BARGAIN THEATRE

CORNELIUS

Reviewing plays at the Finborough has been a highlight this year for me and after a run of such stunning plays as The Drawer Boy and Events Whilst Guarding the Bofors Gun I have started to approach pieces here wondering if they can keep their standards so high. I need not have worried as Cornelius just serves to confirm the Finborough’s place amongst those powerhouses of theatre who punch considerably above their weight time and time again.

Written by J.B. Priestley in 1935 Cornelius needs to be given it’s full title of Cornelius. A business affair in three transactions…as that is precisely what it is.  Originally written for the great actor Ralph Richardson and produced here for the first time in more than 70 years.

The setting is small, failing, metal importers “Briggs & Murrison” in Holborn struggling to make ends meet and fend off the assorted ranks of creditors, including their previously supportive bank manager. Whilst a senior partner is off in the wilds of the North attempting to drum up business, the staff led by the pressured Mr Cornelius, played deftly by Alan Cox, banter with each other all the while trying to remain guarded about their own deep seated insecurities. 

The staff members have their world shaken to the core by the arrival of Judy Evison, charmingly played by Emily Barber, who shows them all the possibility of living a life rather than just struggling to exist.   One by one they have to deal with their own reality and determine their own escape from what they regard as being trapped. Some are trapped by habit or lack of promotion, some by unrequited love and others by a strong sense of duty.  The office is certainly reminiscent of one that I used to work in many years ago and captures the banter between work colleagues perfectly.

Something else that is perfect is the casting. I have rarely seen a play where every single actor is flawlessly cast but here it is a delight to see.  All of the cast are uniformly good, from David Ellis as the teenage Lawrence stomping around in a huff, to Beverly Klein as the battle axe of a cleaner.

I won’t give away the plot here, but I will say that the first half is incredibly funny and had me, and most of the audience, frequently laughing out loud. The return of the travelling partner signals a shift in tone and the play takes on a decidedly darker hue for the second half.  This is essentially a play about hope and more particularly hope in the face of adversity. Yes it’s a period piece but the message is clear even to a modern audience, that we have the strength to shake off even the most horrid of events which come our way and deserve to live our lives to the full.

To my suprise, only ever having once seen a J.B. Priestley play on stage and that being a poor, clunky, dated production, Cornelius is a fast paced, powerful and touching play that veers from high comedy to high drama seemlessly. 

So if you find yourself with an urge to see a well written, acted, directed and brilliantly cast period piece which still holds sway with today’s ever hardening economy you should see Cornelius and remember that perhaps things were not always better in bygone times.


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REVIEWED 16/08/12 

By Colin Appleby
@CJ_Appleby

14th August - 8th September 2012
Finborough Theatre, London, SW10.

DEALS DIRECTORY 15/08/12

TICKETS FOR A TENNER - Over 50 theatre productions with tickets for £10 or less http://bit.ly/PZkzuc *includes Globe Theatre, West End & Michael Grandage season.

Accommodation
London Theatre breaks - See links toward the end of the Directory

KIDS WEEK - Free child ticket with each adult seat + no fees at loads of West End shows! http://bit.ly/K69uPO *1st-31st August

Now to the Deals Directory…musicals first, followed by plays, miscellaneous theatre bargains, accommodation & info to finish.
Note: Extra 5% off ALL theatre bookings for any date, on bookings made until 31st Aug via discount site Theatre Tickets Direct http://bit.ly/L9B1mb *Use code EURO2012

Musicals

BILLY ELLIOT - Top price seats £35, 2nd price £25 (was £62.50/£47.50) Mon-Fri til 31st August http://bit.ly/MGjhRK West End

BILLY ELLIOT - Top price seats £44 (was £57.50) Mon-Fri until 9th Sept http://bit.ly/zV9TDT *Victoria Palace Theatre, West End

BLOOD BROTHERS - Top price seat £26 (was £57.50) Mon-Thu til 23rd Oct http://tidd.ly/eeee8dac *Phoenix Theatre, West End

BLOOD BROTHERS - Best available seats £26 Mon-Thu, £30.50 Fri eves + Sat matinees, til 23rd Oct http://bit.ly/GDZ1em *Phoenix Theatre, West End

