EVENTS WHILE GUARDING THE BOFORS GUN

6 CHARACTERS IN SEARCH OF A DIRECTOR

Deals Directory 24/05/12

THE MYSTERY OF EDWIN DROOD

Let me start this review with one fact about me – I do not like audience participation. At least, I didn’t think I did. When I was handed a song sheet on my way into an auditorium full of cast members leading a preshow sing-a-long of Music Hall classics, I thought I was in hell. Admittedly I did not make any attempt to join in the preshow but by the interval I was too caught up in belting out songs about father decorating the parlour and some girl with long hair that my drink remained untouched – a first time for everything!

It must have been the charming first act of endless laughs and wonderfully drawn characters which caused me to let down my ‘anti-participation barrier’ as I found myself booing and cheering along with the packed out house at the show’s new home – The Arts Theatre, Leicester Square. It was very pleasing to see a theatre (albeit a smaller one) buzzing with a large crowd after spending far too many of my recent outings in sparsely populated auditoriums watching disheartened casts try their upmost to make the best of an empty midweek show.

I liked many things about this production but the one thing which left me most satisfied was the use of its ‘star name’, Wendi Peters. Yes, she may have her face and name on the poster but when it came down to her performance, she was a member of the cast who worked just as hard as anyone else and looked in her element taking part in the rousing company numbers which complimented and, to my mind, made the production. Despite her having quite an impressive theatrical background, most people will remember Peters from her days in Coronation Street and nothing made me happier to see a soap star returning to the stage who actually has the talent to carry a part. She is a revelation in the double role of Angela Prysock/Princess Puffer.

The production itself transfers brilliantly into the Arts Theatre. The cast make full use of two staircases leading from the stage to the auditorium and also appear regularly in the balcony making sure that the audience are completely involved regardless of their seats. The sound of the show really benefits from the larger sound system with the cast perfectly in balance with the brilliant orchestra under the baton of James Cleeve.

There are excellent performances overall from a very hardworking cast. My one grumble would be Daniel Robinson as Clive Paget/John Jasper who, despite seeming an incredibly talented performer with a lovely voice, didn’t quite grasp the ‘Music Hall’ style of acting as the rest of the cast did. Stand out performances for me were from Loula Geater as Janet Conover/Helena Landless and Tom Pepper as Nick Cricker/Deputy; both of whom I struggled to peel my eyes from during the scenes and production numbers.

The ‘audience vote’ towards the end of the show really makes the evening and adds such a unique touch of fun to the piece. Talking to other audience members after the show I was very pleased to hear that the ending is actually different every night, the vote is not just a very well-acted diversion!

All in all, a very enjoyable evening and a production which deserves so much more than just 35 performances in town. I whole heartedly recommend it – I will definitely be returning before it closes.

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REVIEWED: 22/05/12
By David Coverdale @davidcoverdale9

18th May - 17th June 2012
Arts Theatre, London, WC2. 

BRIMSTONE AND TREACLE

THE PIRATES OF PENZANCE

JEKYLL AND HYDE

Emerging production company Morphic Graffiti bring Frank Wildhorn’s musical version of Jekyll And Hyde up to date with a highly imaginative and creative slant on Leslie Bricusse’s haunting tale. 

Since watching this, I’ve given it much consideration; for it’s certainly a thought-provoking work. The key to understanding is acceptance that nothing about this production is given to be constant or can be taken for granted. A lot more is transformed here than merely Dr. Jekyll himself. Director Luke Fredericks has laboured to successfully provide a whole journey around the conceptual theme of change. The strange sight of Henry Jekyll keeping his journal on a computer and chatting on a mobile telephone still takes some adjusting to, but that seems to be the whole point and once the penny drops, this production becomes far easier to navigate and thus enjoy. Take Stewart Charlesworth’s set design in the same way; a typically run-down Dickensian street scene in East London where barrow-boys probably ply their varied wares by day and prostitutes lurk in darkened doorways at night. Perfect for the original setting of this tale but why choose that as a backdrop when the action has been deliberately updated to sometime post 1979? His clever use of projected computer images and contemporary video footage blend the periods together so that while you are never allowed to forget its Victorian roots, the story emerges easily into the late twentieth century. 
 
Andrea Miller plays the annoying Lady Beaconsfield with a perfectly subtle Scottish humour and Mark Turnbull makes a fine Sir Danvers Carew, the National Health Service executive and father of Jekyll’s intended.  Lydia Jenkins delivers also, as Nellie, tart of the Red Rat bar, peroxided and sporting a very topical Union Jack bra!

