Starlight Express Review

Starlight Express

Tour - The Mayflower Theatre, Southampton

Apart from a West End production I will be seeing for the second time, Starlight Express more or less rounds up the musicals I have seen this year. This is a musical I have not had the chance to see so I was looking forward to seeing this.

The musical revolves around a boy playing with his toy trains. When he goes to bed he dreams of the trains coming to life and taking part in a race to become the "fastest engine in the world". Competing are the American diesel engine, and reigning champion, Greaseball (Jamie Capewell), and the new electric engine, Electra (understudy Kris Manuel). A shy, naive steam train called Rusty (Kristopher Harding) dreams of taking part in the races and winning. He hopes to race with the coach he loves, Pearl (Amanda Coutts), yet she has doubts about his ability to win. Electra woos her to be his partner and she chooses him over Rusty.

The story is pretty simple. The brochure says that Starlight Express is basically the tale of The Little Engine That Could. The underdog story is a familiar one but one can not help but be impressed by the charm of it. The songs have their moments. According to the brochure, Andrew Lloyd Webber was influenced by different music genres and indeed there was a variety of different songs, from rap to western. Yet for the most part they are pretty forgettable, except for the title song, Starlight Express. There was something magical about the song, as the characters sang with wonder about this mystical steam engine.

The characters personalities are relatively basic. From the start the musical shows how tough the contenders of the race are during the song Rolling Stock. Jamie Capewell played a macho Greaseball, whilst understudy Kris Manuel was a cool and sassy Electra. Amanda Coutts was quite a ditzy Pearl, and Kristopher Harding was great as the steam engine with a heart of gold, Rusty.

It is clear however that it was the spectacle that made this musical popular in the first place, and the reality is that this can not be replicated on tour. Since all the actors were on skates, the original set stretched right out into the auditorium of the Apollo Victoria, so that they had enough room to pull off stunts and show the scale of the world of Starlight Express. Since that it is no longer possible the production is reduced a simplistic set in order to give the actors as much room as possible. Yet despite the restrictions, Arlene Philips' choreography is the highlight of the production. The 3D video projections were also amazing to watch as the audience watched the races that would not have been possible on such a small stage.

It is a good production with enough spectacle to stay entertained, However most of the songs are forgettable, the characters and story are rather basic, and I feel that I would have got more out of this if I had seen the original production. This is worth a Bargain.

The Spire Review

The Spire

Salisbury Playhouse, Salisbury

The next production I saw at the Salisbury Playhouse was a new play called The Spire, an adaptation of William Golding's novel of the same name. Although it is never referenced, the book makes allusions to Salisbury and the Cathedral with the tallest spire in the United Kingdom. It therefore seems natural for the city's playhouse to adapt the book to put on their stage.

This production is rather hard to describe in detail because the biggest problem is that the playwright had taken so much from the book in telling the story of the spire being built, that he had forgotten to make the play emotionally engaging. It was split into three acts, and it was plain to see that each act ended with the only dramatic moments in the play, though they themselves lacked drama. The end of the first act for instance shows an uprising by the workers who were building the spire. Weirdly the production team decided to show the event in freeze frames, which took away any tension it may have had. Even the end of the second act was building up to a conflict that went by so quickly, with the climax happening offstage, which left me slightly confused. Yet, for the most part the play is telling the audience 'this happened and this happened, and he did this and she did that'. Whether or not it is actually based on the Salisbury Spire, it felt like a history lesson. It is however an interesting history lesson to follow.

The two main characters, Dean Jocelin (Mark Meadows) and Roger Mason (Vincenzo Pellegrino), are the only interesting characters in the play, since they are given the most attention to by the story. Dean Jocelin decided to have the spire built after receiving what he believed was a sign from God. From the start Mark Meadows displays the character's ecstatic enthusiasm for such a daring project. The story tells how Jocelin's faith is put to the test against reason, which is voiced by Roger Mason. Vincenzo Pellegrino plays the pessimistic builder as he tells the reasons why it is impossible to build the spire on swampy grounds without strong foundations. The audience gets to see the ideas and theories he puts into use in order to accomplish the impossible. Again the audience was not engaged emotionally with the play, yet it still showed how Jocelin's life spiraled out of control as he made every effort to complete the project, to the point where he was a broken man by the end.

Once again the Salisbury Theatre has done wonders with the set design. It is bare at first, comprising of towering grey stone walls. But as the building commences parts of the stage is removed, whilst the walls reveal the construction work of the spire. This and the story were worth seeing alone, but the story and the characters were not engaging. This play was average at best and if you are interested in history then it would have been worth a Low Bargain.

The Sacred Flame Review

The Sacred Flame

Tour - The Nuffield Theatre, Southampton

The Sacred Flame is an unfamiliar play to me and Director Matthew Dunster has decided to “strip away ‘the chintz and the chaises-longues’” to bring this to the stage. I was interested in seeing this being done by the company that produced a great production of The Hypochondriac.

The play is a whodunit story with a twist, where the mystery is solved before 'Poirot' or 'Miss Marple' turns up. The play discusses the consequences that would follow a murder investigation. Even the innocent are dragged in, culminating in revelations that make for an emotionally overwhelming ending. However at times the play felt convoluted as so many themes were brought up in a short space of time.

The cast is on the whole very good. For the short amount of time he has, Jamie de Courcey was a lively, but pained, Maurice Tabret. Sarah Churm also gives a fine performance as the frank and obedient, yet kind and faithful Nurse Wayland. Robert Demeger was a jovial Major Liconda, but he gradually takes a sincere and scrutinizing role in the mystery. Margot Leicester played a caring mother as Mrs Tabret, who was slightly in a world of her own and was therefore not as shocked by events as others.

Al Nedjari was a calm and firm Doctor Harvester, but as doubts are made as to whether Maurice died of natural causes he became strained with impatience and frustration.  Beatriz Romilly was an energetic and bright Stella Tabret, who gradually breaks down and becomes terribly distressed as the plot thickens. Yet her pronunciation was rather stilted as she attempted to project a received pronunciation accent.  

With all that happens the white and sterile set of an art deco house becomes an travesty of itself. At times of tension, the overall color scheme changes strikingly. Also to ratchet up the tension a humming sound can be heard during moments when the characters reveal events from the past.

The revelations that lead up to the end is worth seeing alone, and the cast is also very good on the whole. Just expect a few convoluted moments along the way. This is worth a high Bargain

The Mousetrap Review

The Mousetrap

Tour - The Mayflower Theatre, Southampton

This is a play that has broken records during its tenure in London. One of its latest records is that it has become the most successful play at the Mayflower. It has sold an estimated 17,800 seats, with two extra matinees added to its run at the theatre. Now though, after it has lasted 60 years in London, I was looking forward to adding The Mousetrap under my belt.

A couple called Mollie and Giles Ralston (Bruno Langley and Jemma Walker) convert Monkswell Manor into a guest house, and soon the guests begin to arrive. Later they take a phone call from the police and this is followed up by the arrival of Detective Sergeant Trotter (Thomas Howes). He announces that a murder in London is connected to someone in the Manor, and the murderer is on his way. He therefore starts to interrogate the guests to find out who is connected. Eventually the guests realise that the murderer is already there and is one of them.

It was engaging to watch these different characters arrive to the house during the first act, before Detective Sergeant Trotter starts searching for a murderer. The second half however did slow down as each character took time to confess to something in their background. My companions, who did not know the plot, also thought the play slowed down.

I also felt the script was talking down to the audience by putting in the play very un-supple false leads. At the start, when the London murder announcement is made on the radio, the description of the suspect's clothing matches that of a character who comes onstage in similar clothing. I have seen moments like these before in other mysteries like the Poirot TV episodes, but it felt a bit forced in this play. I am perhaps a bit surprised that this play has lasted so long, despite the fact that this is written by the greatest whodunit writer of all time.

However this is worth seeing for the cast alone. Bruno Langley and Jemma Walker were a cheery couple of lovebirds as Giles and Mollie Ralston. Karl Howman was an eccentric Frenchman (or Belgian), whilst Steven France was quite the camp, jolly Christopher Wren, and Thomas Howes was a firm and at times forceful Sargent Trotter. I was worried that Jan Waters would overact the fuss-pot Mrs Boyle but she did well as a weary old woman who cant stand things going amiss, to the point where she was likable. Graham Seed however felt insignificant for the most part as Major Metcalf, whilst the play did not give Clare Wilkie much to do as the tom-boy, Miss Caswell.

