BARGAIN THEATRE

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. 

A BRITISH SUBJECT

Based on the true story of Mirza Tahir Hussain, a holder of UK and Pakistan passports who was incarcerated on death row in Rawalpindi jail for 18 years, following a conviction for the murder of a taxi driver who tried to rob and sexually assault him.

The majority of the original Edinburgh Festival team have been re-engaged from the 2009 Pleasance Theatre production.  This political drama is written by actress Nicola McAuliffe of ITV’s comedy Surgical Spirit, who is also the sole female of the cast.  Driven by lack the lack of British government interest and his disgust at the appalling conditions, McAuliffe’s Daily Mirror husband, Don Mackay, worked tirelessly to eventually secure Hussain’s release.  David Rintoul,  of Mr. Darcy fame in TV’s Pride and Prejudice, gives a very polished performance in the role of Mackay; a Scottish, hard-faced, determined reporter who flies to Pakistan and lies his way into jail in order to visit condemned Hussain.

Kulvinder Ghir plays Hussain with grace, he pronounces each word with a paced elegance and gentility.  Ghir illustrates perfectly how time passes so incredibly slowly when constantly locked up in a cell with ten others for such a duration and menacing view of the gallows in the near distance.  The meeting between him and Mackay, which takes place at this venue, is particularly touching.  I couldn’t help but feel moved when the prisoner offered his visitor a beaker of water, probably his precious daily ration.  Although maintaining his innocence to murder, there was no sign of bitterness at all during the encounter, no frustration at being under constant threat of execution, merely a solemn acceptance of his fate and a steadfast spiritual belief.  Undoubtedly, it was this demonstration of dignified endurance that spurred Don Mackay into taking up Mirza Tahir Hussain’s plight.  The cascade of subsequent battles he fights, not only with lethargic authorities but also with his own newspaper, encourages his wife to solicit assistance from her circle of thespian acquaintances.  Any actress who is prepared to take to a West End London stage and describe herself as ‘second-rate’ has my respect and McAuliffe does exactly that when she realises her influence has waned and her colleagues don’t want to know.  Undeterred, she sets her sights on the Prince of Wales, who is due to journey to Pakistan, and it is his intervention which secures Hussain’s freedom.  

The company of four is complimentary completed by Shiv Grewel portraying a range of characters as the drama progresses.  McAuliffe too plays occasional ancillary female roles; both she and Rintoul also function as narrator when required.  The production could clearly benefit from a couple of extra cast members for the London stage, although the current party make a valiant effort to keep the flow running smoothly and without much confusion. 
 
Both costumes and set are modest yet adequately effective, just a conservatory style dining suite and a barley-twist table.  A multi-purpose, tall, central arch serves as a gateway to the assorted venues in the story, an airport security scanner and a religious focal point.  Hussain’s sole possession in jail was a cherished plain bucket, therefore the simple design seems entirely appropriate.

A British Subject is the last in the ‘Drama at the Arts’ season and runs until November 26th.  

Have faith in this worthy tale of hope, honesty and perseverance against the odds.

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REVIEWED: 04/11/11
By @BargainTheatre

1st - 26th Nov 2011.
Arts Theatre, London WC2.