you
write individual songs?
David: It was
much more collaborative than that, but certainly we agreed that we would each
take the lead on our own solo songs. Vocally it had to sit well in our voices,
but also the tone of the language used had to feel real and authentic to us.
Both solo songs still feature huge input from both of us, but we were sensitive
to the fact that it had to feel satisfying for the actor performing it. I’m
forever looking for songs that speak to me and feel authentic for auditions and
such, so it’s been nice to be in total control of that aspect. We could shape
the songs to go exactly where we wanted to go as actors.
Caroline: We
both wrote the whole show together, but it’s fair to say that David led with
the male solo, and I with the female, which I think was natural as we knew we’d
each be singing the songs respectively, and knowing our own voices meant being
able to decide keys and certain melody choices which would work best.
Could the show
be written longer or is this it?
David: This is
it. The musical was always designed to act as a fleeting glimpse into this
couple’s lives during Lockdown. As a project though, I hoped it would begin a
journey in musical theatre writing, so I expect this is the start of much more
work. Maybe another Short, maybe a full length masterpiece!
Caroline: I think for this specific story and format, this is it.
It was born out of our current situation as creatives in Lockdown and is about
a pivotal moment in the lives of this couple as they’re stuck in Lockdown too.
That’s not to say we can’t work on similar ideas, or different projects
entirely together, but I think this show, this short glimpse into a
relationship, is complete as it is.
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Interactive Dialogues: Ethics and Equity in Practice Research - Dance and Theatr... (coventry.onlinesurveys.ac.uk)Hi All!
DEADLINE 30th June 2020
CALLING DANCE AND THEATRE ARTISTS AND ARTIST-RESEARCHERS!
We need to hear what you have to say!
Interactive Dialogues: Ethics and Equity in Practice Research - Dance and Theatre
This project hopes to gather what you think about the subject of ethics and equity within the practice of making dance and theatre in Higher Education and the wider arts sector.
This survey is directed towards artists and artist researchers to help us identify themes and questions that resonate within the sectors and identify potentially important topics for discussion and further investigation on these subjects.
In a time that is so tumultuous, it is important that these issues are explored as we go forward as a sector.
I would really appreciate taking the time to fill out this survey by clicking the link below, it should take approx. 10 minutes to complete.
https://coventry.onlinesurveys.ac.uk/interactive-dialogues-ethics-and-equity-in-practice-resea
More information on the project can be found here:
https://www.coventry.ac.uk/research/research-directories/current-projects/2020/interactive-dialogues...
Best Wishes,
Charlie -
Just when you think another Friday night lockdown could not get
any better The Showstoppers’ Alternative Eurovision Song Contest takes centre
stage. Ensuring the nonsense, politics, camp and glamour of the Eurovision is
safely in place they sensibly make the songs shorter, funnier and enrol
outstanding presenters and celebrity judges to help up enjoy the ride.
Across
the UK some households are bereft at the cancellation of this year’s jamboree
but here socially distanced, recorded in isolation and brilliantly edited the
gallant cast and guest singers captured all that is great and good about this
institution. The lockdown edition may
well be remembered for the amount of puppets used, a token step ladder, penny
whistle and the importance of a shed (check out Russia)
Pippa
Evans, with some glorious jackets, and Andrew Pugsley presented with great
style. Kudos also to Andrew for editing,
inspiring and being responsible for the entire evening which ran on social
media with a live feed to capture responses. With the introduction of celebrity
judges: Christopher Biggins, Arelene Phillips, Claire Sweeney and London Hughes
alongside Tom Allen lending his voice as the commentator, the show was a
triumph from the outset.
The
outstanding cast were given the option to vote for each other, needless to say
the essential politics played out as expected as well as some unspoken love
trysts and breakups.
The
Showstoppers Company consisted of:
Jonathan
Ainscough - Fergal Brogue for IRELAND, ‘If You’re With Me’
Ruth
Bratt - OM for FINLAND, ‘Domino’
Justin
Brett - Hej! for SWEDEN, ‘Hej! Fever’
Julie
Clare - Marla for ITALY, ‘Only You’
Dylan
Emery - Hakan for TURKEY, ‘Into Your Light’
Susan
Harrison - Marika Elán for SLOVAKIA, ‘Identity’
Ali
James - Kristina Jansons for LATVIA, ‘(Love) Come And Get Me’
Joshua
Jackson - Le Bon Bon for FRANCE, ’Super Sweet’
Sean
McCann - Archangel for RUSSIA, ‘I’m In A Shed (I’m The New King)’
Adam
Meggido - Marco Felatio for MONTENEGRO, ‘Valetta’
Philip
Pellew - Bim and Bo for PORTUGAL, ‘Familias Felizes (Happy Families)’
Heather
Urquhart - Rama Stein for GERMANY, ‘Bundesliga Dankeschoen Schmetterling
Muttersöhnchen’
Lucy
Trodd - Roxana for Azerbaijan, ‘Earth Cry’
Alongside
the Showstopper company saw guest singers fight for the crown:
EGG
- Costas and Maria for GREECE, ‘3 Gloves (Sexy Baby)’
Jordan
Gray - Yana Novakovakova for CZECH REPULIC, ‘Sad Clown’
Josie
Lawrence - Yosie Longrance for DENMARK, ‘Bink Bonk Bink (Cheeky Monkey)’
Mike
McShane - Damathous Mamanappi for CYPRUS, ‘Wind In My Valley’
Whilst
Germany may have won; few will survive the long term damage of cheeky monkey
and “Bink Bonk Bink.” We will also be eternally grateful for Czech Republic and
Sad Clown. The plight of penguins has never been so touching: “Stop using
penguins for your fancy hats and shoes.”