The set was nicely detailed as the Great Hall of Monkswell Manor, with wooden paneling, medieval-esque walls, a stained window and a lit fireplace to boot. Shadows would gradually grow as nighttime fell, whilst the howling of the wind could be heard outside, adding to the atmosphere. A nice addition was the falling snow that was seen outside the window, whilst the characters would arrive with snow coated on their clothes. Also, whilst the cast of The Ladykillers struggled to make themselves heard, this cast did well to project their voices.

It was great to see this for the first time. The set was atmospheric and the cast was strong. This should be seen at a low Top Price, though one has to wonder why this production has lasted so long in the West End.

Timon of Athens Review

Timon of Athens

NT Live - Olivier Theatre, London

For me, 2012 has been quite a year in terms of Shakespeare plays. Thanks to the World Shakespeare Festival I have been able to see three of the Bard's plays for the first time. I then added a fourth at the RSC which I saw outside the festival. They have varied, one being one of my favorite productions of the year, and another being one of my least favourite productions. One of the final productions of the festival was the National Theatre's Timon of Athens, one of Shakespeare's lesser plays that is considered to be two plays in one. But how did it fare for me.

The title character is a wealthy and generous Athenian. He gives money to his patrons, who want to please him so that he will give them more. Eventually Timon discovers that he is heavily in debt, so he sends his servants to his closest friends to ask for money. When they all decline, he invites them to a feast where all he offers are disgusting substances before he flees from his house. He becomes a vagrant and curses world for what it has done to him. He soon discovers a trove of gold, which he gives away when people ask for it

The play certainly feels like it is split into two plays. What I liked about the first half of this production was its almost episodic structure, in which the audience observes different encounters between Timon and his suitors, between the suitors themselves and between other characters. Each encounter seems to become a discrete scene on its own. This allows the audience to ponder whether money buys friendship. A particular highlight occurred at the beginning when a poet, a painter, a jeweler and a merchant shows off their gifts, which they confidently expected Timon to buy, thus showing him as the patron with a bottomless purse. Timon's decline was compelling to watch as everything falls apart for both him and his followers.

The second half mostly comprises of one long scene in which Timon becomes the vagrant. Now I would like to apologise in advance that I have not being sending out my reviews sooner but the last few months have been busy. This is also affecting my opinion on this play because I had no time to read up on it beforehand and therefore had mixed feelings about the messages being conveyed. I understood the message about Timon's charitable character and whether friendship can be bought. I could see that as Timon handed out the gold during the second act, he knew that people will ask for more with nothing to give in return. Indeed when Flavia returns with the leaders of Athens, who want the gold in order to deal with the economy, one can see the sense of betrayal etched on Timon's face. However I felt that this theme of charity and friendship was over-emphasised. Other issues including the rioting and the economy were merely background issues and very underwritten whilst the issues of charity and friendship were stretched out in the second act.

This production was really relying upon the acting itself which was top-notch. Simon Russell Beale, as Timon, basked in the supposed infatuation of Timon's supporters. During the 'nasty' banquet scene he gradually transformed into a malicious lunatic. However, the second act was where Simon really shines as he becomes the dejected and embittered vagrant cursing humanity. Hilton McRae stood out as a sour Apemantus who mirrors what Timon becomes in the second act. Deborah Findlay played the faithful servant, Flavia, and it was interesting to watch her play the mother figure as she reveals her growing concerns for Timon. Timon's friends are really stereotypes of people who are hungry for money and the cast did well to present these characters.

Nicholas Hytner made every effort to make the play relevant by setting it in the present, making references to the state of the economy, the Occupy London encampment, and the London Riots. All of these issues were constantly in the background whilst Timon holds dinner parties with his friends, after opening the 'Timon Room' in the equivalent of the National Portrait Gallery. The sets were on the whole simple, which allowed objects like a large dinning table and chairs to move on and off using the Olivier Theatre's revolving stage.

This was a well acted and firm production, with great performances from Simon Russell Beale, Hilton McRae and Deborah Findlay. However I would like to see this play again and gain a better understanding which sadly I did not get from this production. Once again the production was screened on the last performance, but for newcomers to the play this would have been worth a high Bargain.

Radio Times Review

Radio Times

Tour - Salisbury Playhouse, Salisbury

This was a production I was looking forward to this Autumn. With so many jukebox musicals out there, it is nice to hear some old wartime songs for a change in this Noel Gay musical, Radio Times.

The story basically follows a London wartime radio show, Variety Bandwagon, as the cast prepares a special broadcast to America. The new producer, Heathcliffe Bultitude (John Conroy), views the lax character of the show's star, Sammy Shaw (Gary Wilmot), with disdain. It does not even help that Sammy has forgotten to send in the script and security clearance to the Home Office, which could threaten to cancel the show. Despite script cuts and and the loss of the ventriloquist act, the show must go on. Sammy meanwhile must deal with Olive Carter (Vivien Carter), whom he loves, and her relationship with an old friend, Gary Strong (Michael Hobbs).

Gary Wilmot was a charming Sammy Shaw, who cheekily produces puns where ever he goes. One cannot help but enjoy the flood of jokes that come out of his mouth, some of which are older than the pyramids. John Conroy played the shows scrupulous producer, Heathcliffe Bultitude, with a calmness that rivaled Sammy's bravado well. He also does the impersonations quite well, including a moment when he told his son over the telephone the three little pigs story, which was met with a round of applause.

The cast pulls out all the stops when performing a number of familiar wartime songs, including “Run Rabbit Run”, “Hey Little Hen”, and “There’s something about a solider”. The band however was also onstage and when it was in full swing it did become difficult to hear the cast sing. Plaudits though must go to Christian Edwards as the sound technician, Jeeps, who provided the farm yard sound effects for the broadcast, even when they were not needed to the annoyance of Sammy.

Yet, the problem with this musical is that although it emphasised the "Keep calm and carry on" attitude of the cast, which kept it lively, a number of the characters and their stories felt a bit underwritten. Sara Crowe  as Sammy's lover, Olive Carter, was absent when I saw this production but her understudy, Vivien Carter, performed well in the role. However, her character's relationship with Hollywood star Gary Strong, played by Michael Hobbs, was not given enough time to develop. As a consequence both characters felt a bit bland, despite Gary Strong's gravitas as the guest star of the show. 

Elsewhere, once Heathcliffe Bultitude took over the impersonations, the rivalry between him and Sammy did not go anywhere, which was a shame because it was one of the highlights of the musical. Jeeps also had a sub-plot in which he secretly loved cast member, Amy Chapman, played by Vivien Carter's understudy, Sarah Scowen. He only gets one song at the beginning, and his dilemma is forgotten completely until the storyline re-emerges near the end.

Despite this it is quite enjoyable to watch this cast with a “Keep calm and carry on” attitude strive to put on the show with aplomb. Go and see it at a High Bargain.

Our Country's Good Review

Our Country's Good

Tour - The Nuffield Theatre, Southampton

This is a play that I studied at college but I had yet to see a production. I was excited to see this because it is produced by the original director, Max Stafford Clark, and the company, Out of Joint.

The play follows the first convicts to be transported to Australia to set up a penal colony. The Governor, Arthur Philip (John Hollingworth), wants to civilise them by putting on the first play in Australia, The Recruiting Officer. Second Lieutenant Ralph Clark (Dominic Thorburn) is made the director of the production, but he struggles to work with the troublesome convicts, as well as coping with the menacing Major Ross (Claran Owens). During the play the audience learn about the convicts background whilst seeing the effects the play has upon them

Under Max Stafford Clark's direction is a stellar cast. Dominic Thorburn made for a scrupulous Ralph Clark and as the play progressed he and Laura Dos Santos, as the reserved convict Mary Brenham, made for a lovely couple. Joining the play-within-a-play is Robert Sideway (Matthew Needham) who provides the funniest moments during the rehearsal scenes as he acts with grandiose theatrical postures. Helen Bradbury was a haughty Dabby Bryant, and her rivalry with the demented Liz Morden (Kathryn O’Reilly) is impassioned.

I was looking forward to seeing how Max Stafford Clark approaches the sub-plot between Harry Brewer (Ian Redford) and Ducking Smith (Lisa Kerr) this time. Indeed, it was interesting to watch a complex relationship between an insecure old man and a younger woman. Yet the oppressive world the convicts find themselves in appears to be toned down in this production. The first whipping scene takes place off stage, thereby losing some of the full impact of the treatment of the convicts. Also Claran Owens could have been more threatening as Major Ross.

The timber that framed the stage nicely illustrated the beginnings of a civilization. The rest of the set was  simple, apart from the backdrops that were hung from some rigging above. A temporary curtain for example establishes the setting of the play by showing a faint outline of Australia. Otherwise I did feel it was unnecessary to have the cast calling out the titles of each scene, it just seemed out of place and slightly broke up the pace.

