Tuesday, June 25, 2013

Charlie and the Chocolate Factory Review

Charlie and the Chocolate Factory
Theatre Royal Drury Lane, London

Charlie and the Chocolate Factory is certainly worth a family day out, but I can think of a good number of shows that I would choose over this production, (without having to mention any in particular). The structure of the musical is simple. The first act introduces Charlie, the mysterious renowned chocolate maker, Willy Wonka, and the golden ticket winners, before they enter the factory. The second act then consists of the factory tour, during which the undeserving children disappear in strange and elaborate ways.

For the most part the musical basically goes through the motions as it relates the story. It does not expand on the plot or the characters. It is only near the end that the musical interestingly sheds light on Charlie's character, as Willy Wonka puts it he is 'something from nothing'. It is sad therefore that this was not addressed elsewhere.

The other issue is that the songs are unmemorable. The only exception is the well-known Pure Imagination, and hearing the opening notes sent goosebumps down me. The rest are dull, bland, and inaudible to boot. There are some glimpses of potential. The four children in particular have their own songs that display their different personalities. Despite this the musical felt empty of any songs that left you humming along to.

The cast do a fine job playing the characters, but because of the book and songs they have little to work with. Consequently they feel like cardboard cut-outs of the characters we all know. There is sweet little Charlie, dithering old Grandpa Joe (played adequately by Nigel Planner), the greedy Augustus Gloop who makes loud burps a number of times, and the selfish Veruca Salt in a ballerina costume.  A disco theme was chosen for Violet Beauregarde in this adaptation, though this is only put to good use in her songs.  Mike Teavee  is the most violent of all the incarnations I have seen, to the distress of Iris Roberts as Miss Teavee.

I am in two minds about Douglas Hodge as Willy Wonka. At times he portrays a dark side to the character. There is no "twinkle in his eye" when he first appears at the end of the first act, singing a rather chauvinistic It Must be Believed to be Seen. He might as well say "Enter my factory if you dare". In the second act he suddenly becomes the eccentric man I was expecting. In addition, he pulls of a number of wacky acts that did put a smile on my face, such as when he appears in the orchestra pit to conduct the entr'acte. All in all, I prefer Hodge to Johnny Depp, but Gene Wilder knew exactly how he wanted to play the role which I thought Hodge struggled to do.

If there is a reason to see this musical, then it would be for the production values. The musical starts with a animated film, showing how chocolate is made; it was interesting and the animations were drawn by Quentin Blake himself. During the first act the black and white world that Charlie lives in has a Dickensian feel about it. A lot of the act is set in Charlie's house and at times it can feel a bit static. There are some neat projections however, and the announcement of the winners is cleverly shown within a gigantic TV set piece at the back. The factory tour is spectacular and the method employed in the demise of each child is amazing to watch.  Only Violet Beauregarde's scene is the least impressive and the climax does not make sense. The Oompa Loompas were nicely done and the Great Glass Elevator was fantastic, though I have seen better effects in musicals like Chitty Chitty Bang Bang and Mary Poppins.

Overall then, if you do go and see this musical you will get what it says on the tin (or wrapper), an adaptation of Roald Dahl's treasured novel. The special effects are amazing and children will not be dissapointed. However I can pick a number of musicals that are currently on in the West End that are of higher quality. I have no need to see this again, and it is only worth a Low Bargain.

Relative Values Review

Relative Values
Theatre Royal, Bath

The year is 1951 and the play opens with a newsreel  of Winston Churchilll during his election campaign, proclaiming that class does not exist anymore. There is a sense of truth in this as the play's focus moves to the Marshwood family. This upper class household is divided over whether Countess Felicity's son, Nigel, should marry Hollywood star, Miranda Frayle. As a consequence the world of the Mashwoods is invaded by film actresses, directors, press reporters and girl guides.

One person who is upset by the marriage is Felicity's maid, Mora Moxton, who reveals that Miranda is her younger sister. Playing Mora is Caroline Quentin, and she wonderfully portrays this distressed servant, concerned that her connection will bring shame to her, her employers and Miranda. The Marshwoods decide that Mora should climb the social ladder by pretending to be Felicity's personal secretary who has come into the possession of a large inheritance. As the play progresses it is both hilarious and sad to watch the poor woman struggling to keep her identity a secret from Miranda.

Less concerned with the marriage is Felicity. Patricia Hodge is an upstanding but aging mother who cares for those close to her, to a fault. Caring and reliant on her servant, she is desperate to keep Mora. Playing her nephew, Peter Ingleton is Steven Pacey. He is jocular to the point that he enjoys the most distressing of moments, but he proves to be a resourceful young man. Making his theatrical debut is impressionist, Rory Bremner. He is such a pleasure to watch spouting some wordy speeches as the egotistically philosophical butler, Crestwell. At the same time he is a shrewd servant, accepting Mora's revelation within seconds without surprise.

Katherine Kinglsey is an alluring Miranda, who puts on an act fir sympathywhen describing how she had an awful childhood in the slums, much to Mora's disgust. Sam Hoare did not really have much to do as a rather underwritten Nigel Marshwood. For most of the play he acts impulsively defensive of Miranda, until he reveals his true character towards the end. During the second act Miranda's previous boyfriend, Don Lucas, appears to confront her engagement and Ben Mansfield shows a man desperate to get back the woman he worships.

The newsreels were a nice addition when establishing Britain in 1951. The massive set of the library in Marshwood house is a classical architectural phenonemon. Trevor Nunn is known for stretching out the running time of his productions, but I enjoyed this farcical plot and could not wait to see what would happen next  amongst all these different characters. What helps is that the cast makes this a fizzing delight, so I would recommend this at a Low Top Price.

Monday, June 24, 2013

The Audience Review

The Audience
NT Live - Gielgud Theatre, London

At first glance Peter Morgan's play is simple. One main set with the occasional change of setting. The premise; the audiences the prime ministers have every Tuesday with our present queen. Of course most of the play is fictitious, but cleverly written into the script are events and facts well known at the time that ground the play in a form of reality. More importantly however, this play is full of both funny and poignant moments that are brought across wonderfully by the actors.

Having played Queen Elizabeth II in the 2006 film The Queen, Helen Mirren once again plays the monarch to a tee and much more. At 67 she succeeds in showing the queen at different stages of her life, from her voice to the mannerisms. She is steadfast and shrewd, yet remains informal and compassionate towards her prime ministers.

The play shows glimpses of the challenges the Queen faced during her reign, the saddest being when she has to cope with Princess Diana's divorce and the belief that the monarchy is no longer relevant. At times she talks with the memory of herself during childhood, a stubborn princess who struggles to accept what is expected of her. With these moments, Helen Mirren wonderfully shows how the Queen has become the woman she it today.

The other star performance of the production was Richard McCabe as Harold Wilson, who appears the most during three audiences. Brashly disapproving but soon finding common ground with the Queen, it is clear why Harold Wilson was her favourite. It is therefore sad to see him in his last scene struggling to cope with alzheimers. Together I think he and Helen Mirren deserved the Olivier Awards for their performances.