The
humour was razor sharp and both lyrics and musically the parodies rang true.
The underlying skill of the entire musical team: Duncan Walsh Atkins,
Christopher Ash and Jordan Clarke. Percussion: Alex Atty and Craig Apps. Guitars:
Dylan Emery and Justin Brett cannot be underestimated.
Whilst
raising vital funds via voting for The Care Workers’ Charity Emergency Fund, (up
to £6K raised during the stream alone) this was everything that is precious
about the industry and the willingness to share joy and skills during these
unsettling times. This was a huge
success and a welcome relief in the midst of the passing days and weeks. Theatre in isolation is a great comfort in
these times and is received with such gratitude. -
A Separate Peace by Tom Stoppard is the first live “Remote
Read” virtual production from Curtain Call.
Whilst we have become used to the wonderful amount of
streamed work online at the moment, the frisson and immediacy of this live
presentation could not have been more welcome.
Directed by Sam Yates via Zoom the excellent cast grasped the project
and the short play created an oasis of talent and achievement.
A Separate Peace is a charming comedy. Set in a private
nursing home, the medical staff is confused by the arrival of a patient, John
Brown (David Morissey.) An apparently average man who can afford to stay but is
perfectly well and without any medical needs; Brown simply wants peace and
quiet away from the world. However, the medical professionals seek to find a
reason and a truth; as the given explanation seems too suspicious. The
challenge from Stoppard is to consider whether we should delve into the past or
just accept; should we interfere or just keep distant.
The story telling and impact of this remote production is
strong. The success is in its simplicity
of stripping back and just “being.” The lack of staging, costume or scenery,
except for Brown’s painting, gives us a blank canvas but across the board the characters
convince. Jenna Coleman (Nurse Maggie Coates ) Denise Gough (Doctor) Ed
Stoppard (Matron) and Maggie Service (Nurse)– Jenna Coleman (Victoria, Doctor
Who)ensure that the emphasis purely on the script distils the sentiments and focuses
both the performer and audience in a unique relationship.
Curtain Call has created something exciting and valuable and
hopefully will continue to deliver and plan future performances to quench the
thirst for live theatre.
Petra Schofield
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Petra Schofield - 0 comments
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National Theatre Live to stream shows from archive for free every week on YouTub... (londontheatre.co.uk)The National Theatre has announced a project that will see its National Theatre Live collection of filmed live productions streamed for free on YouTube, every Thursday at 7pm UK time. Tune-in for some of the best British theatre, free to stream for a week. Starting from 2 April with the online premiere of One Man Two Guvnors featuring James Corden.
SUBSCRIBE TO THE YOUTUBE CHANNEL HERE:-https://www.youtube.com/channel/UCUDq1XzCY0NIOYVJvEMQjqw
The current confirmed schedule is as follows:
- 2nd April: One Man, Two Guvnors
- 9th April: Jane Eyre
- 16th April: Treasure Island
- 23rd April: Twelfth Night (starring Tamsin Greig)
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Douglas McFarlane - 0 comments
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Reviewer's note: Many apologies but owing to the current health situation, I have been unable to attend the press review of Peace In Our Time at the Union Theatre, Southwark. Having seen the two previous productions by the Phil Wilmmott company in its celebration of the 75th anniversary of VE Day, I am certain that it will be a production that offers authenticity and nostalgia and it is with deep regret that I was not there to support this great company.
So - here is my summary which hopefully will induce others to go and see this production.
Noel Coward, Britain's distinguished dramatist presents the possible fate of Britain had she lost the war in his observational drama Peace In Our Time, a provocative piece that encapsulates the characterisation and stoicism of a people whose spirit and courage will not be defeated. Overcome in war, can they ever survive the peace?
At this small, intimate theatre is the chance to see this forgotten drama of 1940s Britain under Nazi occupation in the first ever revival played by the Phil Wilmott company, its third production in the trilogy of the Essential Classics season. Written in 1946 and in two Acts, Mr Coward said in his introduction 'There have been other plays about occupied countries but the one thing, however, that differentiates it from other works on the same theme is the fact that the occupied country in question happens to be England, which has been neither invaded nor occupied by an enemy nation for eight hundred years.' The idea of Peace In Our Time 'was conceived in Paris shortly after the Liberation. I began to suspect that the physical effect of four years intermittent bombing is far less damaging to the intrinsic character of a nation than the spiritual effect of four years' enemy occupation.' The premise of Coward's post-war play imagines how ordinary English people might have reacted to Nazi occupation. How many would join a resistance movement? How many would become collaborators or profiteers? How many would continue their lives as if nothing had happened? An unashamedly outspoken script that thrusts character symbolism in the fore, Peace In Our Time explores the themes of resistance, resolve and identity.
Set entirely in the Shattock's London pub, The Shy Gazelle, during WWII after the occupation of Britain by the Germans, the death of Churchill and the creation of a POW camp on the Isle of Wight, we meet a body of Londoners, a sort of microcosm of English society, existing, interacting and going forward through those testing times.Over a period of four years the lives of this gathering of proud Londoners, who are doing their best in the face of adversity, soldier on. Life may wither them, they may become weary and shabby but their patriotism will not flounder: 'love of my country and hatred of its enemies, this blessed plot (Shakespeare) this earth, this realm, this England'. Jingoistic platitudes? Opinions are divided. On the one hand is the faithful patriot, on the other is betrayal as epitomised in the character of Chorley Bannister, a self styled intellectual who shows blatant regard for the Nazi philosophy, believing it to be the best thing for England. A nation divided!