However with a strong cast, together with the redemptive story of Our Country's Good, this is a great production that is worth seeing at a low Top Price

The Ladykillers Review

The Ladykillers

Tour - The Mayflower Theatre, Southampton

I wished that I had seen the original production after hearing some great reviews. I was therefore pleased to discover that it was going on tour and coming to the Mayflower Theatre. I could not wait to see it and for the most part I was not dissapointed.

Mrs Louisa Wilberforce (Michele Doctrice) lives in a lopsided house next to a railway.  Professor Marcus (Paul Brown) arrives to rent a room in her house together with a group of musicians. It is revealed however that the Professor and the group are a bunch of criminals. They use Mrs Wilberforce's house as a hideout and plan a heist. However complications arise after the heist when Mrs Wilberforce discovers the stolen money.

It was quite fascinating to watch Mrs Wilberforce being taken in by this gang as they plan their heist whilst making every effort to cover it up each time the little old lady comes into the room. The heist takes place by the end of the first act, after which the play becomes darker as the gang tries to kill of Mrs Wilberforce whilst killing each other in the process. By the end however it did feel as though the tension had reached it's peak too early. Perhaps the The Liverpool Playhouse and Gielgud Theatre, where the original production was staged, are smaller venues because the action did seemed dwarfed by the Mayflower Theatre, even though I was not sitting far away from the stage. By the end all the characters were doing was to walk around and shout threats into the dark. The comedy too was great, though some of the slapstick were overused.

However, the acting is worth seeing for its own sake. Michele Dotrice played an upstanding Mrs Wilberforce and conveyed the lady's despair and weariness as the tension mounts. Also playing a leading role was Paul Brown, as the eccentric but menacing Professor. The rest of the cast brought a range of characters to the production. Chris McCalphy was the dumb muscle-man, One-Round. William Troughton was the handsome yet sleazy Harry Robinson. Shaun Williamson played the brooding and threatening Louis Harvey. Clive Mantle meanwhile was a rather neurotic Major Courtney and there was a hilarious moment when he fantasises dancing with a woman in the form of one of Mrs Wilberforce's dresses.

The set which consisted of the interior of Mrs Wilberforce's house had a character all of its own,. The curtain showed the exterior of the house in what reminded me of a type of film title card. It was also cleverly used to show the heist. Parts of the main set could also move to reveal a rooftop scene. Situated next to a railway line, there is a sense of precariousness about the house. The whole set is lopsided and occasionally a passing train would send everything rattling and moving all over the place. However I was expecting this effect to increase as the tension built, but it did not happen. The structure of the house also reminds one of a birdcage, giving a sense of entrapment. Yet within a large theatre the actors did not project their voices well during the play, which added to the diminished action at the climax.

This was for the most part a funny and tense production. The cast was top-notch and there were a lot of memorable moments. This is worth seeing at a low Top Price.

American Idiot Review

American Idiot

Tour - The Mayflower Theatre, Southampton

2013 seems to be the year when several Broadway musicals will finally transfer to the West End. I for one have just received my ticket for The Book of Mormon and I am really looking forward to seeing this Tony Award winning musical. Although I am not familiar with Green Day, I went to see the premiere of the UK tour of American Idiot, in order to get a flavour of Broadway's latest offerings from the last few years. This musical was also directed by Michael Mayer, who also did Spring Awakening, a musical which I love.

The story follows three disaffected suburban youths, Johnny (Alex Nee), Tunny (Thomas Hettrick), and Will (Casey O'Farrell). They decide to find freedom in the city together but their paths get separated. Will is forced to stay at home with his pregnant girlfriend, Heather (Kennedy Caughell), Tunny decides to join the army, whilst Johnny lives an urban life. He has a relationship with a nameless girl, Whatsername (Alyssa Dipalma), takes drugs, and starts to imagine a rebellious version of himself, called St. Jimmy (Trent Saunders). Eventually the characters begin to encounter reality and long for the things they left behind.

I had heard that the musical's story was simple with only Green Day songs connecting it together. Indeed the story was nothing special, but I thought it was good. What helped was that the cast used the stage, objects, and body movement to convey the passing of time, a sense of location and a sense of the story. In particular, each of the three main characters were given different areas of stage to differentiate themselves, a metal frame was used to represent a couch, and later the ensemble members marched on in uniformed vests as the song Favorite Son turned into an Army advert. Sometimes the story became disconcerting but for the most part it was enjoyable.

Because the story line is simple, one can home in on the main characters from the beginning. The musical is based around Green Day's rock opera of the same title, which was a statement on post 9/11 issues, and some of this can be seen in this production. At the start, the curtain rose slowly  on a group of suburban youths watching dozens of screens on the back walls, which were showing news reports and mostly American orientated TV programmes. Suddenly they broke into the title song, American Idiot, as they jumped and stomped in their frustration against this saturation.

Yet, despite the occasional reference to American culture and society, such as the aforementioned Army advert, the focus of the musical was really on the main characters as they faced reality. At first it seemed tongue-in-cheek. Examples included a wounded Tunny in hospital, hallucinating that his nurse was an angel as they both perform an aerial dance during Extraordinary Girl. However by the second act the music became subdued and thoughtful, and when the main characters sang a touching Wake me up when September ends they seemed more rounded. By the end the musical had become heartwarming.

The company pulled all the stops when performing the songs. Strobe lights flashed every few seconds, dozens of provocative images flashed on the screens, whilst the orchestra, consisting of guitars, a drum kit, and the occasional instrument, played the music. Even as someone who is not familiar with Green Day it is easy to get sucked into the music (though thankfully whilst being seated a good distance away from the speakers). The lyrics were at times inaudible whilst the musicians hammered away, but the songs were on the whole energetic and thunderous. The company produced a variety of tricks and acrobatics, though most get a short moment on stage. Some I have mentioned, including the aerial dance, but it wouldn't be surprising if you miss some because a lot happens on the stage at times.

Although the story is not the best I have ever seen, it was conveyed well and by the end the characters' resolutions were gratifying. The cast pulled of some fantastic tricks and the songs were very engaging. Even if you are not familiar with Green Day, this musical is recommended at a low Top Price

42nd Street Review

42nd Street

Tour - The Mayflower Theatre, Southampton

So far this year, I have seen several musicals for the first time. I have realised how important the songs and dances are to capture your attention and draw you in to hopefully an engaging story. The latest musical is a touring production of 42nd Street. This was produced by UK Productions, which have created some impressive productions in the past, so I was expecting a good night out.

In 1930s New York, famed director Julian Marsh (Dave Willetts) holds auditions for his next production, Pretty Lady. Peggy Sawyer (Jessica Punch) arrives as the audition finishes and misses her opportunity to get into the musical, although her dancing talents gets noticed by leading man, Billy Lawlor (James O'Connell). Eventually she is given a part in the musical. Meanwhile, Julian has to put up with ageing Broadway star, Dorothy Brock (Marti Webb), who buys her way into the leading role, despite her lack of dancing skills.

It was enjoyable to watch the production process of the musical-within-a-musical, from the audition to the opening night on Broadway. The chorus girls for one were engaging to watch and performed some striking dance sequences. Do not expect a romance here. The musical does present a hopeful lover in the form of Billy Lawlor, yet the character was not given much stage presence. This was a shame for James O'Connell because he was quite the gallant young man in the lead role. Instead the musical seems to focus on the troubles faced by the director, and the rise of Peggy Sawyer to fame. On paper it is very interesting and the results in this production are generally very good.

Jessica Punch was lovely as Peggy, the naive newcomer to show-business. The choreography however did not seem to make her character's dancing abilities stand out over the other chorus girls. At times, Jessica seemed seem to overdo the amazement and disbelief at the turn of her fortunes. The conflict between Julian Marsh and Dorothy Brock was the most engaging. Dave Willetts stood out the most as the imperious, no-nonsense director, whilst singing with much gusto. Marti Webb was fine as Dorothy Brock and she sang her songs clearly. On the other hand  because her ageing character is limited to singing, she stands out less than the others during the musical numbers.

There were a number of striking musical numbers in this musical. At the start, the audience is introduced to a line of legs doing tap dancing before the curtain continues to rise. Other moments include an overhanging mirror to show the dancers from above during Dames, the chorus girls dancing on the coins in We're in the money, some interesting use of shadows during the Shadow Waltz, and the grand staircase scene in 42nd Street. The mirror did jiggle a bit and the stairs could be heard as it was rolled on to the stage, but this did not detract from the audience's enjoyment. Praise too for the sound system for producing the music and songs loud and clear. For someone who is not familiar with the musical, this achieved what I wanted a production like South Pacific to do, which was to enthrall me with the music.