The rest of the Prime Ministers vary in believability. Paul Ritter is a touching John Major who struggles to see how he could be a successful prime minister. Michael Elwyn too as Anthony Eden is seen wringing his hands over the Suez Canal situation whilst he is waiting to meet the Queen. Nathaniel Parker's Gordon Brown is seen objecting to the problems he is facing whilst trying to deal with his depression.

Edward Fix is not a convincing Winston Churchill, but he touchingly acts like a second father as he tells Elizabeth what to do during the audiences as her first prime minister. Perhaps Haydn Gwynne displays Margaret Thatcher as nothing but cold-hearted, as she speaks about breaking up the unions and verging on the point of lecturing Elizabeth about the value of the Commonwealth. Otherwise I thought Geoffrey Beevers could have sped up his delivery rather enunciate every few words as the Equerry.

On a side note I enjoyed seeing the multiple costumes Helen Mirren has to change into within a matter of seconds. Apparently the costume changes take place onstage, though I could not tell when watching the NT Live broadcast. The short interval film on the costumes however was fascinating to watch. Altogether it is Peter Morgan's witty writing and the acting that make this production a treat to see. Go and see this at a Top Price.

The Two Gentlemen of Verona Review

The Two Gentlemen of Verona
Theatre Royal Winchester

I have heard of the Tobacco Factory's well received Shakespeare productions, and The Two Gentlemen of Verona is their latest one. I read that the director wanted to take a subdued approach to this comedy, but for a lightweight play that stretches believability at times I felt the company took the play too seriously. The production opens in Verona, where Valentine (Jack Bannell) says goodbye to his lifelong friend, Proteus (Piers Wehner) before leaving for Milan. The restrained performances from Bannell and Wehner did not convince me that their characters have known each other all their lives.  Furthermore, before following Valentine to Milan the play then establishes that Proteus is in love with noblewoman Julia (Dorothea Myer-Bennett). However the development of this romance is distracted by a musical interlude. The tendency to add songs to this play detracts from the main action.

It is only when the farce gets going that the cast come into their own. Soon Proteus follows Valentine to Milan and is attracted to the Duke of Milan's (Peter Clifford) daughter and his friend's lover, Silvia (Lisa Kay). If I could not get sense Proteus' relationship with Julia, Piers Wehner does show an infatuated Proteus who desires Silvia, even when it means betraying Valentine and Julia. Jack Bannell's Valentine becomes the tragic hero when Proteus betrays his plan to run away with Silvia. The Duke forces him into a corner as he unwillingly surrenders the evidence of his scheme. In exile a unhappy Valentine finds new purpose as a Robin Hood figure when he becomes the leader of bandits.

My favourite actor would be Dorothea Myer-Bennett as Julia. During a playful Act 1 Scene 2 she pretends to refuse Proteus' letter that her woman in waiting, Lucetta (Nicky Goldie), tries to give her. She shows longing for Proteus, by picking up the discarded pieces of the letter and kissing them devotedly. When Proteus goes to Milan she decides to follow him disguised as a boy. She gives a heartbreaking performance when she inevitably discovers Proteus' desire for Silvia, struggling to keep her disquise whilst hiding her tears.

Lisa Kay was a witty and bold Silvia as she stood resolute on her balcony whilst Proteus attempts to woo her below. As the two clowns, Launce and Speed, Chris Donnelly and Marc Geoffrey work admirably together. In addition the dog playing Crab, Lollio, is a joy to watch, and Chris Donnelly delightfully bemoans how his impassive pet never gives him any sympathy for all his troubles. Paul Currier was a weedy and vain rival for Silvia's affections as Lord Turio. As the Duke of Milan Peter Clifford slyly exposes Valentine's scheme and his eventual confrontation was  enough to leave Valentine shaken to the core. Finally, although his part was short, Alan Coveney was impressive as an eccentric Eglamour.

The set is a basic promenade with chairs, tables and band stand to match. Despite my reservations about the music, the change of setting from Verona to Milan was wonderfully performed by the onstage band and some dancing waiters. There is a clever lighting design choice when the production switches back to Verona at one point without causing confusion. The production team did well to set the play in Edwardian times, though the inclusion of a medieval sword did not gel with the rest of the setting.

The company did try to sweeten what is a problematic Act 5 Scene 4, though it did not help to address the inconsistent choices the characters make in the end. Overall this is a well acted, if restrained production. Certain actors however do shine and they help to make The Two Gentlemen of Verona an enjoyable production worth seeing at a High Bargain.

Go Back for Murder Review

Go Back for Murder
Connaught Theatre, Worthing

Though the story is a fascinating one, this production of Go Back for Murder is an average one at best. Carla le Merchant (Sophie Ward) returns to England following years living in Canada, after the deaths of her parents. Her father, a painter, Amyas Crale (Gary Mavers), was found poisoned and all the evidence pointed to his wife, Caroline Crale (also played by Sophie Ward). She was sentenced to a life in prison and three years later she commits suicide. Carla had received a letter from her mother protesting her innocence, so she decides  to return to her childhood home where Amyas died to discover the truth. Together with a solicitor, Justin Fogg (Ben Nealon), she brings back all the five suspects present in the house so as to re-enact the events leading up to Amyas' death.

For anyone who has read Five Little Pigs or watched the episode from the Poirot TV series, this play is basically the same story, except the man with the little grey cells is not in it. The first act consists of Carla meeting the five suspects, whilst the second act is set in Carla's childhood home, where the characters recreate the events and solve the mystery. The simple structure of the first act means that it is nothing but a number of static and polite interrogations that present the facts. The production does pick up in the second act, as the play goes back in time and shows events the characters claim happened. The story is a clever twist on the usual Agatha Christie storyline, where the mystery is solved years after it happened, and there are some intriguing revelations along the way.

Like The Mousetrap the play relies on the acting, which the cast does well. Sophie Ward is not entirely convincing as the young Carla, but she projects the girl's determination to find out the truth. She does succeed as the mother; argumentative and a fighter she displays the family resemblence between the two characters. Ben Nealon is the promising love interest as the young and charming solicitor, though the romance is rather forced in this play.

Lysette Anthony plays Lady Elsa Greer, who was being painted by Amyas Crale and having an affair with him when he died. During the flashbacks she played the young, flirtatious, husband-stealing woman very well.   Liza Goddard was a opinionated and moralistic Miss Williams, the family's governess. Meanwhile, Robert Duncan and Anthony Edridge plays two brothers - a sour and impatient Philip and a charming but foolish Meredith.

The set is pretty serviceable. The blue walls with two doors and several awning windows are a bit conspicuous, until some French windows are added for the second act. Up to this point the set is basically a blank background, and furniture and objects are brought on to indicate the change of settings. One thing I did not like was the transitions between the present and past, represented by sudden strobe lighting along with the sound of an old fashioned camera taking a photo. It was annoying and a lot of the time I had my hand shading my eyes in anticipation.  

Altogether, the production and its cast are admirable to say the least. However, Five Little Pigs is one of my favourite Agatha Christie stories, and although I would rate this production at a Low Bargain, I would recommend Go Back for Murder to anyone who does not know the story.