It is in this setting (that I am sure will be shown with thought and detail) that the characters grumble about the indignity of foreign occupation, rationing and the dwindling stock of alcohol, relying on watery beer and Stubbs. Chin up and all that but beneath the mask of positivity there is a bubbling anger and frustration which allows Coward to inject moments of levity and humour.
What is most striking is that these are ordinary people who, in better times, would lead ordinary but contented lives. Thrust into this situation their management offers us insight into their characters, their strengths and their resistance. On the darker side is the torture and death of the Shattock's daughter Doris by the Gestapo, the imprisonment and escape of her brother and the loss of normality. How they deal with this is the pivot of this 1947 drama/comedy. The stiff upper lip is maintained and that might distance the reader/audience from full empathy. I would have been interested to see how the actors portrayed these emotions.
This is stoicism and patriotism rather than succumbing to human emotion. Life goes on, as Fred Shattock comments. We just have to bear it, cope with it and get on with it. Emotion must not block the effort.
Checking out the cast list I was intrigued to note that George Bourne, the calm officer/leader is being played by a female member of the cast. True, in theatre now, neutrality is totally acceptable and we are all quite comfortable with that but somehow an image of a pipe smoking squadron leader was how I had viewed this role. Again, I would have been interested to see how the Company portrayed this switch. Ah yes, dear Noel, times are changing and how you might have applauded.
Sitting here, typing this review, I cannot help but think about our current times in 2020 Britain. Brexit, social differences, unrest, world health. What would Coward have made of it all?
Ah, if only a cup of Nora Shattock's tea could cure all the malaise!
Footnote: The play takes its title from the common misquotation of Neville Chamberlain when he referred to having 'peace for our time' during his speech after he arrived back from the Munich Conference of 1938.
Listings
Playing until 4 April 2020 at The Union Theatre, Arch 22 & 23 Old Unison Arches, 229 Union Street, SE1 0LR (five minutes from Southwark Station on the Jubilee Line)
Tuesday-Saturday evenings 7.30 pm; matinees 2.30 pm Saturday and Sunday from 21 March 2020.
Tickets £22, concessions £20, under 18s £15
www.uniontheatre.biz
020 7261 9876
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Elaine Pinkus - 0 comments
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Last night I introduced a young friend to a dying art – variety entertainment.
‘Is it cabaret?’ he asked on the way into the King’s Theatre, having no idea what he was in for. Now he’s an ardent fan.
But in the hands of supreme professional, Allan Stewart, it’s not hard to fall under its spell.
Stewart should know what he’s doing. According to Lulu, the all-round entertainer has been treading the boards for 420 years – dog years that is!
The pop star is just one of several celebrities, including Gary Barlow and Hollywood reporter Ross King, who congratulate him on 60 years in the business during his latest Big Big Variety Show.
Sadly, after six years, it’s also his last, so Edinburghers should make the most of this opportunity to see a consummate performer in action.
He may be nearing 70 but the ever youthful Stewart has enough energy to light up Edinburgh Castle. He’s light on his feet and belts out a song like the best of them – singing with his panto mates Grant Stott and Andy Gray reminds me of The Rat Pack, though Frank Sinatra, Sammy Davis Jr and Dean Martin would never have been heard singing the comic, original songs that make up most of the show!
Comedy is what we need during these dark days and Stewart, ably abetted by Stott and Gray (whose antics remind me of Spike Milligan), provides it in spades. He confessed they had only had two days rehearsal. It didn’t matter. Their corpsing, camaraderie and schoolboy humour is what endears them to their audiences. My face ached!
Backed by the eight-piece Andy Pickering Orchestra, Stewart is not alone in providing us with first class entertainment. Also on the bill is singer Mari Wilson, who played Dusty Springfield on tour and whose hits have included Cry Me a River. It is a rare treat to hear a ‘proper’ singer and her renderings of such songs as Petula Clark’s Don’t Sleep in the Subway will certainly have the audience tripping their way down memory lane.
Vying for top comedian of the night is Mick Miller, one of the originals from the 70s series The Comedians, whose quick-fire delivery will have you praying for more.
Stewart begins the show by singing I’m Still Standing. And after starting out singing rock ‘n’ rock in Glasgow’s Barrowland at the age of 10, he certainly is. He finishes with his own version of We Are the World, and in doing so impersonates stars from all over the globe, from Miss Piggy to Pavarotti, Danny Dyer to Elvis and everyone in between. An amazing feat!
The show’s not over yet, however. Scotland’s favourite pantomime dame for over 20 years, he will be back as Auntie May in Sleeping Beauty next Christmas (on my way into the theatre I heard one woman announcing that she had just bought her panto tickets!), and in the Spring of 2021 he will be back in Edinburgh at the Festival Theatre as the Mother Superior in a tour of Sister Act, which will hopefully come to a theatre near you so you can experience for yourselves this Scottish gem (as Auntie May he has obviously got into the habit of dressing up in women’s clothes – habit. Get it!).
Meanwhile, look out for Stott and Gray in this year’s Edinburgh Fringe.
Allan Stewart's Big Big Variety Show is at the King’s Theatre, Edinburgh until March 14
Box Office: 0131 529 6000
capitaltheatres.com-
Clare Brotherwood - 0 comments
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.The quality of a pearl is dependent on the grit in an
oyster and Kay Mellor’s theatrical production Band Of Gold contains enough grit
for a whole bed of oysters, the result being scene after scene of undoubted dramatic
pearls.