This is a fantastic production of 42nd Street and should be seen. Although the story produced some underwritten characters, the dance sequences were engaging, the production process of Pretty Lady was interesting to follow, and the music was clear enough for newcomers to follow. See it at a low Top Price

A Government Inspector Review

A Government Inspector

Theatre Royal Winchester, Winchester

When I saw YPS King Lear I thought it was an adaptation that forgot about any potential idea it had and lacked the heart of the play. Here is an adaptation that produces a recognisable setting and manages to produce the hilarity of The Government Inspector.

The play was adapted for this production by Deborah McAndrew, whose father once worked as a civil servant or the equivalent of a government inspector. With her knowledge, she brought Gogol’s satire on a group of corrupt officials within a small Russian town to the Yorkshire Pennines. In this setting, the production follows a local council under the robust yet gullible leader, Tony Belcher (Howard Chadwick). The council included a judge dressed in tweeds, who enjoys poaching in his spare time.The schoolmaster councillor was a nervous wreck, and the hospital manager used her looks to get what she wanted. From there the audience was treated to Northern accents and lively banter, complete with a brass band in tow.

The comedy of mistaken identity ensues once Jonathan Alexander Snapper Esquire (Jon Trenchard) arrives, and the council confuses him with the visiting government inspector. Jon appears as a dandy in matching purple suit and trousers, and acts flamboyantly throughout his stay in the town. It is hilarious to watch the council follow him everywhere he goes in Belcher's house, repeating, and expanding through movement and sound, every word he says. It even got to a point, as he got increasingly drunk and confident, that he could make outrageous, and perhaps powerful threats, without anybody realising that he could not possibly be a government inspector

It is clear how mad-cap the town is. Overflowing cabinets open suddenly like cash tills, characters sneak around whilst listening in on conversations, the postman delivers letters on bicycles, scooters, and roller-skates, and the doctor speaks using rattles. The darker side to the play is boldly shown, by the use of the band to represent the voices of the townspeople. Whilst it does help get the point across by such a small cast, it possibly takes away some of the bleakness of the situation

The satire is such a pleasure to watch and it is worth seeing Gogol’s work updated to a world of Yorkshire folk and brass bands. This is worth a low Top Price.

Stepping Out Review

Stepping Out

Salisbury Playhouse, Salisbury

The Autumn season at the Salisbury Playhouse began with a production of Richard Harris' play, Stepping Out. With the promise of some tap-dancing it was irresistible for me to go and see.

The play follows eight individuals who meet together in a church hall and take part in a tap-dancing class. During each session, the audience gradually learn about each person's background, whilst watching the group gradually improve their dancing skills. Eventually the class have to prepare a dance routine for a charity evening, but as the performance nears tensions begin to rise among the members.

It is clear from the beginning that the play is looking at a couple of broadly written characters. It reminds me of the last production the Salisbury Playhouse put on in the Main House, which was Epsom Downs. The difference between these two productions however is that whilst Epsom Downs wants the audience to observe a day at the Derby, Stepping Out wants them to empathise with these individuals and their situations.

On the whole the characters were quaint. The most sympathetic character was Mavis (Rachel Stanley), an ex-chorus dancer who still had the spirit in her to do what she loves. Adrian Grove was a cute Geoffrey, the only man in the group. Imagine a Matthew Broderick with a nervous disposition and an easily influenced personality. Louise Plowright was a headstrong Maxine, who always had a mirthful attitude especially when  things got bad. However, some of the characters' personalities became tiresome. Claire Redcliffe was lovely as Dorothy, but her character's nervousness and insecurity was too much. Elsewhere it did take a long time before Vera's (Kelly Price) uppity and abrasive character was addressed.

As ever the Salisbury Playhouse production team had put together a detailed set. The church hall included a small stage, jammed windows, cluttered walls, a piano, and a large number of stacked chairs dotted around the place. Scene changes were shown by putting a spotlight on certain characters as they prepared for the lessons, which gave the sense of the passing of time. The only set change came at the end, when the whole church hall was replaced by a simple, but effective set for the final dance sequence. The highlights of the play were the dance numbers, as this disorderly dance group gradually got into full swing in preparation for the charity event.

This is worthy of a good day out. There are some charming characters and the dance sequences are excellent. See this at a Bargain

Antony and Cleopatra Review

Antony and Cleopatra

Festival Theatre, Chichester

The Chichester 50th Anniversary Festival is coming to an end, and one of its final offerings is William Shakespeare's Antony and Cleopatra. Having seen Michael Boyd's 2009 production, I was interested in seeing this production, which originally performed in Liverpool back in 2010, with Kim Catrell returning as Cleopatra.

Kim Catrell was a fine Cleopatra. She was both alluring and regally commanding, and she listened to  the messenger's description of Octavia with dignity. She did though shout a bit and her voice sounded slightly strained when I saw her. What is more I thought she lacked range in her interpretation of this complex character. When the play focuses on her at the end I was impatient for the production to end. It says something when it is Michael Pennington as Antony who stands out in comparison to Catrell. He gave the character with depth, and was quite the firm and proud commander who was weary with age and compassion. With Catrell their relationship was mature and on the whole touching, though with Catrell's performance it did not stand out.

What really stood out was Antony's relationship with Octavius Caesar, who was played by Martin Hutson. Both produced a heated Act 2 Scene 2, and showed both Antony's calmness and pride, and Octavius' impatience and reason. Later on Martin also showed Octavius' brotherly side as he remorsefully held his heartbroken sister, a sad end to the first act. Elsewhere Ian Hogg carried off a heart-breaking moment during the second act as Enobarbus. Oliver Hoare was a gallant yet insubstantial Pompey, who wept at the mention of his father's death. Charman and Iras (Aicha Kossoko and Pepter Lunkuse) were ever the playful servants under Cleopatra, played by Aicha Kossoko and Pepter Lunkuse, whilst Harmage Singh Kalirai was at times present on the stage as the Soothsayer; a reminder of the coming tragedy.

The set basically consisted of a walkway above an empty stage, and sometimes a chaise-lounge or table would appear from  below the stage. The Egyptian scenes were dimly lit with warm lighting, whilst lamps were dotted around the stage. The vibrant Egyptian music was played between scenes, and including the opening scene, when Cleopatra appeared from below the stage in ceremonial clothing, like some goddess. When the Romans came on, the stage would be plainly lit and brick arches would be revealed at the back, whilst military music was played. The Romans wore uniforms and suits whilst the Eqyptions wore dresses and robes.

There were some good moments, particularly between Michael Pennington and Martin Hutson. Yet the focus of the production, the relationship between Antony and Cleopatra, was let down by Kim Catrell and by the end the production was becoming tiring. This is worth a Bargain.

YPS King Lear Review

King Lear (Young People's Shakespeare)

Tour - The Nuffield Theatre, Southampton

Although the autumn season is just around the corner, the RSC's latest production has a festive feel to it. I was therefore interested in seeing this adaptation of King Lear, which is being aimed towards youngsters as an introduction to Shakespeare. This is also the first time I have seen a production produced under the RSC's Young People's Shakespeare scheme.

The idea of setting the story of an old king’s struggle against his daughters in a modern Christmas should have provoked a number interesting and radical aesthetic translations for the children. I imagined that Lear would see himself as Santa Claus as he gives out his lands to his daughters, or perhaps cursing Santa in a snowstorm. Indeed the jolly old Lear gives out his lands in the form of presents, whilst wearing a Santa hat, and later would be seen charging along in an imaginary sleigh with the Fool in a reindeer costume. However it soon becomes clear that the company is using a shortened version of the text, and the Christmas setting begins to feel like an after-thought. The Dover Cliff scene for instance, does not gel well in this setting.

Now even an abridged version for kids needs to show the full emotion of the characters in order for the story to be completely understood. Unfortunately, as Lear Paul Copley lacks the character’s range of emotions that drive his downfall. For example his tantrum when disowning Cordelia felt less than convincing. A number of the cast members were rather dull. One would assume the Fool would entertain the youngsters, yet Matt Sutton did not get any laughter. Some did stand out though. Tyrone Huggins played a kind Gloucester, whilst Dharmesh Patel was a modern Edgar who sported a hoodie while begging as Poor Tom.

There were some interesting ideas. Matt Sutton for one, played the Duke of Kent and the Fool combined. Whilst it avoids explaining the disappearance of the Fool by the second half of the play, it combined the two character's views on King Lear's decision to divide his kingdom. Basically these ideas were used to help downsize a rather large text.