To Kill a Mockingbird Review

To Kill a Mockingbird
Regent's Park Open Air Theatre, London

Two years after seeing a fantastic production of Crazy for You, it is delight to see that Regent's Park Open Air Theatre is still making quality productions. This time round they are producing an adaptation of To Kill a Mockingbird. The events of the story are told from the point of view of Scout, the daughter of widower and lawyer, Atticus Finch (Robert Sean Leonard). The three children I saw were Izzy Lee as Scout, Adam Scotland as her brother Jem, and Ewan Harris as their friend Dill and what a joy they were. The three are energetic, mischievous, noble and innocent as they go on their many adventures. At the same time they show the characters growing up as they come to understand the world around them.

Another stand out performance is Robert Sean Leonard as Atticus Finch. Affectionate yet always has a word of advice for the kids, he stands out as the kindly voice of reason of the book. Atticus is appointed to defend a black man named Tom Robinson, who has been accused of rape. Despite disapproval he agrees to this difficult task, and a lot of the second half is taken up by the trial. He portrays the calm and controlled lawyer who cleverly tears apart the accusations during the courtroom scene, before performing the concluding speech with gravitas and resolution.

Other performances worth recognising are Simon Gregor and Rona Morison as Bob and Mayella Ewell. Under the grasp of her despicable drunken husband, Mayella gives a chilling cry to lynch Tom when under pressure to tell the truth. Richie Campbell as the accused Tom Robinson portrays an innocent man who is petrified at the prospect of lynching as he tries to give his testimony, yet clinging onto what dignity he has left.

The production could be described as subdued. It relies on the acting to carry the production on what is an empty stage, apart from a single tree and the occasional prop that is brought on, which is a success. What is more, director Timothy Sheader has decided to convey the charm of the book further by having the ensemble read the first person narrative. This also draws in the audience, from which they first appear at the start of the production. At times there is a feeling that the audience is part of the action, especially when Atticus addresses his speech towards them, as though they are the jury.

Also, despite the blank stage the play sets imaginations flying from the start as the cast draws out a map of the street where Scout lives and during the play they stick to the geography of the setting, unless the play moves to another location. Like the book, the play appeals to our inner child when sharing the world that Scout and her friends live in.I liked the fact that the ensemble changed into modern clothing when reading the first person narrative, which gives a sense how everlasting the novel is. If I do take issue then it is the black backdrop. Based on production photos I take it that it is lit with different colors, but that is impossible to see during a Matinee.

Yet that is a minor issue for what is a superb adaptation of Harper Lee's beloved novel, all thanks to a fantastic cast. I would even say that having recently seen the film that I prefer this stage production. Go and see this at a Low Top Price.

Priscilla Queen of the Desert Review

Priscilla, Queen of the Desert
The Mayflower Theatre, Southampton

This musical is based on what is viewed as a cult classic film, and it is not difficult to see why. Jason Donovan plays Anthony "Tick" Belrose, a drag queen who left his wife seven years ago  Marion (Julie Stark),  because of his homosexuality. As the musical starts she phones him in Sydney and asks him if he will do his act at her casino in Alice Springs, as well as meet their son, Benji, for the first time. Though reluctant, Tick agrees and asks his two friends and co-drag queens, Bernadette (Richard Grieve) and Felicia (Graham Weaver) to accompany him. The three buy a bus, which they call "Priscilla, Queen of the Desert", and journey through the Australian outback, meeting all sorts of strange characters.

Priscilla is a simple road trip story, but having seen 9-5 I was surprised how well written the three main characters are. They are established very well and there is a sense of a growing comradery between them. There are some sad moments when the characters are reminded that outside Sydney they are outcasts in society. Ultimately however, the outcome to the three characters' stories, whilst predictable, were surprisingly touching to watch. Altogether the musical does not portray the main characters as merely drag queen stereotypes, but well-rounded people.

Jason Donovan as Tick is a father who is scared to meet his son for the first time, whilst he learns to take a more responsible role during the trip. My favourite would be Richard Grieve as Bernadette. During the first act he shows an aging drag queen who feels alone in the world, until he meets Bob. Giles Watling is a charming Bob and the relationship with Bernadette was poignant. Graham Weaver as Felicia is the youngest of the three, who prefers to give a more flamboyant and glamorous drag act. As a consequence he clashes with the moderate Bernadette and there are times when the two are passing jibes between each other. The rest of the cast add style and panache to the proceedings, particularly the three divas who come on (or fly in) to belt the songs with gusto.

I do not know how much this differs from the London production, but the set, whilst basic, is dazzling. The obvious change however is Priscilla the bus, which is just a skeleton frame being pushed around by the ensemble, instead of the actual bus from London. I myself did not mind, but if you have seen the London production it is likely that you would be disappointed by the bus. A focal point of the musical however are the outrageous costumes, and they do not disappoint. Gigantic, colourful, exotic, flamboyant and vibrant, they are a  visual treat. This is a gloriously extravagant production with tons of heart of match. I would even go as far as to say that I prefer this to the Book of Mormon. If anyone has seen the London production then this touring production may not be worth a low Top Price; otherwise it is a 'must see'.

The Pajama Game Review

The Pajama Game
Minerva Theatre, Chichester

Once again the Chichester Festival has started off with a bang with a production of a little-known musical, The Pajama Game. Based on Richard Bissell's novel, 7 1/2 cents, the musical is set in a small American town, where city-boy Sid Sorokin (Hadley Fraser) has come to work as superintendent in the local Sleep-Tite Pajama Factory. He falls in love with the leader of the Union Grievance Committee, Babe Williams (Joanna Riding), and though Babe rejects him at first their relationship gradually develops. However, Sid and Babe's relationship is jeapardized by a threatened union strike, led by Prez (Eugene McCoy), over a 7 1/2 cent pay rise.

Leading the cast are Hadley Fraser and Joanna Riding. Hadley stands out as the boyish but resolute and resourceful Sid Sorokin. His singing was fantastically grandiose and a highlight comes during the song Hey There (You with the Stars in your Eyes) in which he wistfully records himself singing his feelings for Babe on a dictaphone, before performing the second verse whilst playing the recording. Joanna Riding is the professional Union representative Babe Williams. She is indifferent to Sid's approaches at first, but she is bubbly and the developing relationship is charming to watch. If I do have an issue with it then it would be that Babe is the more mature of the two, and occasionally I felt like telling Sid to grow up.

There are some fantastic performances from the supporting cast as well. My favourite would be Peter Polycarpou as the factory's timekeeper, Vernon Hines. Strict and uptight with the workers, he shows how necessary it is to be punctual during Think of the Time I Save. He also has a neurotic side to his character, as he is always suspicious about his girlfriend, Gladys (Alexis Owen-Hobbs), is up to. During an hilarious I'll Never be Jealous Again, he is disciplined by Sid's secretary, Mabel (Claire Machin), to calm down and control his jealousy. Colin Stanton meanwhile plays the bullish manager of the factory, Hasler, who sees the workers as nothing but vermin.