Between 1995 and 1997 some 15 million viewers a week tuned
in to gain a glimpse into the tough world of a group of Bradford prostitutes
and their attempts to preserve their dignity, humanity and, indeed, humour under
the trying circumstances of their trade. Before writing the series Mellor spent ten months talking to sex workers
in Leeds and Bradford to find out what drove women to sell their bodies.
For the first time viewers heard compelling and authentic voices from the women
who worked the streets.
Mellor’s theatrical
production returns us to the early 1990s, that period between the capture of
the Yorkshire Ripper and the dawn of internet porn when the hard action was still
on the street rather than at the end of a mobile phone or available at the
click of a mouse. The two acts neatly divide into first, a modern take on the Harlot’s
Progress, how a young woman, through poverty and the selfishness of men settles
for a life on the streets and second a whodunit, when one of the girls is found
murdered but the financial plight of the women means they still have to work .
There are some serious
themes here and each character exemplifies a particular reason why women choose
to embrace the life. That said, he production is never stilted – the issues
come alive through the strength of the characters and Mellor’s clarity of
writing and direction.
The heroin-addicted Rose, played
with brio by Gaynor Faye, is the alpha female of ‘The Lane’ - the red-light area of the city. She is a
born leader and it is she who decides whether a streetwalker can work there.
She has a love/hate/business relationship with the gobby Carol (powerfully
portrayed by Emma Osman), a woman with a financial mind quicker than a
calculator and who only works the streets to be able to provide a better life
for her daughter.
The hapless Anita doesn’t
even consider herself to be part of this world – a part-time chanteuse, she’s
sure to reserve time for her married sugar daddy between other ‘engagements’.
Her chances of finding contentment, happiness and fulfilment? Next to zero. Her
descent is one of the most heartbreaking aspects of the piece.
Into this world comes Gina,
survivor of a mean-spirited and abusive marriage whose attempt to break out of
poverty via selling cosmetics fails leaving her in the talons of a moneylender who keeps ramping up the
interest with menaces. Sacha Parkinson is outstanding in this
role. Her surrender to fate is poignant in its despair.
Act 2 opens the door to myriad facets
of toxic and entitled masculinity played brilliantly by an accomplished cast: Andrew Dunn as Barraclough, a pompous councillor
who expects favours; Mark Sheals as George (Anita’s lover), a businessman on
the make who will stop at nothing to make sure he gets the council cleaning
contract on offer and Kieron Richardson who plays Steve, Gina’s husband,
as a seething mass of tenderness, violence and self-pity.
A hat tip, too, to Shayne Ward who plays the principled Inspector Newall, whose desire to
catch the killer is spurred on by his feelings for Carol, with whom he had a
relationship and may be the father of her daughter. It’s an impressive display
of tortured rectitude.
Mellor’s choppy scene
changes are aided hugely by Janet Bird’s set design: Screens bearing abstract
yet recognisably urban scenes shift constantly under the orange sodium street
lights creating a sense of oppression. The seedy pub where the girls gather is
well shetched, too. Never has a poster for a meat raffle carried so much
meaning.
Band Of Gold is a must-see:
thoughtful, emotionally challenging and darkly funny by turns.
Band Of Gold is at Milton
Keynes Theatre until Saturday 14 March.-
Quentin Fox - 0 comments
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Once Upon a mattress at the Gatehouse
A comedy musical retelling of the classic fairytale ‘The princess and the pea’
The story is set in a long time ago in a far away kingdom ruled by an over baring Queen (Julia Faulkner) who won’t allow her son Prince Dauntless (Theo Toksvig-Stewart) to marry, finding fault with every princess who dares try for her sons hand, as if that wasn’t bad enough she has forbidden anyone else from marrying until the Prince gets hitched. Things come to a head when Royal minister Sir Harry discovers his girlfriend lady Larkin is pregnant, seeking to avoid court gossip he goes on a quest to find a suitable wife for the young prince and returns with princess Winifred from the swamp kingdom: smart, no nonsense and a good swimmer to boot, Winifred instantly catches the eye of Prince Dauntless and charms everyone else in court...Everyone that is except the Queen, in a bid to get rid of the new comer she insists that Winifred must pass a test to prove she is a ‘True Princess’, of course the game is rigged but Sassy Winifred is not about to take matters lying down....
This is a fun if slightly whimsical show, the style is in the same vein as Gilbert and Sullivan but with more ballads and less innuendo. I thought casting was excellent especially Julia Faulkner as the Queen and Beth Burrows as princess Winifred, also Steve Watts was fantastic as the mute King Sextimus. But over all I thought all the cast played their roles very well and the show was very well choreographed and put together.
Also it has to be noted that the costumes were AMAZING! lots of bright colours and geometric prints like some kind of crazy fairytale couture, honestly I’ve seen shows at the Royal opera house which didn’t have anything like this level of wardrobe style and co-ordination.
So with that in mind it’s a shame that the one thing that really let this production down was the set. It was a total car crash, it looked like they spunked the entire budget on wardrobe and then had to go cap in hand round local primary schools to see what they could borrow. In fact having checked the credits and discovered it was the same lady (costume designer Giulia Scrmieri) who did both set and wardrobe I have sneaking suspicion that might actually have been the case!
But all doubts aside this a great little show, well performed with some great musical numbers and some genuine laughs, a feel good night out for any theatre lovers in North London.
5th-29th March upstairs at the Gatehouse tickets £18
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Siwan hill - 0 comments
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Ryan Whittle and Alisa Joy as Mike and Gila: photo Kirsten McTernan
Some 40 years after it first played at London's Royal Court theatre in 1980, Paul Kember's Not Quite Jerusalem is revived at London's Finborough Theatre. At a period of social unrest in England, where Maggie Thatcher was in power and inflation stood at 17%, where trade unions were up in arms, this was a time of immense discontent amid the threat of rising privatisation. It is at this time where four English volunteers, Dave, Pete, Mike and Carrie up sticks for a 'holiday' of sunshine, sex and bagels in an Israeli Kibbutz.