BLOOD BROTHERS - Best available price seats £27.50 (was £57.50) Mon-Thu eves, £29.50 Fri eves & Sat mats, £39.50 Sat eves, til 20th Oct http://bit.ly/FPvuh3 *Phoenix Theatre, West End

BLOOD BROTHERS - Top price seat (was £57.50) + free 2 course meal, all for £29. Mon-Sat until 19th Oct http://bit.ly/PxFAoV *Phoenix Theatre, West End

BLOOD BROTHERS - Best available stalls/dress seats £29.50 (was up to £57.50) Mon-Thu til 18th Oct + £39.50 Sats http://bit.ly/Nrgn4g *West End

CHICAGO - Top price seats £32.50 (was £66) at all performances until 24th Aug http://bit.ly/NZUDcp *Garrick Theatre, West End

CHICAGO - Top price seats £35 Fridays at 5pm (was £66) & £39.50 other performances until 1st Sept (not Sat eves) http://bit.ly/w3u9tM *Garrick Theatre West End

CHIGAGO - Top price seats £39.50 (was £66) Mon-Fri eves + Sat 3pm http://bit.ly/MrkNoF *Garrick Theatre, West End - other seats from £15

CHIGAGO - Top price seats £39.99 (was £66) Mon-Fri eves & Sat matinees til 1st Sept http://bit.ly/I6kjV6 *Garrick Theatre, West End

GHOST - Top price seats £38.50 (was £65) Mon-Fri until 8th Sept http://bit.ly/xYdVyK *Piccadilly Theatre, West End. Other seats from £20.12

GHOST - Top price seats £39.50 (was £65) Mon-Fri til 5th Oct http://bit.ly/KMX69B Piccadilly Theatre, West End

GHOST - Top price seats £40 (was £65) Mon-Fri until 31st Aug http://bit.ly/Mwlc7L *Piccadilly Theatre, West End

GHOST - Top price seats £43.50 (was £65) Mon-Thu til 6th Sept & £49.50 most other performances til 5th Oct http://bit.ly/HHOyAs *Piccadilly Theatre, West End

JERSEY BOYS - Top price seats £35 + no fee (was £67) Tue-Fri + Sundays til 2nd Sept http://bit.ly/OsQAs0 West End. Use code JERSEYZOO

JERSEY BOYS - Top price seats £39.50 (was £65) Tue-Thu til 30th Sept http://bit.ly/MPleqK *Prince Edward Theatre, West End. £49.50 Fri & Sun

JERSEY BOYS - Top price seats £41 (was £65) on selected Tue-Sun dates til 30th Sept http://www.londontheatrebookings.com/show/jersey-boys/ Prince Edward Theatre, West End

KISS ME KATE - Top price seat (was £55) + free drink & programme - all for £37.50 for @whatsonstage members http://bit.ly/N1MD8I on 26th Nov

LES MISERABLES - No known discount deals, buy in person from Queens Theatre box office to avoid booking fees. If you know of an offer, please tell us and we will list it here.

THE LION KING - Free ZSL London Zoo entry pass with £60 top price & £42.50 3rd price seats + no booking fee http://bit.ly/NBoBaa *Tue-Fri, 4th-28th Sept

LONDON ROAD - Top price seats £20 (was £32) at selected performances until 29th Aug http://gu.com/p/39h4e/tf National Theatre SE1 (sign-up deal)

LONDON ROAD - Top price seats £25 (was £32) all performances in August including Saturday eves http://bit.ly/O0nTDu *National Theatre SE1

MAMMA MIA - Top price stalls seats £39.50 + no fee (was £64) Mon-Fri from 6th Sept to 19th Oct http://bit.ly/QXyvTY *West End

MAMMA MIA - Top price seat £64 + free 2 course meal at choice of 9 restaurants Mon-Thu til 30th Aug http://bit.ly/RuTQTb *West End

MATILDA - No current deals, avoid booking fees by purchasing in advance, in person from the Cambridge Theatre box office or tickets available from 12th Sept onward at fair prices here http://bit.ly/SuqmoY *West End

THE PIRATES OF PENZANCE - Top price seats £15 (was £27.50) 26th-30th Sept http://www.hackneyempire.co.uk/2823/shows/the-pirates-of-penzance.html … … Book by 31st Aug. Use code EARLY BIRD PIRATES