A problem I do have with the musical is that it includes too many supporting characters. As a consequence two supporting characters, Gladys and Prez, are not given enough time on stage to sympathise with. Alexis Owen-Jones' Gladys is Hasler's hysterical secretary but flirtatious when off-duty. As Union President Prez, Eugene McCoy is a commanding leader, whilst being a nerd with a roving eye for every girl he sees. Yet lack of stage presence means that their stories are easily forgettable, until the musical decides to try and tie every plot thread into one big lump of misunderstandings in a Mexican restaurant scene. The scene just feels overloaded, especially when it goes on far too long.

However these issues can be overlooked because of some fun scenes and dance numbers. Because this production is in the Minerva Theatre the numbers feel intimate, which adds to the fun. From the word 'go' the ensemble rushes through the factory doors with sewing machine tables and show the fast and systematic routine of churning out pajamas as they sing Racing with the Clock. During the annual company picnic the ensemble sings the "Sleep Tite" anthem along with an uncomfortable Hasler, before seeing a drunken Vernon Vines perform a knife throwing act and then perform a vibrant Once a Year Day. Even the Mexican restaurant scene is fun, despite my problems with it. Because of these moments, together with a fantastic cast, The Pajama Game is a vibrant little musical, which helped me to forget any issue I have with some of the plot lines. This is well worth seeing at a low Top Price.

Thursday, June 20, 2013

Miss Nightingale Review

Miss Nightingale: The Burlesque Musical
Nuffield Theatre, Southampton

Despite first impressions, Miss Nightingale has more to it than lustful burlesque songs. The musical follows Mrs Maggie Brown and her burlesque band during World War 2. Under her stage name, Miss Nightingale, she gradually gains popularity whilst working in a London club owned by Sir Frank Worthington. However a relationship between Frank and Maggie’s songwriter, George Nowodny, is soon discovered by her boyfriend, Tom, who blackmails the pair.

There are basically three themes in this musical, World War 2, burlesque, and homosexuality. Like Tanika Gupta Matthew Bugg has really written himself into a corner by addressing some diverse subjects. Indeed the musical feels overwhelmed by exposition and detail as it moves between Maggie coping with fame and Frank and George’s struggle to have a relationship, all against the backdrop of the War.

Their stories do however come together as the blackmail affects them, but the musical does end on a hopeful and harmonious note. Each scene tends to jump ahead in time, and it can take a while to catch up on what has happened. That said, the overall story is engaging to watch as the characters try to survive in a prejudiced world.

The musical has a fantastic cast. Amber Topaz plays a sweet, plucky and strong hearted Maggie, who sings some enticing and raunchy songs. Ilan Goodman is a frustrated George Noeodny who wants to be open about his sexuality, a complete contrast to the charming but pragmatic Frank, played by Tomm Coles. So despite some problems with the story, nevertheless with a strong cast Miss Nightingale is a compelling, as well as steamy, musical that should be seen at a high Bargain.

Less Than Kind Review

Less Than Kind
Salisbury Playhouse, Salisbury

This is an hilarious little curio that should be seen. Less Than Kind is a recently re-discovered play written by Terence Rattigan in 1944, but since altered to create Love in Idleness. Now the original text is being brought to the stage by director, Adrian Brown. The play opens with Sue Holderness as Olivia Brown, a working class widow and mother who has recently become acquainted with an American tank manufacturer, Sir John Fletcher. She now lives in one of his houses as his mistress and enjoys the trappings of an upper class lifestyle. Olivia portraits a woman who is happy in her new life, but as the past comes rushing back she is faced with the dilemma over whose side she should take.

The highlight performances are Charlie Hamblett as Olivia’s son, Michael Brown, and William Gaminara as John Fletcher, who deliver most of the comedy. Michael is a young dandy who returns home following his education in Canada. He has been influenced by left wing ideals into believing that John Fletcher is a notorious right wing businessman. During the first act, out of love for his mother, he makes every effort to break the relationship up. Brusque and outspoken, Hamblett is quite the Hamlet that Fletcher alludes to at one point. At times he verges on the point of childishness but for the most part he is surprisingly entertaining.

Despite what Michael says, John Fletcher is absolutely charming, though he can easily go on the offensive against the boy's attacks. The arguments between the two over their differing points of view became increasingly tense. The first act is very entertaining, because of the different schemes that Michael hatches. He goes from alluding to Hamlet to inviting Fletcher's wife, Diana (Laura Doddington), around to the house, hoping to expose him. The first act is a tonne fun, and I was left eager for more

At the conclusion of fist act the play could easily have finished with an open ending, leaving the audience retaining some sympathy for Michael. Yet the farcical plot is extended into what feels like an unnecessary second act. That said, there are still some hilarious moments and the play does eventually conclude with the characters finding common ground. The set designs are pretty basic, apart from the complete contrast between the two acts, so it is down to the actors to produce this hilarious play. This they accomplish fantastically, and despite the second act I would recommend this at a high Bargain.

This House Review

This House
NT Live - Olivier Theatre, London

This a fantastic play about a period in British history when turbelance in the country was reflected in the politics of the time. This play follows the events within the Houses of Parliament between the 1974 and 1979 elections, from the point of view of the whips. It has the hints of a Brechtian production because playwright James Graham does not want you to connect with the characters but to observe. From the two whips offices the political situation is described, whilst the rest of the play consists of the whips using whatever means to persuade dozens of MPs to join their side in the voting lobby.

Elsewhere there is a sense that traditions and symbols are challenged and that things are changing within British politics. Gradually the number of deaths amongst the older generation increase and during the second act the conservatives start to mention "she". The play basically shows the events as they happened; a digestible two and a half hour history lesson.

A history lesson however that holds one's attention the whole way through. The play continuously moves, at times at break-neck speed, and thanks to James Graham's writing every point is clearly made, and a lot of the time with humour. What also helps is that the production has the speaker, played by both Matthew Pidgeon and Andrew Havill, identifying every MP by their constituency, as though in the middle of a Parliamentary session.. This helps to distinguish several characters whilst keeping the pace going.

The star of this show however is the ensemble. On the Labour side, the whigs are first led by the tough but pessimistic Bob Mellish, played by Phil Daniels, and then the floundering Michael Cocks, played by Vincent Franklyn. Reece Dinsdale portrays a proud, optimistic and sly Walter Harrison who knows where to find any source of infomation. Lauren O'Neil meanwhile plays newcomer, Ann Taylor, who despite being accepted amongst her co-workers struggles to fit into a male dominated world.

The conservatives are led by an imperious and patronising Humphrey Atkins, played by Julian Wadham. Against Walter Harrison is a flamboyant yet tactful Jack Weatherill, played by Charles Edwards, though the two display a poignant relationship. Another newcomer is the new whip Fred Silvester, portrayed by Ed Hughes as laid back but quick to learn.

The rest of the cast shine because they have to play multiple roles as numerous MPs for different parties and comsitutions. To name a few, Rupert Vansittart as a blustering colonel for Esher, Christopher Godwin as a loyal Alfred Broughton for Batley and Morley, Matthew Pidgeon as a dandy Norman St John-Stevas for Chelmsford, and Helena Lymbery as an idealistic Audrey Wise for Coventry South-West.