Speaking from first hand experience, I too have worked on a kibbutz and it is jolly hard graft. These four volunteers soon discovered that what they thought would be a sun filled holiday was in reality sweltering work in temperatures hitting over 100 degrees in the Negev communal farm where everybody is expected to pull their weight for the good of the community.
There are many reasons why people decide to take time out for this experience. At it s point of inception, kibbutzim were the product of early settlers who worked the land in their communal agricultural settlements, sharing everything as a member of a collective. In essence they were owned by the settlers and based on the principle of socialism, where decisions were made by those who worked there. Jobs were rotated, everything was shared. The children lived in children's houses and met their parents for only a few hours each day. Meals were eaten together in the communal dining hall. This was socialism in practice and involved workers from all sectors of society, including Israel's first Prime Minister, David Ben Gurion, who retired to a kibbutz to join the pioneers who laboured to develop the arid land of the Negev.
Now the kibbutzim have adapted in line with modern times, diversifying and including manufacturing and guest houses. Tourists and visitors may stay there and many young people will embark on a gap year to find themselves and to journey through the country. Nevertheless, the premise still holds. If staying in a kibbutz, other than a paying guest, there are certain protocols including a willingness to share the workload and to behave respectfully. Unfortunately two of the volunteers were not so inclined and reached a depth of depravity in their 'mooning' activity during a Volunteers' Day event.
The English volunteers have not embraced or endeared themselves to the life on the kibbutz. Tough, hardworking kibbutzniks Gila and Ami are pure sabra, with an intolerance of their lack of respect and unwillingness to give, only taking from the experience. Their motives were personal and their understanding of the kibbutz ethos was non existent. Pete and Dave alienated themselves from the start with their disparaging comments which would be construed as anti semitic and thus deplorable, Carrie cannot relate to the English volunteers or to her Israeli mentors and is of a highly nervous disposition and Mike, whilst experiencing difficulties in commitment appears somewhat indolent and self indulgent. In all, a strong contrast to their mentors.
And yet, as the play progresses, layers are removed and we learn more about each character as they develop. This is down to many factors, not least of which is the skilled penmanship of writer Paul Kember who won the prestigious Evening Standard Award for Most Promising New Writer with this, his first play. Complemented by the direction of Peter Kavanagh and the effective staging of designer Ceci Calf, the play takes on a vitality of its own.
There, in the small space of the Finborough Theatre, we are able to share the experience of their journey. Yes, there are moments when we laugh, moments when we are concerned and points of disgust at actions of depravity but there are also moments of high intensity and at its close the passion of both Gila and Ami moved me to tears.
A play in two acts, performed with conviction by its cast of Joe McArdle, Ryan Whittle, Miranda Braum, Ronnie Yorka, Russell Bentley and Alisa Joy, Not Quite Jerusalem has pulled it off. It may be more set in the 1980s but still manages to resonate today.
Listings
Finborough Theatre: 118 Finborough Road, London SW10 9ED.
Playing until Saturday 28 March 2020
Booking: www.finboroughtheatre.co.uk/box office 01223 357851
Tues-Sat evenings 7.30 pm, Sat/Sun matinees 3 pm.
Running time: two and a half hours with a short interval.
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Angela Reviewer https://www.imperialcollegeunion.org/whats-on/event/7637X
The original eighties musical Footloose starred Kevin Bacon as a city kid who moves to a small provincial backwater where rock music and dancing are banned. Now the talented members of Imperial College Musical Theatre Society are taking to the stage to breathe new life into those toe-tapping tunes. Now showing at Imperial College Union Concert Hall until Saturday 7 March. Tickets priced £11 for adults, £& for students.
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The Gloria Estefan musical plays Glasgow's King's Theatre this week featuring a soundtrack packed with hits.
This show really does tick all the boxes for musical theatre. At its heart is a dramatic story based around the struggles and successes of Gloria and Emilio Estefan. Added to this is an upbeat Latino songbook packed with hits from the 80s and 90s, off-the-charts choreography and a book that weaves comedy seamlessly into the mix.
Tracking the life of Gloria from young girl to the height of her success, the musical follows her migration to the USA from Cuba, her love story with Emilio and her caring relationship with her father who was injured in Vietnam. Gloria's relationship with her mother was more difficult, though, as she disapproved of the music scene and the touring life that her daughter loved so much. Success did not come easily to the couple and so the musical tracks their efforts to hit the big time . before a tragic accident brings the success story to a sudden halt.
Performances were excellent throughout. Francesca Lara Gordon stepped up to the leading role of Gloria Estefan for our Wednesday evening performance - and, boy, did she deliver! This is a massive role with almost as many costume changes as songs. Ms Gordon was likeable and relatable and incredibly talented. George Ioannides, as Emilio, was perfectly cast with superb vocals and great comedic delivery. The supporting cast were all deserving of praise. I can only mention an excellent comic performance from Laura Friederich Tejero as (Grandma) Consuelo, amazing vocals from Elia Lo Tauro as José Fajardo, and a passionate and classy delivery from Madalena Alberto as Gloria Fajardo.
While the production was not innovative, the audience were certainly treated to a great show. Incorporation of the band onstage was welcome and clever use of twin sets of sliders enabled very smooth transitions in this slick production. Choreography from Serjio Trujillo was action packed and authentic featuring high energy Latin routines showing off some fabulous costumes.