The set is a basic one, comprising of some Christmas lights lining the edges of the acting space. Outside this space were two sets of coat-hangers and benches, where the cast changed and sat ready for their next appearance. Occasionally props, such as a Christmas tree and a calender, were adjusted in order to show the change of scenery and progression of time. Christmas tunes were used, some of which represented the events of the story, such as I saw mummy kissing Santa Claus used during the affair between Edmund, Goneril and Reagan.

After the production the audience was asked to think up a moment that stood out to them for a discussion with the cast. Silence emanated from a group of teenagers near me whilst I too struggled to think of a moment that stood out. The company had some interesting ideas, but they did not do a lot with them and the production boiled down to a shortened version of the text. Neither was the production engaging, since it lacked the pathos that motivates the play. Apart from helping them understand the story, I cannot see this production persuading young people to see more Shakespeare plays. This is worth a Restricted View.

Blood Brothers Review

Blood Brothers

Tour - The Mayflower Theatre, Southampton

This is the fifth time I have seen Blood Brothers, which should demonstrate show how much I like this musical. It was also a chance to find out how pop singer, Marti Pellow, would perform in musical theatre.

The musical opens on a crime scene. Two bodies are carried off whilst a grieving mother (Niki Evans) looks on. A narrator (Marti Pellow) stands forward and says "So, did you hear the story of the Johnstone twins". From here the audience learns the story of the two brothers, who were separated at birth and died as a consequence of their mother told them the truth. 

For the most part, this is a production I am not going to forget in a hurry. The musical is built on the premise that the ending is revealed at the beginning, so whilst the audience learn the story that leads up to this, they also need to connect with the main characters in order to fully empathize with the impending and heartbreaking tragedy. This was easily achieved because a number of the actors had performed in this musical a number of times.

Sean Jones was certainly the highlight of the production. He had played Mickey during the last few tours, and it is clear how far he has come since then. He was such a bundle of joy during Mickey's childhood that it is the first time I have heard him receive some "aw"s from the audience. He then brilliantly went through the rest of the character's life from innocence to hatred. Jorden Bird was playing Eddie for the first time and it did show, but with Sean he was able to show Eddie's relationship with Mickey wonderfully.

Nikki Evans was a superb as Mrs Johnstone. She was clear and did well in producing her strong willed, yet grief stricken character. Also returning were Olivia Sloyan and Daniel Taylor as the playful Linda and bullying Sammy. Marti Pellow however was not a very omni-present and threatening narrator, and he did struggle to hit the high notes. With other superior actors he did seem to disappeared into the background.

The touring set is very detailed, though personally I prefer the smaller set in London. This was minimalistic which could provoke one's imagination to run rife. It is such a shame that the London production is finishing and that the touring set would most likely be the favored version to use for any future productions. The music was still excellent though it was spoilt by an average sound system.

This musical will be greatly missed when it leaves the West End. With a mainly strong cast, this production proved how heartbreaking the musical can be. This should be seen at a low Top Price

Sweeney Todd Review

Sweeney Todd

Adelphi Theatre, London

I had seen this production this time last year at Chichester and I enjoyed  it so much that I wanted to see it again. I am becoming increasingly interested in Stephen Sondheim's work and in addition it was an opportunity to see Michael Ball again.

A barber, Benjamin Barker (Michael Ball), returns to London under the name of Sweeney Todd, after being wrongly deported as a convict years ago by the corrupt Judge Turpin (John Bowe). He meets Mrs Lovett (Imelda Staunton), who owns a pie shop below his barber shop, through whom he learns that he wife is dead and that Judge Turpin has adopted his daughter, Joanna (Lucy May Barker). Sweeney plans to take revenge and kill the judge, as well as help a sailor, Anthony (Luke Brady), rescue Joanna, whom Anthony has fallen in love with. In preparation Sweeney goes on a killing spree and slit the throats of his customers with his razors. The bodies are then used as fillings in Mrs Lovett's pies.

You have to hand it to Stephen Sondheim. He can compose some detailed pieces of music, which as a result are catchy and memorable. Do not expect a plot driven musical because his songs are based around the characters. The upside to this though is that the songs are written using some interesting and witty quirks. Best example of this would be A Little Priest, where Sweeney Todd and Mrs Lovett use rhyming couplets when commenting on the different pie fillings, from priest, poet, politician, and so on, with such humorous panache. It is like being at a pie tasting event.

I did find that the cast delivered less than they did a year ago. Michael Ball is still an outstanding, though he sounded better when he sang on his own. I still like his Sweeney Todd. When I saw this the first time I was worried that he would not be able to pull it off. However he uses his light tone of voice to effectively present an unstable and menacing Todd. The star of the show is still Imelda Staunton as Mrs Lovett. She was consistently clear when singing the lyrics. She perfected the role of a coarse middle-aged woman, and she brought her own ideas to the role.

The supporting actors were on the whole competent in their roles. Luke Brady and Lucy May Barker made a lovely couple as Anthony and Joanna, but they occasionally struggled to sing clearly and to perfect the high notes. Lucy could be too high pitched at times. James McConville was difficult to hear clearly as Toby during Pirelli's Miracle Elixir, which was disappointing. John Bowe though stood out as Judge Turpin, who was quite the righteous yet sexually neurotic fiend.

Whilst the musical was originally set in Victorian times, this version has set it in the era of the Great Depression. This mean it loses the original's exaggerated caricatures, and whilst this era fits with Mrs Lovett's line that "times is hard", it does not explain Sweeney's deportation long after this had been abolished. On the other hand, the sight of a dingy factory adds to the musical's dark tone. The factory whistle in this production does not produce enough velocity to create the sound that is like an ear-piercing scream, though to me it was a relief.

I think it is good that this production is now coming to the end of its run, but Sweeney Todd has had a great run. Well done to Michael Ball for taking on a serious role with aplomb. Imelda Staunton was truly outstanding as Mrs Lovett, though the same could not be said for the supporting cast overall. Although it did have its problems, the set did well in establishing the atmosphere of the musical. I would have given the Chichester production a High Full Price, but this is worth a low Top Price

The Curious Incident of the Dog in the Night-Time (NT Live) Review

The Curious Incident of the Dog in the Night-Time

The Cottesloe Theatre, National Theatre, London - National Theatre Live Screening

The new season of National Theatre Live starts with an adaptation of Mark Haddon's The Curious Incident of the Dog in the Night-Time.

The story follows a fifteen year old, Christopher Boone (Luke Treadaway), who has a huge interest in mathematics, but has difficulties in socializing. One night he discovers that his next door neighbor's dog has been killed with a garden fork. He therefore decides to investigate the death of the dog, and discover who killed him. Through this he begins to learn more about his family and soon old tensions come back to haunt them.

Before seeing this production I listened to an audio recording of the book. I learnt beforehand that although the text never mentions it, the blurb classified Christopher's condition as asperger's syndrome. I myself have high functioning autism, which to many is similar to asperger's. On some level I did relate to the character, but I felt that as I was reading the book many of the attributes associated with autism were coming at me thick-and-fast. For someone who has a similar condition to mine, I thought that Christopher was doing things that I had never done or had grown out of by his age. Even my mum, who had read the book some time ago, thought the same thing. I liked the character but wondered whether Christopher was an accurate representation of asperger's, or whether he had been given every characteristic of autism

That being said I did enjoy this production and would even say it is better than the book. When reading the book I kept wondering whether it would have been informative to have seen Christopher from another perspective than his. In this production, not only is the character seen from the audience's (or camera's) perspective, but a lot of the narrative from the book he wrote was read and commented upon by his tutor, Siobhan (Niamh Cusack). It looked as if it was all going on in his mind. It reminded me of the way the first person narrative from Great Expectations was spoken by a chorus observing the main action during the RSC's 2006 production, which I loved.

Also, whilst I liked the detailed narrative in the book, the production went at a quick and energetic pace. The audience was seated in the round and this allowed Christopher's mathematical and detailed mind to be shown as a series of maths equations, drawings and diagrams projected onto the floor of the stage. Many imaginative theatrical techniques were used to create Christopher's imaginations, from floating in outer space to recreations of computer games. The members of the cast also helped Christopher act out his story as though he was in charge of his own little world. When he was forced out of his comfort zone in the second act, his increasing confusion was expressed through a multitude of projections as he was confined to a rapidly decreasing space on the stage. There was one silent part that seemed to drag, but for the most part the production never slowed down, and it eventually helped me forget my reservations about Christopher's condition.