There are notable vocal performances from the carefully chosen cast; I was particularly impressed by the delicate duet ‘Take Me As I Am’ with Joanna Strand as Emma Carew and Tim Rogers as Henry Jekyll. Rogers likewise demonstrates ability in the solo ‘This Is The Moment’, while Madalena Alberto, who plays an actress by the name of Lucy Harris, sure can belt! Her ‘Someone Like You’ nearly raised the rafters. There are pleasing ensemble numbers too, particularly the Board of Governors arrangement and ‘Murder, Murder’. Musical directing team Dean Austin and Scott Alder deliver the goods here, I am pleased that the production features a five piece band (keys x2, flute, sax, cello, guitar) yet still allows all the unamplified vocals to be heard clearly.
 
There are no large laboratory jars or bunsen burners here, for who would go to such extremes nowadays, when there is a chemist shop down the road?  Instead, Jekyll reads his recipes from a laptop and simply mixes the contents of prescriptions.  This works very well for it is, after all, precisely the way terrorists now make home-made explosives, so why wouldn’t he make use of those advances?  The same principle, I suppose, extends to the wearing of dark hoodies to demonstrate the conversion of Jekyll into Hyde, but here my thirst for darkness was not quite satisfied, though I must say that the method of his eventual demise proves to be quite a surprise and chillingly effective!

The choice of Jekyll and Hyde as their inaugural production is a brave choice for Morphic Graffiti, since the subject matter will never be to everyone’s taste but they have made a promising and inventive start, though I’ll never walk down Harley Street with the same ease again!

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REVIEWED: 19/05/12
by Gareth Richardson @BargainTheatre
 
16th May - 16th June 2012
Union Theatre, London, SE1.

THE THING ABOUT MEN

DENIAL

ABIGAIL’S PARTY

Lindsey Posner’s revival of Mike Leigh’s iconic Abigail’s Party started its life at the Menier Chocolate Factory in March this year, before finally moving ‘into town’ on May 15th. Having been met with rave reviews it was almost inevitable that the production would be shifted to the West End. Despite not seeing the original production, I have a slight inkling that the Menier’s more intimate setting would serve the piece much better. In the larger Wyndham’s Theatre that sense of being ‘in the room’ with the characters is a little lost in such grand surroundings.

That said, it is no fault of the actors, director or anyone else involved. Posner’s direction is well paced and fluid, allowing the actors to have fun with the script. The design is second to none; the burnt orange hues and garish patterns of the 70s are beautifully tragic, perfectly capturing the era. Shelves crammed with gaudy vases, gold-tinted book bindings and even a fibre optic light, add warmth and comfort to proceedings. Credit should definitely be given to the set designers, who are often forgotten when praise is handed out.

It is a shame that Jill Halfpenny is best known for her ballroom prowess than for her acting talent, as she delivers Beverly with absolute delight. A role so intrinsically linked with another actress is not something anyone should take on lightly.  Halfpenny attempts, but doesn’t quite succeed, to make Beverly her own animal. Inevitably, and somewhat sadly, she never quite manages to make you forget about Alison Steadman’s original portrayal, however she is none-the-less brilliant, like a whirling dervish when she gets going. Streams of consciousness pour from her mouth, without her brain being engaged at all, constantly saying the wrong thing and shamelessly flirting with her neighbour’s hubby. Halfpenny’s constant swaying arm movements are a hilarious character trait which she revels in.

Natalie Casey begins monotone and drab, becoming chattier when the gin flows freely, and monstrously powerful when Angela’s nursing instincts take over. Having enjoyed Casey’s comedy for years, I was expecting her’s to be the most overtly characterised and comedic performance out of the women. I was not wrong.  It was Susannah Harker, however, who stole the show out from under her co-stars’ feet, delivering a tour-de-force performance in its subtlety. Understated and perfectly judged, her Sue is the mouse to Halfpenny’s lion and Casey’s donkey. Effortlessly she makes the role her own, and I found myself watching her far more than others. Even when ‘doing nothing’ she was incredible.

Andy Nyman was a brash, loud, obnoxious Laurence, but felt too quick to temper. Joe Absolom as Tony didn’t do a great deal and unfortunately became more of a mumbling bit of the scenery than a fully formed character. This was the ladies’ show, and deservedly so.