Sadly, this deserving cast were not treated to a full house last night . but, on the bright side, that means that tickets are still available! Don't miss this chance to see an amazing show on its first UK tour.
On Your Feet
King's Theatre, Glasgow
Mon 2nd - Sat 7th March 2020
www.atgtickets.com/glasgow (bkg fee)-
Cameron Lowe - 0 comments
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Bertolt Brecht is not everyone’s stein of bier! The German Marxist’s approach to theatre may need a little research before you are thrown into his modernist world.
His message in Denise Mina’s adaptation of his epic comedy Mr Puntila and His Man Matti certainly comes over loud and clear: it is about capitalism and the power the rich have over the poor – nothing’s changed there since the play’s conception in 1940. However, his propensity to use harsh and bright stage lighting and, he has said, ‘stripping the event of its self-evident, familiar, obvious quality’, takes some getting used to. Instead of Mrs P’s sumptuous trappings the set consists of scaffolding laid bare (apart from several mounted stags’ heads), topped by razor wire. Mina’s version also sticks faithfully to his style of introducing exaggerated characters whose chalky faces and kohl eyes add a touch of Commedia dell’Arte, and sultry songs which interrupt the action.
Mrs P wants to marry off her daughter Eva to a ’half man, half attache’, but Eva loves her mother’s driver Matti and as the plot unwinds we see how poor and rich don’t mix, quite apart from the fact that she is young and he is old enough to be her father.
Taking centre stage in the title roles are Scottish favourites Elaine C Smith as Mrs P and Steven McNicoll as Matti.
Mrs P, as was Mr P, is a split personality: when she’s drunk she’s generous and friendly to all; when she’s sober she’s mean and nasty, and although Smith has great stage presence, I couldn’t always distinguish which side of Mrs P she was playing, and the rhythm with which she speaks at times seemed laboured.
McNicoll’s Matti is much more rounded and fun to watch, while I can only put Joanne McGuinness’s strange antics as Eva down to Brecht’s style and Murat Daltaban’s direction. He is one of Europe’s top directors so I bow to his expertise. As I said, Brecht takes a bit of getting used to.
I love Oguz Kaplangi’s eerie soundscapes, and diverse compositions which include rapping, and was fascinated by his performance, seated as he is on the upper floor of the scaffolding, the only musician and percussionist who also provides the sound effects. And Tom Piper’s design, although Brechtian, has some very interesting elements such as the ‘human’ dogs with Perspex heads. I just wonder how many pubs the crew had to visit to collect so many bottles!
Despite, or in spite of Brecht, Mina’s interpretation includes some very funny, modern, and Scottish references, ending appropriately with ‘Ye’ll tak the high road and I’ll tak the low road…’
Image: Mihaela Bodlovic
Mrs Puntila and Her Man Matti is at the Royal Lyceum Theatre, Edinburgh until March 21
Box Office: 0131 248 4848
lyceum.org.uk-
Clare Brotherwood
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Official Tickets via lovetheatre.com/uktheatre-
Douglas McFarlane
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Official Tickets via lovetheatre.com/uktheatre-
Douglas McFarlane
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Official Tickets via lovetheatre.com/uktheatre-
Douglas McFarlane
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An award winning musical which is growing in popularity.
Here’s the official UK Theatre ticket link.
https://www.lovetheatre.com/uktheatre/tickets/400159/Come-From-Away
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Douglas McFarlane
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Another wonderful evening spent
in the company of the simply divine La Voix at The Waterside Theatre,
Aylesbury. This lady is stylish, glamorous
and sassy, extremely funny and with a powerful vocal range delivers a night
that you won’t forget.
La Voix is a regular feature of the pantomime cast
at the Waterside and is always a delight to watch, with her warmth, humour and
perfect comic timing you know you’re in safe hands to relax and enjoy yourself.
Last year I saw La Voix’s cabaret
and still have indelibly imprinted in my mind her hilarious impersonation of
Liza Minnelli attempting to perform Cabaret after having had a hip replacement!
Genius!
The new tour features an
incredible medley of Whitney Houston songs, as well as a selection of Tina
Turner’s songs, complete with La Voix's hysterically funny “how to move like
Turner” instructions. We also see Judy Garland performing her own unique
version of Cats....I won’t spoil it
for you, but once again this creative lady has found something to stick in your
mind and make you smile time and time again.
La Voix is the consummate stand-up
comedian, extremely witty with quick one-liner put-downs. Beware if you’re in the front few rows you’re
very likely to be featured in her show, but it’s all very good natured and fun.
I was so pleased to see that this
show has a lot more songs than the previous one, giving her an opportunity to
really let rip with her incredible vocals.
This lady really can SING! She’s
supported on stage throughout by her band of musicians wearing sequined jackets
in keeping with the theme.
David Emanuel has designed some
of her stunning costumes and La Voix always looks amazing. I’ll never know how she manages to walk in
those high shoes, but I spoke to her briefly after the panto and we discussed
the merits of soaking feet in peppermint oil!!
The theatre was packed to the
rafters and a good time was had by one and all.
La Voix really knows how to put the “E” into “Entertainment.”
Full details of her tour can be
found at lavoix.co.uk
Reviewed by:
Yvonne
Delahaye
29/2/20
@yvonnedelahaye-
Yvonne Delahaye - 0 comments
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In today’s troubled world, protest marches are never far from the news headlines: equality, pay, democratic reform, are all being fought for… and especially climate change where Swedish teenager Greta Thunberg’s passion has inspired young people from all over the world to react.