The whole Olivier stage has been successfully turned into the Commons Chamber. Whilst the production was originally put on in an adapted traverse stage in the Cottesloe Theatre, the commons benches are now onstage where members of the audience sat as though they were MPs. The benches are continuously turning around on revolving stages as the play moves between the party offices, and the Commons Chamber. The cast have created some well choreographed moments, such as when the MP Michael Heseltine swung the mace.

Ever present is the face of Big Ben behind the Commons Chamber balcony above the stage. A rock band is situated on this balcony and they occasionally play music to accompany the action, but it was never distracting. The balcony and various hidden spaces are used by the cast as the play necessities it. Lighting helps to distinguish different rooms and at times the deaths of MPs are represented with them "going into the light".

Together with James Graham's writing and the cast there is no weak link in this production. If you are unfamiliar with British politics then this might be challenging to digest, and as I said this play was not written to be emotionally involving. It was written to entertainingly show what happened in a 5 year period of upheaval in British politics. I strongly recommend it at a Full Price.

Monday, June 17, 2013

A Man of no Importance Review

A Man of no Importance
Salisbury Playhouse, Salisbury

I admired this rarely performed musical, despite its flaws. The story follows Alfie Byrne (Mark Meadows) a bus driver and Oscar Wilde admirer, who can't help but read his poems to his passengers. He is also director of an amateur theatre troupe in Dublin. Tired of putting on The Importance of Being Earnest every year, Alfie decides to take a risk and put on Oscar Wilde's controversial play, Salome. During, the production process he meets a newcomer to Dublin, Adele (Laura Pitt-Pulford), who he decides is perfect for the role of Salome. The story also shows how he has feelings for his fellow bus driver, Robbie (Fra Free), and that he has problems dealing with his sexuality

An article in the programme discusses plays and musicals that look at the production process of a play-within-a-play, the conflicts amongst crew members, and the significance of theatre. It claims that this musical is one of them. To be frank the theatre aspect that is meant to be the anchor of the musical does not play a significant role. A lot of the plays and musicals mentioned in the article focus on the production process and multiple stories of cast members. This musical focuses primarily on Alfie. The production process of Salome (despite its outcome) and its cast members are barely looked at, losing the significance of theatre. If it was a play about Alfie, his sexual problems, and Oscar Wilde's poems, then I might have enjoyed it more.

Playing Alfie Byrne is Mark Meadows; passionate for Oscar Wilde, Meadows shows an eccentric side to the character as he reads his idol's poetry on the bus. He shows a reserved man struggling to choose between conforming to what is expected of him or discovering his own feelings. Alfie’s younger sister, Lily, is played by Angela Bain. She is pragmatic and more down to earth than Alfie. For her own reasons she puts her own pressure on Alfie to conform. Robert Maskell as Carney the butcher is pious and upstanding, and he represents the dissenting views of putting on Salome. Laura Pitt-Pulford plays Adele, the nervous newcomer. She shows the girl’s struggle to fit in with the rest of the cast, but like the play-within-a-play she is barely seen and is soon forgotten about.

Fra Free would have to be my favourite as Robbie. Adventurous, outgoing, but caring at the same time, he shows Alfie what he is missing out at one point by taking him around downtown Dublin. The song The Streets of Dublin brings to mind Once as he and the company brilliantly gives an energetic and rhythmic performance in a pub setting. It is such a shame that the musical does not focus on his character a bit more and he does disappear for a while during the second act. This lack of presence takes away the focus on Alfie's ongoing struggle with his homosexuality, and this takes a toll on my empathy with this storyline. 

As part of the musical the whole cast also appear as the orchestra. Since every cast member has an instrument at hand, the musical feels fluent as many a scene transition is taken up with music or a song. Set-wise, I am dissapointed with the Salisbury Playhouse for simply recycling the exact same community hall from Stepping Out. That said the cast nicely recreated a number of scenes, such as a bus, using all sorts of objects.

Overall it was lovely to see A Man of No Importance, but I have no need to see it again. At times it does not know what it wants to be, as it goes back and forth between the values of theatre and homosexuality. But the cast was strong and the production had some neat ideas, which makes it worth a Low Bargain.

Sunday, June 9, 2013

As You Like It Review

As You Like It
Royal Shakespeare Theatre, Stratford-upon-Avon

This fantastic production shows the talent behind some of the RSC's rising stars as well as, to some extent, the director. Of course this review cannot examine this production without discussing the leads. Having played a disappointing Ophelia, Poppa Nixon has come up trumps as Rosalind, and is just as good as Katy Stephens. Strong willed and energetic, she shows a wonderful relationship with Joanna Horton's childlike and playful Celia. Her physicality and spriteliness makes for a convincing transformation into a boyish Ganymede. It is easy to relate to Alex Waldmann's Orlando. Brushing off leaves at the start and sporting a woolly hat, he comes over as good natured, honest, and passionate. The wooing scenes between him and Pippa's Ganymede are endearing to watch.

Playing Duke Frederick is understudy, Robin Soans, who did well to present a maniacal tyrant. Luke Norris is a sly yet incapable Oliver, whilst Mark Holgate is quite the brute as Charles the wrestler. Playing Adam is David Fielder, who makes for a a touchingly pitiful but faithful servant to Orlando. Cliff Burnett is a commanding but charming Duke Senior. Natalie Klamar is a suprisingly wild and crazed Phoebe. As for the clowns, Nicolas Tennant's Touchstone is enjoyable to watch as he laughs at his own misfortune for being dragged along with Rosalind and Celia into the Forest of Arden. Oliver Ryan's is overshadowed by to Forbes Masson, but his Jacques is quite an oddball. He rarely stays still and his disdainful "All the world's a stage" is charming to watch.

If there is a flaw with this production then it is the pacing. 3 hours and 10 minutes is quite long for a comedy and the production has a lot of filler that should be cut out. The director, Maria Aberg, has incorporated a number of dance sequences that are unnecessary. There is a weird one during the court scenes to show how uniform and rigid it is under Duke Frederick, which can be distracting when characters are speaking. A clever moment is when Celia and the onstage band try to perform the rubbish poems that Orlando writes, but that too outstays its welcome. Touchstone is also given moments of ad-libbing that not only detracts from the text but is stretched out unnecessarily long. The start of the second act shows him bored out of his mind whilst shepherding with Corin, and later on he verges on stand-up comedy by asking members of the audience whether they are married.

The set at first consists of an industrial setting to represent Frederick's oppressive court, with metal girders standing around the stage. Using lighting however the girders beautifully become the trees of the Forest of Arden, whilst moving on a revolving stage, which makes the scenes feel fluent. The first transformation into the forest for one sent goosebumps down me. Maria Aberg has set this play within a Glastonbury festival type setting and the banished court of Duke Senior is seen in assorted costumes whilst littering the stage with all kinds of objects.

The other highlight of the production is the energetic folk music that is played during the forest scenes. Indeed having seen Rosalind and Alex Waldmann finally reunited the final music and dance sequence left me smiling. Maria Aberg's production may not be perfect, but the performances from Pippa Nixon and Alex Waldmann combined with the production values makes As You Like It a worthwhile production. I recommend this at a low Top Price.