With three wonderfully timed comedic female performances and a drunken descent we can definitely all relate to, Abigail’s Party will entertain despite the overly large theatre. You may not be able to forget the seminal original, but you will certainly have a great time…actually.

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REVIEWED: 16/05/12
By Tom Norman @TomNorm

15th May - 1st September 2012
Wyndham’s Theatre, London, WC2. 

WHAT THE BUTLER SAW

Doctors, doors and dilemmas provide the backbone of the latest farce to hit the West End, but is there room for another comedy in the marketplace already shared by One Man Two Guvnors and Noises Off? Add recently closed The Ladykillers to the list and it’s evident that Theatreland has had it’s fair share of laughs in recent months. Perhaps as a distraction from the gloomy weather and economy.

Written in 1967, Joe Orton’s final play takes us to an examination room in a private clinic where we meet randy psychiatrist Dr. Prentice trying to seduce an unsuspecting, young, blonde secretary Geraldine Barclay (Georgia Moffett). They are interrupted by his fur-coat, knickerless, nymphomaniac wife and from there are set on a downward spiral of pandemonium, particularly as a Ministry inspector chooses to pay an unannounced visit at such an inopportune moment. It’s all a bit Carry On Doctor and very far-fetched but nonetheless provides much merriment. With clothes swapping aplenty, it’s not so much the goings-on that cause concern, it’s more what’s coming off that matters here!

Samantha Bond as the whisky-loving, Doctor’s wife has revelations of her own as she is being chased by a bell-boy (Nick Hendrix) who has taken ‘revealing’ photographs of her during a recent encounter in a linen cupboard. Somehow, he is persuaded to don a peroxide wig, leopard-print dress and pose Bet Lynch-style as Miss Barclay, who by this time has gone missing. Cue a police sergeant, together with talk of incest and white golliwogs and there you are, all the ingredients for chaos are complete. Except I’ve forgotten to mention the naked man; how could I forget the naked man and the policeman’s helmet? Confused? You will be!

Omid Djalili plays the Ministry official Dr. Rance with tremendous energy and though he does need to settle a little, his is the central comedic role around which everything else hangs, giving Tim McInnerney a lot to play off and thus, in turn, the delightful Samantha Bond. In fact, there is enough there to write a book and that’s exactly what Rance says he will do, but all in good time. Speaking of which…

The plot is very hectic, calling for lots of nipping on and dashing off so timing is crucial and director Sean Foley has just about managed it. I should stress that I visited during previews and it was looking quite tight.

So where does the butler come into all this? Well he doesn’t exactly, except that we, the audience get his view, we see what he would have seen had he been there! Except he wouldn’t have been there because butlers don’t often work in madhouses, but who cares? For this is no time to apply logical reasoning, that’s the preserve of Dr. Rance whose irrational theories only lead to the calamity that all of the characters find themselves plunged into; and who knows where that may lead!

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REVIEWED: 07/05/11
By Gareth Richardson @BargainTheatre

16th May - 25th August 2012
Previews from 4th May
Vaudeville Theatre, London, WC2.

WHEN WOMEN WEE

When Women Wee is hardly a title that leaves much to guesswork, essentially, what you see is what you get.

Not surprisingly, the one hour play is set in a ladies’ toilet of a nightclub. During the course of the evening, many characters appear to perform the various things women apparently do in the restrooms of such establishments.

Each character, with a vague connection to one another, takes us through the evening, sharing their stories along the way. There’s the group of friends taking pictures in the mirror, “I do my makeup according to what I look like in the picture”, the hen party, the underage girls who’ve snuck in and the mother out for a ‘night off’. Drugs, fondling, dirty talk, falling over, raving and vomiting; all of which leads for a busy hour at Soho Theatre.

The play is housed in the upstairs studio space, which lends itself to fringe theatre, however with the sparce set and black curtains it has airs of a student showcase rather than a professional show. The multi-role playing of the five female actresses unfortunately lends itself to this also.

That’s not to say that the actresses don’t all do a good job, as they do, performing with complete commitment and energy. For the first twenty minutes this all seemed somewhat forced but thankfully this disappated with progress. The material is good, not groundbreaking, nor life changing, but for an hour of good fun it’s money well spent.
I would also note though, that this show had a largely female audience, of which a few vocal observations were thrown out during the performance such as ‘these are trade secrets’ whilst we watched an actress cover a toilet seat in paper in a methodical fashion.