Back in the 1930s, teenagers were also among those on the march – for the basic rights of food and jobs. Among them was a 15-year-old from Stockton-on-Tees, Johnny Longstaff, who went on to fight in the Spanish Civil War and who later recorded his story, on six hours of tape, which is now with the Imperial War Museum.
“You’re in for a long night,” quips David Eagle, one third of The Young’uns. And I’m sure the audiences at the Traverse would have happily listened.
For this Teeside folk trio’s first foray into theatre is nothing short of spellbinding. To be honest, seeing as my field is theatre and not folk, I’d never heard of The Young’uns until last night, even though they have won the BBC Radio 2 Folk Awards no less than three times. But The Ballad of Johnny Longstaff plants them firmly in legitimate theatre, and this has to be the start of something big.
Despite their claims that ‘we are not actors but accidental folk singers’, under the notable direction of Lorne Campbell, outgoing artistic director of Northern Stage, who were behind Sting’s musical The Last Ship, they deliver a heartfelt, enthralling story for today, seamlessly interacting with Johnny’s own voice and Scott Turnbull’s enthralling animation.
As important as Johnny’s own reminiscences are The Young’uns’ original songs, penned by Sean Cooney, who is indeed a talented poet. Standing straight and strong, the three remind me of The Proclaimers with their non-nonsense delivery and Sean’s anthemic Any Bread? and Carrying the Coffin – only The Young’uns also have a real, all-encompassing theatrical experience to offer.
With beautiful harmonies, mostly unaccompanied but sometimes with guitar, keyboard and accordion in the mix, their heartrending performances are equally matched by a couple of hilarious comic songs and David’s comedic input (well, he is also a comedian!).
You could have heard a pin drop as David, Sean and Michael Hughes recounted Johnny’s adventures and the atrocities he encountered, but at times there were gasps and even cheers of approval, as well as the odd sniffle.
The Young’uns were introduced to Johnny Longstaff's recordings by his son, Duncan. ‘That’s my dad,’ he said, holding out a photo after a gig in Somerset. ‘Write a song about him.’
The Young’uns say Johnny’s tapes are inspirational. Well, so is their show. It’s a musical tribute to Johnny Longstaff and all those who chose not to look the other way when the world needed their help, and is a lasting legacy The Young’uns should be proud of.
Image: Pamela Raith
The Ballad of Johnny Longstaff can be seen from:
April 21-24 at Hull Truck Theatre
May 14-16: Liverpool Everyman Theatre-
Clare Brotherwood
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Hairspray, the smash hit musical, is heading back to the
London stage. I went along to the press launch to find out more.
Hairspray is poised to explode onto the stage of the vast
London Coliseum from April 23rd. This limited 18 week run reunites
Michael Ball with some elaborate costumes and wigs as he steps back into the heels of Edna Turnblad. The Olivier award winner first played the role back in 2007 at the Shaftsbury Theatre and now, 13 years later, Edna is back in town!
Joining Ball is comedy legend Paul Merton. Known for his
sharp wit and improvisational comedy, Merton says he is looking forward to a new challenge, using his comedic skills to extract laughs from every line, lyric and gesture. Those who know the show are already anticipating Merton and Ball’s Timeless to Me, the great comedic number of Act II.
Joining these seasoned performers is Lizzie Bea, making her
west end debut. No stranger to musicals, her rendition of Good Morning Baltimore at the press launch left those watching
wanting more and eager to see her take to the stage of the London’s largest theatre: she will blow the roof off it!
Marisha Wallace, fresh from her stint in Waitress and before that Dreamgirls, will be playing Motormouth
Maybelle. The power in her voice when delivering I know where I’ve been with a simple piano backing was phenomenal –just imagine hearing that song with the backing of a full orchestra. Fortunately,there isn’t too long to wait!
Tickets are already on sale and moving fast. Hairspray is a
rare show, described by producer Adam Spiegel as an ‘explosion of joy’ and ‘magical’. This is not PR talk, he is speaking from the heart and speaking the truth. A real feel good show with a heart and an important messages of acceptance and tolerance. Book now to avoid disappointment.-
Harrison Fuller - 0 comments
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In 1953 Alfred Hitchcock directed the film version of Frederick Knott’s first ever play. And director Anthony Banks has obviously turned to him for his inspiration in staging this production from Simon Friend Entertainment and Cavin Kalin Productions.
Discordant music, reminiscent of Psycho, rises to a crescendo as Knott’s plot begins to unfold in a Fifties flat in London’s fashionable Maida Vale, and Hitchcock’s influence prevails throughout the evening with dramatic performances, and lighting which literally throbs blood red at appropriate moments.
Tom Chambers and Christopher Harper may be best known for their appearances in the likes of Holby City, Casualty, Midsomer Murders and Coronation Street, but their acting in this production belongs to the period. Set in a flat retro-enthusiasts would give their eye teeth for, they appear, by today’s standards, melodramatic, their delivery and movement exaggerated – and it works.
Chambers, as Tony, the cuckolded husband who plans to have his wife murdered, is earnest and gushing in his attempt to fool her that he is a model husband, while Harper convincingly plays a ne’er do well former school friend chosen by Tony to do the deed, while later reinventing himself as a detective inspector from the north of England.
Into the mix is Sally Bretton as Margot, Tony’s wife, and Michael Salami as Max, the TV crime writer with whom she is having an affair. All adhere to the period, where a car cost £1,100 and £60 was looked on as a lot of money. But what gives the production authenticity is Lizzie Powell’s convincing ‘natural’ daylighting (though the sunset is a bit too pink).