Thursday, June 6, 2013

The Empress Review

The Empress
Swan Theatre, Stratford-upon-Avon

This is a production that gives an interesting insight into India and the British Empire, though it does lack depth. The play includes three intertwining stories. One follows a young ayah, Rani Das (Anneika Rose), as she arrives in England together with a lascar she has befriended, Hari (Ray Panthaki). A lot of the play focuses on the pair struggling to live under the rule of the prejudiced British. During her voyage Rani meets two historical figures, whose stories make up the rest of the play. One is Abdul Karim (Tony Jayawardena), the Indian servant to Queen Victoria (Beatie Edney), and the audience gets to see the developing relationship between the two despite opposition. The last plot addresses the first Asian British MP, Dadabhai Naoroji (Vincent Ebrahim) as he campaigns to represent India in the House of Commons.

The overall theme of the play is the British Empire and its Indian subjects during their long struggle to gain equality late in the Victorian era. It is clear that the writer, Tanika Gupta, has researched this thoroughly in order to write this play. Despite this she is trying to deal with some hefty subjects and sadly a good deal of the play falls apart under the weight.

The main focus is on Rani, as Gupta attempts to give the point of view of the Indians who emigrated to England. The story about Queen Victoria and Abdul Karim is the secondary focus, whilst Dababhai Naoroji disappears until the second act. What is more the episodic structure of the play, as it moves between plot lines, means that a good number of the scenes jump ahead in time, losing any sense of progression. For instance, the end of the first act shows Rani at her last tether but as the second act gets going she is quickly back on her feet and any sense of crisis is lost.

Anneika Rose however did well to show an innocent and naive Rani maturing into an adult as the play progresses. Ray Panthaki is a simple minded and laid back Hari, but he shows how much the character cares for Rani. During her story, Rani meets all sorts of characters, including the rough and sassy Lascar Sally (Tamzin Griffin), the sly Sir John Oakham (Ed Woodall), and his orderly servant Georgina (Emily Mytton). The play does tend to portray a lot of the British as one dimensional, and the upper classes are shown as prejudiced stereotypes, in order to get its point across.

The scenes with Queen Victoria and Abdul Karim are some of the best scenes of the play. It is such a shame that Tanika Gupta did not write a play solely based around them. Beatie Edney's is quite the imperial Queen Victoria, as she continuously makes clear her views on Karim, despite opposition from both the government and her own family. Tony Jayawardena as the loyal Karim is a big hearted and noble servant to Victoria. There are scenes where he teaches her Indian culture, and one of the highlights comes near the end where he "brings" India to her, a poignant moment. Kristin Hutchinson, as Victoria's strict Lady-in-waiting Sarah provides the conservative point of view of the government and the Royal Family about the relationship. Vincent Ebrahim meanwhile is a generous and respectful Dadabhai Naoroji.

The plays earns points for production values. It almost seems that it was originally written as a screenplay. At times a sail fills the back of the stage, on which projections of a sea, the night sky, an elephant, the title of the play, and even some ending credits along with the bows are shown. The whole theatre is like a boat, reflecting the opening scenes as the characters arrive in England. Ropes aplenty fill the performance space and the stage floor consists of wooden boards surrounded by water.

Behind the sail a typical representation of London is shown through cut out black and white photographs of landmarks. The effect is like a postcard. The only design choice I did not like was presenting children through actors holding up clothes on a coat hanger. It is understandable if they could not afford child actors, but they might as well have allowed the actors themselves to play the roles. Also, whilst I liked the music being performed by a sitar, the music was almost continuous and there were times when it unnecessary and distracted from the mood created by the actors. That said the presentation was fantastic, especially when the play ends with the cast putting burning paper boats on the water.

Behind the colour and splendor however, Tanika Gupta only gives a basic overview of a subject that is rarely discussed. It is such a shame because there are some bright moments, especially on the actors' part, and Tanika could have easily focused on one of the three stories. This production should only be seen at a Bargain.

Wednesday, June 5, 2013

Hamlet Review

Hamlet
Royal Shakespeare Theatre, Stratford-Upon-Avon

Whilst David Farr has brought some interesting ideas to this the production, they do not come together effectively. The first thing you notice is the set design which does not gel together well. The whole performance space has been transformed into a run down fencing hall. It does foreshadow the final scene, but is this a good enough reason to change the play's setting? There was no sense of a royal court, but rather the faded and down-at-heel lifestyle of a local big-wig.

Furthermore, during the second act the floor is stripped away to show the skull-laden ground underneath. It is foreshadowing the graveyard scene, and Ophelia's grave does remain onstage for the rest of the production; an addition to the bodycount at the end. Despite this, the combination of fencing hall, graveyard and even a revealed backdrop of a moor during the final scene is disconcerting.

Last year, Jonathan Slinger proved he could play Malvolio and Prospero under David Farr's direction. When it comes to the Dane, Jonathan does show humour when he becomes mad, singing Ken Dodd's Happiness before delivering the "To be or not to be" soliloquy. Later he begrudgingly tosses Yorick's skull  aside after accidentally breaking the jaw off. He also goes into bouts of rage and the "Get thee to a nunnery" moment is savage.

His dictation however does get tiresome. He has used it perfectly before, but when watching the longest Shakespeare play I wished David Farr had restrained Slinger. For most of the 3 hour and 35 minute production it is like being on a rollercoaster of Slinger's vocal range, at times going into the deepest, darkest catacombs of his voice. He also puts too much emphasis on some of the words. I could have made a sandwich whilst he said "All...is...not...well". His delivery detracts from the text and a few good minutes could have been cut if he had sped up a bit.

Having seen him in The Winters Tale, Julius Caesar, Antony and Cleopatra and King Lear, I personally feel that Greg Hicks is just being Greg Hicks. It may be his way of delivering Shakespeare's words but his tone of voice has always remained the same. Also, he may well have been playing a local big-wig rather than a King because despite being steely and brutish he just lacks presence. His scenes as the ghost however were majestic and combined with Hamlet, the pair showed a father-son affection for each other which was touching.

I was looking forward to seeing Pippa Nixon play Ophelia; indeed she does well playing the dutiful father's daughter who is left vulnerable to Hamlet's attacks, and her madness scene is her best moment of the production. However I thought she held back. Not that I was expecting the Bastard (or Rosalind for that matter), but I warmed to Mariah Gale's Ophelia more than Pippa in the role.

There are some bright spots. Charlotte Church plays an upstanding and regal Gertrude, and the death of Polonius leaves her broken. Robin Soans is a very discerning Polonius who easily wanders off the subject, whilst Oliver Ryan and Nicolas Tennant are raunchy and boisterous as Rosencrantz and Guildenstern. Otherwise Alex Waldmann is charming as ever playing Horatio. Overall however I feel David Farr has not directed the cast to their best ability.

With the modern setting comes the suits and formal dresses, though it was combined with Ophelia and Horatio wearing jumpers, as though they had just come off the set of a Norwegian crime TV series. When Hamlet becomes mad he dons a fencing doublet as though it was a straitjacket, whilst clutching onto his father's fencing mask. Having the ghost wear fencing clothes to represent his armour was a neat idea too. One costume choice that does not work appears during the dumb play, when one of the players comes out of no where in goth clothing. She is meant to represent death but it really was a "what the heck was that" moment.