Luke Treadaway did well in recreating the Christopher's character in the book, and he was very engaging to follow. Another person who did stand out in this production was Nicola Walker, who produced a lengthy monologue (it did feel as though no one else was onstage with her) at one point as a certain character, and it was very moving to hear her frustration and despair. Paul Ritter played Christopher's father as a rough, short tempered and impatient man, who was becoming increasingly stressed because of Christopher. Additionally Una Stubbs was lovely as the kind and thoughtful neighbour, Mrs Alexander. It was nice to see these characters from outside Christopher's perspective.

Despite what I think about the book, I had a great time watching this production. It moved at a good pace and was acted out with tonnes of energy. The cast also did well in presenting the characters from the book. This production is worth a low Top Price

Cabaret Review

Cabaret

(Tour - The Mayflower Theatre, Southampton)

After having a break during August, I return to reviewing with the revival tour of Cabaret. This is the first time I have seen this musical. I had only seen the film which I heard was dissimilar to the stage version. It was worrying though to see this musical being headed by two celebrities who are not entirely experienced in musical theatre. 

American writer, Clifford Bradshaw (Matt Rawle), goes to stay in Berlin to find inspiration for his new novel.  He meets a British singer at a cabaret called the Kit Kat Club, Sally Bowles (Michelle Ryan), and the pair begin to develop a relationship. Meanwhile Clifford's landlady, Fraulein Schneider (Sian Phillips), falls in love with a Jewish fruit-seller, Herr Schultz (Linal Haft), and the two announce their engagement. However their lives are beginning to be disrupted by the rise of the Nazi party to power. Meanwhile, the events of the musical are addressed by The Kit Kat Club's Master of Ceremonies, Emcee (Will Young), and dancers.

Having listened to several previous cast recordings, the songs in Cabaret throb with sensuous music and lyrics, and it is no different here. There was an odd moment when the song Don't tell Mama formed part of  the background for a short period and the lyrics could be heard in the distance. Looking at photos from the last tour I got the feeling that the song has been cut down, which was a shame. The story itself was interesting to follow and the impending threat of the Nazi party provided a sinister side to the musical.

With a pop star starring in a well known role, one would think that this celebrity casting would not work. Surprisingly however it is Will Young as Emcee who carries the show. It is clear that he is having so much fun  acting as the Kit Kat Club's odd-ball, manic, and unpredictable Master of Ceremonies that his performance was immensely enjoyable.

Michelle Ryan was lovely as Sally Bowles but she did not seem as edgy as the actresses that can be heard on the cast recordings. She acted as a playful and alluring Sally, though at times she did come off as too innocent which did not really fit the Sally who was living the pleasures of Cabaret. Matt Rawle meanwhile did well in playing a smart yet weary Clifford Bradshaw. Otherwise, the supporting romantic plot was the second best part of the production. Sian Phillips and Linal Haft displayed a tender relationship between the dignified Fraulein Schneider and tender-hearted Herr Schultz.

The world of Cabaret was minimalist in terms of sets. Rooms were basically comprised of some doorways and the occasional piece of furniture, and a number of songs were centered around one object. The stage was colored in black sheets of metal and brick in order to show the underworld of Berlin, which was strikingly being torn away by the increasing influence of the Nazis. The glamour of the Kit Kat Club came from the provocative costumes and light bulbs that adorned the wings of the stage, which combined with the singing and dancing was spectacular to watch.

I am surprised that I am saying that Will Young is the main reason why this production should be seen. The musical itself was great whilst the Cabaret songs and supporting characters created the best moments of the production. Michelle Ryan though was not as engaging in comparison to Will and I found that I preferred his scenes over hers. I would say that this production is worth seeing at a low Top Price

Troilus and Cressida Review

Troilus and Cressida

Swan Theatre, Stratford-upon-Avon

My week at Stratford-upon-Avon finished with a performance of Troilus and Cressida. The RSC and an American theatre company, The Wooster Group, have collaborated to create this production. This would be the third Shakespeare play I am seeing for the first time this year.

This play is set during the Trojan War, where the Greeks spend several years besieging the city of Troy to take back the abducted Helen of Troy. The story follows two Trojan lovers, Troilus (Scott Shepherd) and Cressida (Marin Ireland). The lovers are separated when Cressida's father, Calchas (Scott Shepherd!?) defects to the Greeks and subsequently asks them to negotiate the exchange of the captured Trojan general, Antenor (Zbigniew Bzymek), for his daughter. Elsewhere, the Greeks have become lax after years of besieging Troy and their greatest champion, Achilles (Joe Dixon), refuses to fight for them. The Trojans meanwhile debate whether it is worth continuing the war for Helen (Scott Handy!??).

The idea behind this collaboration is that the two companies each play one warring faction. The American Wooster Group play the Trojans whilst the RSC play the Greeks. This allows them to show the differences between the two factions. The Wooster Group is an experimental company and it shows in the Trojan scenes. They present the faction as Inuits in a Alaskan setting. At first it was unclear and looked odd seeing the Wooster actors running on the spot and speaking softly using microphones, in what I assumed were Inuit accents. Once it was realised what their idea was, it was interesting to hear the amplified voices and music create this icy world. That said, the actors were at times inaudible against the loud music.

However, another idea they had was to use a number of small screens dotted around the stage showing clips that really did not relate to the story. All they do is show "real inuits". What the actors do with these screens is copy the actions that occur during these clips.  This idea of mimicing actions on screens hampered their acting since a lot of the time they were staring at these screens waiting for the cues to mimic what happened in the clips. For example in the scene where the lovers first meet lacked chemistry because they were also interacting with screens! This gets tiresome quickly, and it does not help that this takes up half of a 3 Hour and 35 Minute production. This may be the first week that this production has been on, but I cannot see how this can be improved upon since it is, rather sparsely, timed and would have to be radically edited.

The saving grace of this production was the RSC company. In comparison to The Wooster Group, their contribution felt like an acceptable RSC standard. The best performances were Joe Dixon as the soft hearted, yet mighty, Achilles, and Scott Handy as the shrewd and resourceful Ulysses. There were some odd characters, such as Aidan Kelly sporting a pumped up muscle costume as the boorish Ajax, whilst Zubin Varla played the fool of the play, Thersites, as a transvestite. What was more bizarre was that Scott Handy also played the part of Helen, the woman "who launched a thousand ships", in her one appearance.  The gender change roles I have seen earlier this year at the RSC I could accept, but this one took me aback and seemed to have little point to it. Yet in comparison to labourous interpretation provided by The Wooster Group I took  the occasional odd interpretation of roles by the RSC for granted.

As well as the screens there were sound desks at the back providing the visceral sounds through a collection of loudspeakers hanging above the stage. Also at the back was a revolving stage with a metal wall on it. Whilst the wall added to this icy world, by revolving it the two factions could be shown on either side of the wall. The Greek side consisted of an assortment of objects around a teepee tent whilst the Trojan side was bare except for the occassional set piece that they brought on. The Trojans wore traditional, styrofoam Inuit clothing, though occasionally they dressed the backs of their heads with some form of cast derived from classical statues, thereby connecting them to the play's original setting. Why they would do that I do not know. The Greeks meanwhile wore modern army uniform. I would just like to note that there were brief scenes of nudity.

A 3 Hour and 35 Minute production, where half of it consists of staring at screens, is quite a challenge to sit through. Yet the other half managed to make this watchable. The play itself was interesting to watch but I would like to see this produced better next time. It was obviously not to everyone's taste because about a third of the audience, including my companion, left at the interval.  Tread carefully, but only see this production at a Restricted View. 

The Tempest Review

The Tempest

Royal Shakespeare Theatre, Stratford-upon-Avon

Like Much Ado About Nothing this is the first time I have seen a professional production of The Tempest, after seeing three outdoor theatre productions. I was looking forward to seeing Jonathan Slinger playing the leading role, Prospero.

Upon this familiar stage that has been used for the last two productions in this Shipwreck Trilogy, the identity of the island is rather ambigious. The stage is rather bare with the occasional stone dotted around, resembling pieces of statue. The background, which could be clearly seen in The Comedy of Errors, makes the place look like an industrial site, especially when there was a see through cube that looked metalic, representing Prospero's cell at the back. This was a dark world, which made the magic feel beautiful and somber, a reminder of the Twelfth Night that is running alongside this. I have now seen five David Farr productions and it is becoming clear that he prefers to do a darker interpretation of the plays he directs.

Having now seen him in 13 productions, it is clear that Jonathan Slinger is a versatile actor. I can still imagine him as Richard III due to his dark tone of voice, and when it was announced that he would play Malvolio and Prospero I was unsure whether he would be able to do the roles justice, I was wrong. He plays the loving father to Miranda (Emily Taffe) wonderfully and showed moments of grief as he told her how they came to be living on an island. His fury came in waves and he displays Prospero's ability to wield magic well. At the beginning he casually told Miranda to go sleep, without using a gesture, whereupon she slumped to the ground. At the same time he was a humble Prospero and spoke the ending monologue poignantly.