An amusing highlight of my evening was one of, if not the only, male in the audience shrieking “Oh my god”, as two characters discussed the use of ‘feminine spray’, which delivers the scent of either summer meadow or winter rain - that in itself should paint a pretty strong picture of the play as a whole.

If you generally look for a show that will enlighten you or evoke an intelligent discussion, this is not for you; if you want an easy laugh and an entertaining hour then this delivers in spades, and where’s the harm in that?

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REVIEWED: 09/05/12
By Sally Bowles

8th - 19th May 2012
Soho Theatre, London, WC1.

LOVE LOVE LOVE

Three acts, each twenty years apart, about a couple. Doesn’t sound extremely riveting as a prospect for nigh on three hours does it? Love Love Love (title ceremoniously borrowed from the Beatles lyric in All You Need Is Love) luckily behaved better than I was expecting in the Royal Court’s latest Downstairs production.

Mike Bartlett, always a name to be revered within the M25 yet curiously less so outside, pieces together the fractured tale of Kenneth (excellent Ben Miles) and Sandra (the mesmerising Victoria Hamilton) – a couple perfectly matched within the fire of the sixties. The first act opens whilst Henry (the desperately underused Sam Troughton) is going out with Sandra, spending time preparing the flat for her first visit. However, Henry’s younger brother, Kenneth, refuses to leave them alone. Half hour later –  Ken and Sandra have eloped and spend the summer travelling before landing together in Oxford to continue their undergraduate studies. Quick work.

Second act, 1990, all’s changed. Ken and Sandra are now in their late thirties and have two teenagers – Rosie (Claire Foy), turning sixteen and Jamie (George Rainsford), fourteen. The parents’ relationship is fracturing, something has gone wrong – “we live in Reading” whilst strained bonds seem to be the flavour of the day. It is this act where the play is at its strongest both in narrative, exploring the differing attitudes of the generations and their escapism methods (brace the door!), and in performances – not surprising considering everyone is playing closest to their actual age and hence more comfortable in their roles.

The third act, for me, is when it falls apart (I won’t spoil things, however very little happens) – now we are in the world of the iPhones, the housing crisis and everything else. Performances here are still strong however noticeably at their weakest, with Rainsford having very little to do and Foy appearing extremely youthful for thirty seven (whether clearer up front, I don’t know, but from the circle she didn’t look a spot over twenty five). Personally, whilst I understand the creative merits in such a third act; the overall production would have been stronger if it instead dealt with the aftermath of act two a handful of years later. However, the final few moments were lovely to watch.

The star of the show, in many ways, is the set designed by Lucy Osborne – each act lovingly recreates a room of the eras. With two full length intervals, anything less would have been less than ideal (no, there’s no Wastwater style quick changes here). This production is only going to gain in strength over the coming weeks – well worth a visit.

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REVIEWED: 05/05/12
By Daniel Whitley @DanielWhit

27^th April – 9^th June 2012
Royal Court Downstairs, London, SW1.

HIS GREATNESS

Tennessee or not Tennessee? That is, maybe, the question but it matters not really, the story was however inspired by him. An unnamed yet famous playwright, basking in dated glory, facing the 1980s Vancouver premiere of his new play is shored up by his ever-faithful yet acerbic assistant who cocoons him in a protective world, shielding his employer-cum-lover from the perils that threaten to knock him into reality. Three’s a crowd it seems, when the arrival of a fresh-faced rent boy threatens to tip the assistant off his self-built pedestal. But they have been here before, he has seen off countless so-called muses over the many years of his engagement, so there’s nothing to fear this time. Or is there? Does he still have the will to endure his boss and all that entails? Actually, which one is most reliant on the other?

We’re not quite in the realm of Norma Desmond in Sunset Boulevard here, but the relationship between her and Max, the husband-cum-butler, are vaguely similar. Matthew Marsh plays the central ‘Playwright’ with conviction, beautifully displaying his character’s foul-temper for instance, when pressurised during a telephone interview with a radio presenter. He hangs up when she displeases him, much to the despair of his companion. Described simply as ‘The Young Man’ Toby Wharton, who shone in the Finborough’s acclaimed production of The Fog earlier this year, persuasively takes to the naive escort role. It is Russell Bentley though, fresh from Tennesee William’s A Streetcar Named Desire at the Liverpool Playhouse, who is most convincing as the ‘Assistant’. This new play, I assume, is not supposed to be about him, but he makes it so, for Canadian writer Daniel MacIvor ensures this is a battle of wills between the trio.