There are good moments to enjoy, but the production feels as though David Farr did not put much thought into the acting and making his ideas cohesive. At 3 Hours and 35 Minutes this is not the most engaging production and should only be seen at a Bargain.

Tuesday, June 4, 2013

Rutherford and Son Review

Rutherford and Son
Theatre Royal Winchester

This is a brilliant play, with a superb cast and full of shocks and surprises. John Rutherford (Barrie Rutter) is the owner of a glassmaking factory in an unnamed Northern English town. He is dissapointed in his eldest son of the same name (Nicholas Shaw) for not following in his footsteps. What is more he is angry that his has married a woman from London, Mary (Catherine Kinsella).

Concerned about making a fortune for himself, Mary and their newborn son, young John Rutherford has developed a new metal that could save his fathers declining factory, though he regards it as his to sell to any business. His father feigns disinterest, yet he is secretly determined to get hold of the metal. Soon afterwards John Rutherford (Sr.) discovers that his right hand man, Martin (Richard Standing), who has helped his son develop the metal, is having a relationship with his eldest daughter Janet (Sara Poyzer).

On a static set of the dining room of the Rutherford household, the play is basically a performance piece. But within this dark, prison-like room, the play brilliantly shows the family members and those closest to them trying to survive under the watchful gaze of John Rutherford (Barrie Rutter). The best thing about this play though is that the audience cannot predict what will happen next; hope and disaster go hand in hand.

Barrie Rutter said during a post-talk how much he loved the play and that he wanted to put this on, and it really shows in his performance. As the master of the household and owner of the factory, he is overbearing, bullish and always verbally grinds everyone down to submission. At one point he does show a tired and pragmatic side to John Rutherford who wants to do what is best for the factory, yet moments afterwards he turns back into a monster.

Another stand out performance is Sara Poyzer as Janet. At first she despondently keeps to herself, feeling that she is a failure to her father. When the relationship is discovered she shows a different side to her character as she displays pride, joy and hope for her and Martin’s future..

Nicholas Shaw as the young John Rutherford is similar to Andy in Smallholding. Brash and in a world of his own, he continuously boasts that his invention will change his and Mary’s lives altogether, yet he easily becomes defensive when challenged. The play however takes its time to establish his character before he starts spouting empty words, and it is surprisingly sad to watch him struggle to impress his father. For most of the play, Catherine Kinsella plays the obedient wife from London who struggles to settle into her new home. However, she does give Sara Poyzer a run for  her money in the final moments of the play.

Elsewhere, Kate Anthony is a strict and orderly Aunt Anne. Andrew Grose as Richard Rutherford is to the point and tries to be tactful with his father. Wendi Peters provides a point of view from the working classes as Mrs Henderson, when she comes to plead with John Rutherford to re-employ her son, showing defiance and resentment towards the old man. Lastly, Richard Standing plays Martin, an honorable worker whose loyalty to John Rutherford is constantly challenged.

Every actor in this play shines and under the direction of Jonathan Miller they bring the play to life. The play can be morbid and the ending is not a happy one. But beyond that Githa Sowerby has produced a brilliantly written story that keeps on surprising the audience. I could say more about the story but that would be spoiling what is one of my favourite plays so far this year. I recommend it at a high Top Price.

Monday, June 3, 2013

People Review

People
NT Live - Lyttelton Theatre, London

Alan Bennett is known for attacking institutions and in his latest play, People, he is targeting the National Trust. The central character is ageing aristocrat Dorothy Stacpoole (Frances de la Tour). She has retired from fashion modelling and is now languishing with her companion, Iris (Linda Bassett), in her deteriorating stately home. She is being pestered by her younger sister, archdeacon June (Selena Cadell), to hand over the estate to the National Trust. Dorothy hates the idea of opening the estate to the public, and instead tries to find other users or buyers for the property.

When watching the play I was laughing along to many of Alan Bennett's digs at the issue of heritage. It is clear that he has not lost the ability to write up witty dialogue. Yet whilst he cleverly shows many of the problems within the heritage industry, he never seems to have anything to say about the issue himself. The production overall feels safe, with nothing really to take away and think about.

It does however have a strong cast. Both Frances de la Tour and Linda Basset play the old and dignified aristocratic and long serving follower well. They are indifferent to the decaying state of the house and react indignantly to the idea that the place should be put on display. As Dorothy defiantly declares at one point "This is not an allegory house". Like the house they have become isolated and worn down by age, but when the porn company arrives Dorothy is revitalized and returns to her youth.

Visiting the pair are Miles Jupp as Bevan, a slimy front man for a group of buyers, and Nicholas Le Prevost as a passionate National Trust representative. Selina Cadell as June is insistent that the house should be given to the National Trust, but at the same time she is a caring sister to Dorothy. Overall the characters are constrained by the superficial points that Bennett makes but does not expand upon.

The set shows a decaying aristocratic state room. Chairs are covered in sheets, portraits stand up against the walls, and numerous objects clutter the room. It is worth seeing the room transformed into its original pristine state during a ballet-esque restoration sequence.

This is not one of Bennett's best, and weeks after seeing this I have forgotten most of the points he was trying to make. That said, it is worth a Bargain to enjoy Alan Bennett's witticisms  and some solid acting  by Frances de la Tour and the cast.

Smallholding Review

Smallholding
The Nuffield Theatre, Southampton

Smallholding is based around the over familiar subject of a disintegrating relationship. The play opens as married couple, Andy and Jen, arrive at a dilapidated farmhouse. Andy is a drug addict and because of this their daughter has to live with Jen’s parents, who will only give her back if the pair can sort out their lives and make a success of the farm.

Sadly it is obvious where the story is going. Chris New dominates the production as Andy. He makes every opportunity to posture and spout empty words. He promises a lot but does not deliver, and he then tries to avoid the subject whilst acting irresponsibly. Matti Houghton is the more proactive of the two as Jen, who hopes to start a new life on the farm, yet has to put up with Andy’s lack of responsibility in the first few scenes.

The play does not lead the audience into the story gradually. The first half is basically a downward slide into hardship. It does however pick up when, at their last tether, the couple resort to drugs. The highlight of this production is a Christmas scene, where they imagine they are having a party with Jen’s parents and their daughter.

Between each scene the play jumps ahead a few weeks to keep the plot going, though it does jump a couple of years for the last scene and only gives the audience a general idea of what has happened. The play also continuously brings up references to people and certain objects, such as an oar that Andy claims to be the one that Steve Redgrave used in the Olympics. It feels as if there is meant to be theme behind these references yet by the end they are forgotten.

Thankfully the play consists of one act and the jumps in time means it moves at a good pace. Yet the overall story has been done before, and it is hard to relate to the characters for that reason. The set is simple comprising of a few doors and some furniture, though a bizarre moment occurred during an inordinately long scene transition at the end. The play does not bring anything else to the proceedings to keep the audience interested, and should only be seen at a high Restricted View.