I am beginning to think that Jonathan Slinger and David Farr are a great combination. He worked with Slinger last year in my favourite production of 2011, The Homecoming, and I think Slinger's approach to acting works well with David Farr's style. I am now looking forward to seeing the pair work together again for next year's Hamlet.

Two actors that have stood out during this trilogy are Felix Hayes and Bruce Mackinnon, who played Dromino of Ephesus and Syracuse (The Comedy of Errors), Fabian and Sir Andrew Aguecheek (Twelfth Night), and Trinculo and Stephano (The Tempest). Both were very expressive and produced some hilarious moments, particularly the four legged monster scene, which was met with a round of applause. I would hope to see them in further productions. Amer Helehl was passable playing Caliban with an Arab accent, though not as funny or remarkable as the other two.

Another highlight of the production was the relationship between Prospero and Ariel, played by Sandy Grierson. Whilst Grierson's scottish accent allowed him to play a harsh Solinus in The Comedy of Errors, he was able to alter his accent and play a tender Ariel. His body moved lightly and fluidly to signify the sprites airy characteristics. His suit was exactly the same as Prospero's, as is the other spirits' suits, signifying Prospero's power over them all. This was further emphasised when he took his suit off at the end, as Prospero relinquished his power. However both actors showed an affectionate relationship, and before taking off his suit Ariel also helped Prospero put on his Dukedom suit.

Emily Taffe did well in playing Prospero's young but strong willed child, Miranda, and her relationship with Soloman Israel's gallant Ferdinand was lovely. Having Kirsty Bushell play Ferdinand is the third time this year that the RSC has used a female to play a male character. She was very good as an impertinant lord in a red dress, a contrast to the suits and uniforms that were worn by the court.

The tricks that are performed were very good, for example the Banquiting scene that reminds one of the tricks that theatres could pull off during Shakespeare's time. I read that the storm emulating from Prospero's cell was inaudible to most of the audience. However, when I saw the production the quality was not great but I could hear a lot of the words. Maybe the company is now using microphones in that cell.

I thought this was an excellent production. This has been one of Jonathan Slinger's best performances, and plaudits must be given to a certain members of the ensemble cast. David Farr's sombre style provided some beautiful and poignant moments, which makes this production worth a low Top Price.

Twelfth Night Review

Twelfth Night
Royal Shakespeare Theatre, Stratford-upon-Avon

This is the third professional production I have seen. The previous two being  the Chichester production with Patrick Stewart and Gregory Doran's 2009 production with Richard Wilson. This time it was Jonathan Slinger's turn to play the tragic servant. I also went to a post-show talk, although the sounds produced by the tank of water being pumped out became increasingly distracting (whatever it was I do not want to mop it up).

I rather liked this waterlogged take on the play, after seeing a rather colourful production in 2009. This production presented an Illyria that was once a world of pleasure but has now fallen into disrepair. Using the familiar wooden boards of a ship and the tank of water, the idea was that this world was slowly moving into the sea. From the very beginning, as Viola (Emily Taaffe) entered the world by clambering out of the water as if she has been washed ashore, Orinso's (Jonathan McGuinness) court seemed to have lost the will to live. The Duke and his servants lay around on couches and played tunes on a piano that reminded the Duke of happier times. Olivia (Kirsty Bushell) was upstage lying on a bed, as if in solitary confinement for the loss of her brother.

Here to upset the countess' dispirited household comes Nicholas Day as Sir Toby Belch and Bruce Mackinnon as Sir Andrew Aguecheek. Sir Toby is ever the inappropriate uncle, sporting a Hawaiian shirt and speaking quite jovially, whilst Bruce wears a blazer that clashes with his spiky hair and plays Sir Andrew as the bumbling fool that he is. Felix plays the part of a dull-witted Fabian apt to making short and unintelligent interjections. Kevin McMonagle adds to this odd ball group as an aged Feste who has seen better days but merrily plays his role as a fool. He provides one of the highlights of the production with his songs, as he plays some sombre chords on a portable electronic keyboard, adding to this broken down setting.

If there was a problem with the production it would have to be the romantic leads. Emily Taaffe was quite a lovely Viola but she did not manage to go beyond that. She did not feel like the messenger that would wait like a sheriff's post till she is allowed to see Olivia. Whilst I liked Jonathan McGuinness's washed out (no pun intended) Orinso, though once again he did not provide anything else.

Stephen Hagan was alright as Sebastian, though it was quite noticeable how tall he was in comparison to Emily Taaffe. I do however take the whole illusion of the identical brother and sister for granted, since I assume that it would be greater challenge to pull off in comparison to the identical same-sex twins in The Comedy of Errors. Kirsty Bushell however was very good as she transformed from a grief stricken Olivia to an Olivia brimming with excitement to see Cesario again. She did however look a rather too old to fall in love with the child like Cesario/Viola.

Jonathan Slinger once again proves himself a brilliant Shakespearean actor as Malvolio. His performance was that of the stuck up servant with nose upturned in disgust. He made his status clear at times as he moved about the household on a buggy. Jonathan said that he preferred to approach his roles from a psychological stand point, and always tried to find the opposite of what Malvolio was perceived to be. Indeed his Malvolio displayed a neurotic side to his character even before the letter scene, and when he was given the ring by Olivia to pass to Viola he seemed to stare at his employer in a stupor. When his humiliation came he wore more (or less) than just yellow stockings. It was outrageous but it was clear that Jonathan was enjoying it, and he did say during the talk that he went on a journey with it.

As well as the wooden boards and water tank, the set comprised of a dilapidated hotel. Characters would come up and down an elevator and instead of a box tree the fools would hide behind a reception counter and a number of settees dotted around the stage during the letter scene. Malvolio and Maria were also dressed for the setting, as a smartly suited manager and a serving maid in a black and white uniform.

This production did well in showing a sombre Illyria within a destitute hotel, whilst an abnormal group of fools roamed the place plotting the humiliation of a snooty manager. The performances from the leading actors were however mixed overall, which makes this production worth seeing at a high Bargain.

Much Ado About Nothing Review

Much Ado About Nothing

Royal Shakespeare Theatre, Stratford-upon-Avon

This was the first time I had seen a professional production of Much Ado About Nothing. I have only seen an outdoor theatre production by the all male Festival Players Company. Despite my lack of experience of this play, I was excited about seeing this play put into an Indian setting. To get an idea of the conceptions behind the production I also went to see a talk by the director, Iqbal Khan.

If I would rank this against the authentic African Julius Caesar, and Rupert Gould's stylish The Merchant of "Las Vegas" then I would put this production in between. The production does very well in establishing an authentic Much Ado that is set in India. When setting out to direct this production, Iqbal was hesitant in setting this play in India, because he did not want to show an historic India, or India as is typically perceived. What he wanted was a production that gave a raw, livid, contemporary, and authentic commentary.

Before the production even starts you see a community of citizens working and socialising, as the sounds of an Indian city swirl around them. Even a large piece of awning that hung above the stage was taken down (which I think would have been a relief for those in the top most theatre balcony). During the interval the citizens are then preparing the wedding by bringing on a platform and hanging some drapes above the stage. I also like the fact that whilst this was going on the lighting grows dark to show the passing of the day.

During the production there were moments when cast members would bring objects on and off long before the scene ended, making the scenes alive with activity without being distracting. Iqbal also had the wedding scene set in a public area, in order to make Hero's disgrace a harder blow for her. He himself saw a public wedding when he went to India for research, and thought it was both kitsch, vibrant, vulgar, and generous (something which he thinks Shakespeare is). Indeed during the wedding the cast made the audience feel involved, and when the humiliation came it was painful to watch (in a good way).

Iqbal Khal also preferred productions that resonate, rather than aesthetic productions, and indeed the Indian style does not take over unless when it is necessary. When it is necessary, such as during the party and wedding scenes, the stage became awash with colour, a band at the back of the stage played some fantastic pieces of Indian music, and occasionally the cast would start a vibrant dance sequence. On occasions characters would start singing a song and the colourful lighting would come on when nothing was going on to suggest that this was needed. I did wonder whether this lighting was needed in such a simple scene, unless this was meant to be an Indian dramatic device.