All of the characters are strong in entirely differing ways. The Playwright has his ego, reputation and fame as he is, afterall, the breadwinner. The Assistant is supposedly safe in the knowledge that the Playwright cannot function without his guidance, while the Young Man has the cocky confidence of a newcomer, who sees his chance to compete with, and perhaps replace the Assistant in the Playwright’s affections. The whole story is concentrated over just two days in the life of the three gay men.

Despite all the pieces being in place, this play did not quite do it for me and I don’t exactly know why. I felt the same with Plague Over England at The Duchess and the reason for that was equally enigmatic. Jean-Marc Puissant’s hotel room design is transverse, with the audience sat either side works exceedingly well; Ezra Axelrod’s Songs From An American Hotel take note! The chandalier-drop sidelights alone are worthy of their own mention. Che Walker’s direction can’t be faulted either, but somehow I didn’t warm completely. That’s not to say that others around me felt the same and I feel it’s only responsible to point that out. This is not a play about Tennessee Williams’ life, but I didn’t expect it to be. It is a lesson, perhaps, in how the building of artificial protection on rocky foundations, either for yourself or others must, at some point, only lead to despair.

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REVIEWED: 05/05/12
By Gareth Richardson @BargainTheatre

24th April - 19th May 2012
Finborough Theatre, London, SW10.

TOP HAT

Ever since the glorious production of Lend me a Tenor closed at the Gielgud last summer, I’ve been a firm fan of 1930s farcical musicals with antique set designs and a classic score. Matthew White’s Top Hat fits this description perfectly, complete with tap-dancing bellhops, and even an ex Tenor cast member to boot (John Stacey). Needless to say, within the first 5 minutes, I was hooked.

Despite this being a musical based entirely on the 1935 film, I had no idea what to expect. Similar to most people in their late twenties, I saw the film as a teenager but could barely remember it, except for the more famous tracks ‘Let’s Face the Music & Dance’, ‘Cheek to Cheek’ and ‘Top Hat, White Tie and Tails’. On further inspection of the audience I quickly realised I was in the minority, with 80% being 50+. However, this should by no means prevent anybody, younger or otherwise, from giving this show a chance, even if you aren’t familiar with the songs or storyline, you’ll be enthralled from beginning to end.

Tom Chambers and Summer Strallen, play Jerry Travers and Dale Tremont respectively, two Americans who meet at a swanky London hotel during Travers’ run in a West End show. After an initially hostile first meeting, the couple slowly start to discover more about each other, during which some hilarious misunderstandings ensue. Chambers opens act one with an astounding tap number, proving his natural abilities, and perhaps somewhat surprisingly, a very pleasing voice. His accent is dubious at times, but the way he moves is effortless and at one point partnered by a hat stand, which is particularly impressive.

As wonderful as Chambers is in the role, Summer Strallen is surely the true star of the show. It’s not very often that an actor can immediately captivate an audience on stage before they’ve even spoken, but not every actor is Summer Strallen. Her characterisation of Dale is spot on, a cheeky yet likeable, quick-witted bombshell who takes no prisoners. I was particularly struck by her flawless accent and also her vocals, which aren’t given enough opportunity to shine as Chambers mostly leads.

A special mention must go to Ricardo Afonso, better known for his role as Galileo in We Will Rock You. Afonso’s Spanish, and somewhat camp, fashion designer is quite a departure from the angsty adolescent and thankfully wows the audience with an operatic solo, displaying some genius comedic timing. Other secondary characters, Marge and Horace Hardwick played by Vivian Parry and Martin Ball, are also given the chance to take centre stage in a charming duet.

The first act is short, being just an hour long (during previews) and flies by, but works well. An extra half hour of various tap dancing numbers would have been too much, and the fact that the relationship between Jerry and Dale is only just starting to establish itself means that the interval commences when the audience are just beginning to want more. I’m not sure if this is intentional, but it left me on the edge of my seat.

Top Hat is a beautifully balanced mix of humour, farce and breath-taking, tap-dancing routines all rooted in Irving Berlin’s wonderful score. Chambers and Strallen do Fred and Ginger proud, so if you want to be transported back to a time of fun and furiously, phenomenal tap sequences, head to the Aldwych Theatre as fast as your spats can carry you.

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REVIEWED: 30/04/2012
By Caroline Cronin @CazCronin

Booking until 26th January 2013
Aldwych Theatre, London, WC2.