9 to 5 Review

9 to 5
The Mayflower Theatre, Southampton

With the Dolly Parton and film connection you expect 9 to 5 to be a feel good musical. However it lacks a sympathetic personality to engage with. Most of the leading characters are wafer thin stereotypes within a story about female empowerment. Mark Moraghan plays a misogynistic CEO of Consolidated Industries, Franklyn J. Hart, who goes to great lengths to make the main characters’ lives a misery.

Jackie Clune is workaholic Violet Newstead, who is cheated out of a promotion that Franklyn gives to a man. Natalie Casey plays the newcomer to Consolidated Industries, Judy Bernley, newly divorced, who has never worked outside the home. Amy Lennox stands out from the trio as the Dolly Parton character, Doralee Rhodes, who shows that there is more to her than being Franklyn’s secretary during her song, Backwoods Barbie.

During the first act the plot meanders as it establishes the character’s problems with their boss. The musical is full of reoccurring jokes that are not funny, including an alcoholic secretary, Margaret. The “token good guy” of the story, Joe, is played capably by Mark Willshire though the character is underused . It is only by the end of the first act that the story picks up, when a misunderstanding leads to a harebrained scheme to kidnap Franklyn and find a way to discredit him. Yet it is clear during the second act that the plot feels predictable.

There were some bright moments. Bonnie Langford was the highlight of the show as Franklyn’s crotchety executive assistant, Roz Keith, who gives a weirdly enticing performance during Heart to Hart, in which she expresses her secret desire for Franklyn. Dollie Parton makes appearances in the form of a projection at the start and end of both acts to give a narration of the story. There is some great choreography on the ensemble’s part which could have made for a fun musical. Yet 9 to 5 lacks heart, making it difficult to relate to a thinly drawn story. Only see it at a Restricted View.

Passion Play Review

Passion Play
Theatre Royal, Brighton

This is an intriguing play about infidelity coming from several different perspectives. Choral member Eleanor (Zoe Wannamaker) and painter, James (Owen Teale), have been married for years, but it is revealed early on that James is having an affair with his art student, Kate (Annabel Scholey). Eventually Eleanor is told of the affair by her friend, Agnes (Sian Thomas), who split with her husband after he too had an affair with Kate. What follows is a series of arguments and alternative outcomes that not only include Eleanor and James, but also their consciences, Nell (Samantha Bond) and Jack (Oliver Cotton). The story seems simple, but with many points of view the results can be complex.

At first Zoe Wannamaker and Owen Teale appear to be a couple in a contented marriage. It is only when the affair is introduced that it becomes clear how much the tiresome James desires the young woman. Agnes tries to warn Eleanor, but certain of the strength of her marriage she refuses to believe this. When she finally discovers the affair betrayal is etched on her face, yet she remains in control as she confronts James. 

Nell and Jack as the two consciences represent the couple's thoughts. As the couple try to deal with the affair through talking, as well as arguing, their consciences prefer to take more direct action. Oliver Cotton as Jack looks upon his marriage with disdain and is in awe of Kate, whilst Samantha Bond is more reactive than Zoe as Nell. The moment she hears about the affair she becomes a force to contend with, and the arguments between her and Jack are fierce. My only problem is that Nell first appears near the end of the first act, and the playwright, Peter Nichols, does not give enough time to introduce her.

At first Nell and Jack try and tell their counterparts to take the right course of action. During the second act it becomes clear that both pairs are acting out alternative scenarios for the affair. By the end it is interesting to watch the play create alternative outcomes. However, if you are unfamiliar with the play it can be unclear what the characters are doing. It is a challenge to follow what is going on during the second act with multiple narratives and discussions going on at the same time.

That said, the supporting cast of Annabel Scholey and Sian Thomas play their roles superbly and make up for the confusing storyline(s). When she is not taking off her clothes, Scholey plays the feminine fatale subtly. She does not play up the sexualisation, yet when she is with James it is clear that she has him in her grasp. Even when she comes over to talk about the affair with James and Eleanor she gradually takes control. Sian Thomas meanwhile is a moralist but nosey Agnes who makes every effort to show Eleanor that she has been betrayed by James.

The set comprises of the living area of James and Eleanor's house. At times it becomes a restaurant, art gallery, or clothes shop, as walls move back and forth across the stage and photos are projected onto them. What stands out however is the red sofa against the overall colour scheme of white, which becomes the centrepiece of the action. It turns on a revolving stage and a highlight comes at the end of the first act, as the discovery of the affair reaches boiling point. The couples perform a tightly choreographed sequence as they move to and fro around the sofa, trying to get the upperhand over the others. Interspersed within the scenes are pieces of choral music, alluding to Eleanor’s job and showing how even the most culturally sophisticated of people can be undermined by infidelity.

This story of passion, betrayal, and countless arguments is a fascinating one to watch. The story can be convoluted to follow by the end, and the play gives the impression that Nicolas himself has nothing to say on the issue. However this play is good enough to be seen at a High Bargain.

Saturday, June 1, 2013

The Full Monty Review

The Full Monty
The Mayflower Theatre, Southampton

This a perfect night out for hen parties but for anyone looking for a laugh and a fun time.The play follows Gaz (Kenny Doughty), who once worked in the local steel factory. He is now unemployed, separated from his wife, Mandy (Caroline Carver), and experiencing difficulties gaining access to his son, Nathan. He discovers that there is money to made from male stripping and decides to put together a group himself. Within the deserted steel factory he gets together a bunch of unlikely candidates who then rehearse for their first performance.

This is certainly a hilarious play. There are moments that are cleverly funny and fun to watch, and not just the stripping. There is a moment when Gaz and Dave finds Lomper (Craig Gazey) trying to hang himself, so the three spend a few minutes thinking about a better way to commit suicide. Another scene is set in a conservative club with a Margaret Thatcher bust standing like a blot in the middle of the stage, as Gaz tries to desecrate it.

But the Full Monty would not be a funny play, without a fantastic cast. Playing the leading character is Kenny  Doughty, who is an adventurous and honorable Gaz and who becomes nostalgic when he breaks into the steel factory he once worked in. Roger Morlidge plays an old and weary Dave who is supported by his loyal wife, Jean, played robustly by Rachel Lumberg. Sidney Cole is a crotchety 'Horse' who shows eagerness to join in the stripping and is not afraid to dance. 

The best character is Gerald, who is played wonderfully by Simon Rouse. He is desperate to get a job and reacts with anguish and fury when the others disrupt his interview. Elsewhere, the boy who played Nathan wonderfully expresses the point of view of someone who was not born during the Thatcherite era. He is a complete contrast to his father. However, the main actors did well to portray the underlying theme, which is that in this setting these men have nothing left but themselves to fall back on when trying to survive.

The story takes place amongst the skeletal remains of the steel factory. Set pieces and props are brought on to denote different settings, but the main setting is a constant reminder of the difficulties faced by the main characters. Not that there are not  moments of hijinks along the way, such as when Gaz, Dave and Nathan are locked in the factory when trying to steal a girder. What is more, the final strip is a tour de force.

Maybe the underlying theme is lost amongst the cat calls whenever some flesh is shown, but the play remains relevant as the audience of hen parties laughed at all the appropriate moments. I myself never lost sight of the issues and I thought that together with the cast this production had a lot of heart. This should be seen at a low Top Price.