The cast members gave some fine performances as the main characters. Meera Syal was a firm Beatrice who, as Iqbal said, acted as a mother figure in formal clothing next to the spoilt Hero. She spoke her witty lines, when making fun of Benedick, with feistiness. Benedick was seen as a man who was defined by his military career and wit. Yet in front of women he was inexperienced, as if he was a child, and for this Beatrice punishes him. Paul Bhattacharjee certainly puffed up with pride yet loses his nerve after Beatrice insults him during the party. After listening to Claudio and Don Pedro play a trick on him he starts to lighten up, gives big gestures and his voice wavers on a high pitch at times. During the trick scene it was very nice to watch him climb up the set without being noticed. On the other hand Beatrice's trick scene was an odd one, during which Hero stood off stage and conversed with Ursula onstage via mobile phone, during which Beatrice appeared to Ursula to closely listen in on the conversation.

Amara Karan portrayed Hero as an indulgent daughter, making her childlike and playful to watch. Sagar Arya was at first a nervous Claudio but resolutely announced Hero's dishonesty to everyone. The watch came on wearing household items and overreacted to every command made by Dogberry and every sound they heared whilst on guard. If there was one performance I did not like it would be Gary Pillai as Don John. I do not expect Don John to come on twirling a moustache and announcing that he was the villain, but this actor’s performance could have been anybody.

Iqbal said that he likes actors to make different choices to create some interesting ideas, whilst challenging concepts the RSC, and he himself, may have about the production. This approach was quite apparent in this production because the cast managed to provide some interesting moments. For one, the supporting actors would join in such moments. The best example would be the girl that is sent by Benedick to bring his book to the Orchard, who is given an extended role during the trick scene. At times, the cast would break the fourth wall and act directly to the audience. There was even an incident when the aforementioned awning was being taken down, during which one of the cables swung around and brushed against an audience member, to which an actor shouted to the person in charge of the cable to stop hitting the audience.

The overall set looked very good. There is a house at the back with some nicely detailed Indian architecture. A balcony and a set of stairs are connected to the theatre's balconies, allowing for some neat entrances and exits. The stage floor is basically tiled and there is also a bare tree in front of the house, with ropes draping around the branches. The Courtyard has been converted to a street in Dubai, with painted walls and flooring, some objects that reflect India, whilst some bicycles are hung from the ceiling. As well as the colourful lighting, rope lights were strewn around the balconies and were lit up during the wedding scene.

This Indian production was both well done and very entertaining. The actors put together some interesting moments whilst making every effort to establish an authentic Indian Much Ado About Nothing. They occasionally interacted with the audience and performed some vibrant dance sequences and songs. This is worth a low Top Price

The Comedy of Errors (RSC) Review

The Comedy of Errors

Royal Shakespeare Theatre, Stratford-upon-Avon

I have returned to Stratford-upon-Avon for my annual summer break . I will be catching up with the season's second theme, Shipwreck Trilogy, comprising The Comedy of Errors, Twelfth Night, and The Tempest. I will also be seeing the two latest productions, Much Ado About Nothing and for the first time Troilus and Cressida.

Back in March I went to see the National Theatre's live screening of their production of The Comedy of Errors and I thought that it lacked farce on an intimate level and was not brave enough to explore the play's darker tones. What is good about this production is that it manages to mix together the dark and farcical elements of the play. Whilst they occasionally overlapped, the play was still a farce in its own right whilst the Duke's (Sandy Grierson) strict reign was never forgotten between beginning and end. The twins of Syracuse (Jonathan McGuinness and Bruce Mackinnon) arrived as illegal immigrants climbing out of an imported crate. The first scene shows Egeon (Nicholas Day) being tortured by the Duke by being dunked head-first into a tank of water. Between each scene soldiers would march across the stage either playing the Ephesusian National Anthem, holding loudspeakers to broadcast the Duke's laws or hunting down immigrants from Syracuse.

On the otherhand whilst the slapstick moments were on top form, previous productions have been more creative by using the scenery and getting other characters involved. As an example, this production lacked a big chase sequence, which was quite a dissapointment. It would have been interesting to see how such an event can be performed on the thrust stage. The high point would have to be Doctor Pinch's (Jonathan Slinger) and his entourage of black clothed assistants. Otherwise the production does not surpass the National Theatre production's emotional ending.

However, what makes this a better production than the National Theatre's is that it was intimate and versatile. For example, when it came to using something as simple as a door for the twins to shout through to each other, the National Theatre's production was restricted by its grandiose set. In this production the cast only used one moveable door with aplomb, instead of a fixed door with an intercom.

Stephen Hagan, Jonathan McGuinness, Felix Hayes, and Bruce Mackinnon were great as the twin brothers. Hayes and Mackinnon in particular were very expressive and energetic as the comic servants, especially during the globe scene. This is however the first time I noticed that the director did not put enough effort into establishing the allusion that the twins were identical. Whilst I would overlook the different pitches in the servants' voices, Adrianna would have noticed that her husband had suddenly aged and shortened in height.

Sandy Grierson was an impressive Solinus, though his use of the loudspeekers became annoying. Nicholas Day was great as Egeon as he told the character's woeful tales. Emily Taaffe was a sweet and innocent Luciana, whilst Kirsty Bushell was an overpowering and furious Adrianna. Lastly, Jonathan Slinger returned to the play as a cameo in the role of Doctor Pinch, which he performed with grotesque panache.

The stage compromised of wooden boards, and during this trilogy it reminds one of a shipwreck. A tank of water appears from beneath the boards downstage, giving the appearance of the shoreline. In keeping with this waterlogged theme, an industrial dock is the setting for this production. Around the stage there were oil drums, containers, crates, sacks, anchors, netting, and buoys. An abandoned shopping trolly could also be seen within the murky water. A crane moved above the stage and brought on different pieces of scenery

This production is a step up from the National Theatre's production, though lacking in creativity during the physical moments. It is still a very good start to the trilogy and should be seen at a Bargain.

Heartbreak House Review

Heartbreak House

Festival Theatre, Chichester

To start off, this was the first time I saw a George Bernard Shaw play. I have seen My Fair Lady twice and it is a favourite musical of mine. This was also an opportunity to see Derek Jacobi, whose King Lear I regard as one of the best Shakespearean performances I have ever seen.

During the first year of World War I, Ellie Dunn (Fiona Button), her father, Mazzini Dunn (Ronald Pickup), and her fiance, Hector Hushabye (Raymond Coulthard), are invited to stay at Captain Shotover's (Derek Jacobi) house by his daughter, Hesione Hushabye (Emma Fielding), a friend of Ellie's. However things are not what they seem as hearts are broken and engagements start to unravel.

This is as much of the story as I can tell, because it is quite a challenge to understand it. I mentioned before that I am not a fan of Charles Dickens' wordy style, and now I find that Shaw's style in this play is the wordiest of the wordy. At first I understood that the play was following a household of pleasure-seeking members of the upper classes. However the use of grandiose words soon took over, and as deceptions were revealed and characters delved into each others' matters, I began to question what the characters were talking about in the first place. I even had to remind myself on several occasions what heartbreaking, which (apparently) was one of the leading themes of the play, meant.

It does not help that the characters felt a bit one dimensional. Most of them were in a world of their own within this setting of pleasure and there was little character development. I did not even care what happened to them when a zeppelin appeared near the end, a slight reference to the looming tragedy of WWI that Shaw uses to show how oblivious the characters were to the outside world.

The best aspect of this production are the actors, no matter how thinly drawn their characters were. Emma Fielding simpers with self-satisfaction as Hesione patronised certain characters. I was most confused by Ellie Dunn's story arc; she seemed at first to be taken aback by the lighthearted atmosphere of the household, but soon became as self-absorbed as the rest of the characters. Yet Fiona Button did well in playing this young and innocent character. Sara Stewart played Lady Utterwood like a child in her own little world. Raymond Coulthard played a sportsmanlike Hector Hushabye, and gave the only applauded moment in the production when he quickly covers up a savage mock fencing match with some press ups in front of Shotover

Captain Shotover was the highlight of the production, and I am not just saying that because Derek Jacobi is playing the role. Amongst all the conversations that was going on I preferred his perspective, no matter how strange or off-topic his comments were. By giving an innocent yet delusional take on the role, Jacobi gave a great performance.

Apparently the house that the play is set in is meant to allude to a ship without a rudder that contains different members of society. If that is the case then apart from the occasional nautical object and Shotover's commands as though he is still on a ship, there is little to suggest this theme. Otherwise I liked how the production showed that the characters were in their world of fantasy by occasionally using dreamlike music as characters would appear and disappear mysteriously outside the windows.

I may not be the right person to say whether this is a good George Bernard Shaw play or not, but as a beginner to his plays I can definitely say that this is not a good introduction. Derek Jacobi is really the saving grace of this production, but unless you can understand the most complex of conversations this is only worth seeing at a Restricted View.