Twists and turns abound as everything, of course, does not go according to plan, including some oversights: did Margot really go into the open plan kitchen dressed in pyjamas and come over fully clothed? And her handling of a bouquet looked like a magic act as she laid it down, fully wrapped, behind a counter, and then produced the flowers already in their vase. And were thick black tights in fashion in the 50s? I think not.
Image: Manuel Harlan
Dial M for Murder is at the King’s Theatre, Edinburgh until February 29
Box Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
Mar 3-7: Theatre Royal, Glasgow
Mar 10-14: Salisbury Playhouse
Mar 17-21: Churchill Theatre, Bromley
Mar 24-28: Palace Theatre, Southend
Apr 8-11: Dubai Opera House
Apr 14-18: Milton Keynes Theatre
Apr 20-25: The Alexandra Theatre, Birmingham
Apr 28-May 2: New Theatre, Cardiff
May 4-9: Leicester Curve
May 12-16: Sheffield Lyceum
May 19-23: Liverpool Playhouse
May 25-30: Theatre Clwyd, Mold
June 2-6: Theatre Royal, Brighton
June 9-13: Theatre Severn, Shrewsbury
June 16-20: The Lowry, Salford
June 22-27: Royal & Derngate, Northampton
June 30-Jul 4: Theatre Royal, Plymouth
Jul 8-11: Leeds Grand Theatre
Jul 14-18: Grand Theatre, Wolverhampton
Jul 21-25: Oxford Playhouse-
Clare Brotherwood
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Jamie Samuel and Megan Winterburn in The Incident Room: photo Guy Sanders
It is the stuff of horror movies - unknown killer who mutilates his victims. Except this is no work of fiction but historical fact. It is the case of The Yorkshire Ripper, Peter William Slutcliffe, who took on a legendary and undeserved persona, much like his predecessor Jack The Ripper, as the press and public strove desperately to expose his identity over his five year reign of terror. There had been numerous theories, accounts and accusations until his long awaited arrest where all could breathe more easily, knowing at last he had been incarcerated despite being interviewed on nine previous occasions and released each time.
Co-directed by Beth Flintoff and David Byrne, The Incident Room written by Olivia Hirst with David Byrne approaches this moment in history from the angle of the West Yorkshire Police team who were criticised for their failure to catch Sutcliffe over a bungled and inefficient investigation. Was this prolific serial killer caught by the perseverance and tenacity of the force led by Inspector George Oldfield and its sergeant Megan Winterburn and Detective Sergeant Dick Holland? It would seem only partly so. Found guilty in May 1981 of the 13 violent murders, Sutcliffe had been able to continue on his rampage because of the inefficiencies of the team and his capture was possibly a lucky break. His arrest can be attributed to two bobbies on the beat who were carrying out their routine rounds when they saw this suspicious individual and apprehended him, ultimately leading to his conviction.
As researched by the Creative Team, despite his incarceration, there would be no peace for his victims. Not for those who worked the case and who would forever be haunted by self-recrimination, regret and guilt; not for the one survivor Maureen Long who craved anonymity and normality but would never achieve it and not for the journalists, friends and family who were caught in this web of horror.
Most poignantly in the final moments of this devised drama was the scene with Megan and Maureen as they rued the lost lives of these 13 women: of the dances they would never enjoy, of the shopping they would never do, of the waiting for buses that would never be or the fun times with friends that they would not share. And all because of the bungling investigation, missed clues and blind sightedness of those responsible for the chase.This was a powerful epitaph written touchingly by Hirst and Byrne, capturing the raw emotion of this heartbreaking story of lost lives and freeing it from the filing cabinets of the incident room. Maureen would always be a victim, despite her surviving the attack; Megan too would be a victim to the guilt and oppression experienced as a woman in a male dominated force and the deaths of the 13 women would be an eternal stain on the police force.
In Patrick Connellan's set full of filing cabinets, creaking at the seams with unfathomable quantities of paperwork that would need to be sifted through in their quest to capture the murderer, the strain and frustration of the hunt was etched clearly on the faces and in the movements of the cast. The New Diorama Theatre affords a proximity in its studio layout and is an ideal setting for this production, allowing the audience to share those moments and to engage with the actors.
In tune with the 70s, the production has captured the male toxic machismo of the day and the misogyny that prevailed in so many formal institutions, in particular the police force. Unlike so many productions that we see in theatre and on television, where women take lead roles and supervise their male teams, this was not the case back in the day. Women were fighting for equality and inclusion and this strand forms a central theme here. Megan was a victim of male prejudice and the murdered women were likewise.
Such was the arrogance and bias of the force at the time, who laid blame on the sex workers as 'asking for it' because of their life style and so denied the investigation the gravitas it needed, missing so many initial clues. It was not until the murder of 16 year old Jayne MacDonald that they stepped it up a notch, shown clearly in Inspector Oldfield's comment that it was time to take things more seriously 'now that an innocent woman is dead'. Such blind judgement was unforgivable and contributed to what might have been avoided.
Thoroughly researched, effectively staged and played with conviction by the devising cast of 7, this 2 hour plus production was a powerful homage to the memories of those women and to what might, no should, have been. The Incident Room is a powerful drama that deserves a place in our theatre as an acknowledgment to those victims who were so betrayed.
Listings
New Diorama Theatre, 15-16 Triton St, London NW1 3BF - close to Warren Street/Euston Square stations.
Playing until 14 March 2020
Tue - Sat 19:30 hrs Sat afternoon 15:00 hrs
Running time: 2 hours 25 minutes (including an interval)
Ticket price £16
newdiorama.com
Tel: 0207 303 9034-
Elaine Pinkus
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