PHANTOM OF THE OPERA - Top price seats £49.50 (was £65) Mon-Fri eves + Sat matinees til 8th Sept http://bit.ly/KDEg7p *West End

PHANTOM OF THE OPERA - Top price seats £51 (was £65) Mon-Thu til 20th Dec http://bit.ly/y6JVNB *Her Majesty’s Theatre, West End

RAGTIME - Band A (top price) and Band B seats half price, now £21.25 & £18.75 Mon-Fri + Sat mats til 29th Aug http://bit.ly/NYtP0i *Regent’s Park Open Air Theatre

RENT - Best available seats £10 on 5th & 6th Sept http://bit.ly/MVeJJ1 *Greenwich Theatre. £20 at other performances

ROCK OF AGES - Top price seats £15 for TheatreFix members (anyone aged 16-25 can become a member for free) http://www.theatrefix.co.uk/offers/ *West End

ROCK OF AGES -Top price seats £34.50 (was £65) Tue-Fri til 9th Sept & £44.88 on Sundays Sundays http://bit.ly/yLUvN3 *Shaftesbury Theatre, West End

ROCK OF AGES - Top price seats £35 (was £65) Tue-Fri eves + Sun matinees til 30th Aug http://tidd.ly/6e16df47 *Shaftesbury Theatre, West End

ROCK OF AGES - Top price seats £39 (was £65) on Sundays and £43 Tue-Sat til 9th Sept http://bit.ly/mvHGWe Shaftesbury Theatre, West End

SHREK - Top price seats £44.88 (was £65) all performances til 30th Sept. Other discounted seats from £19.99* http://bit.ly/J9horA West End

SHREK - Top price seats £47 (was £65) Mon, Weds & Thurs until 27th Sept http://bit.ly/KEEnus *West End

SINGIN’ IN THE RAIN - Top price seats £39.50 (was £60) all performancest until 1st Sept http://bit.ly/PehWSi West End. Book by 17th August.

SPAMALOT - Top price seats now £27.50 (was £55) at all performances til 31st August http://bit.ly/T1dtD7 *West End

SPAMALOT - Top price seats £32.99 (was £55) at all performances except Sat eves & Sun matinees until 8th Sept http://bit.ly/NgN6p6 *Harold Pinter Theatre, West End

STOMP - Top price seats £26 (was £49.50) Mon-Thurs until 15th Dec, £30 Fri & Sat http://bit.ly/zroj6n *Ambassadors Theatre, West End

STOMP - Top price seats £27 (was £49.50) Mon-Thu til 15th Dec, £30.50 Fri & Sat http://bit.ly/z5ho5x *Not school holidays. Ambassadors Theatre, West End

STOMP - Best available seats £28 at most performances (not Sat eves) til 15th Dec 2012 http://bit.ly/tyRxOk *Ambassadors Theatre, West End

SWEENEY TODD - Top price seats £33.75 (was £67.50) Mon-Fri til 14th Sept http://bit.ly/LxatuT *Adelphi, West End. Other seats £25. Book by 20th Aug 10am.

SWEENEY TODD - Top price seats £37 (was £67.50) Mon-Fri until 14th Sept http://bit.ly/LjD4ru *West End

SWEENEY TODD - Top price seats £39.50 (was £67.50) Mon-Fri until 14th Sept* http://bit.ly/IFPR1n West End

SWEENEY TODD - Top price seats £40 Selected dates this week (was £67.50) http://bit.ly/Iie9Al Note: Limited availability

SWEENEY TODD - Top price seats £42.50 (was £67.50) & upper circle £29.99 Mon-Fri until 14th Sept http://bit.ly/IK3rV3 *Adelphi Theatre, West End

SWEENEY TODD - Best available top price stalls/dress seats £47.50 + no fee (was £67.50+) Mon-Thu til 20th Sept http://bit.ly/HzHPo6 *Adelphi, West End

THRILLER LIVE - Top price seats £29.45 (was £59.50) all performances til 10th Sept (£36.50 Sat mats) http://bit.ly/JWzguq *Lyric, West End

THRILLER LIVE - Best available seats £34.50 at all performances (not Sats) until 21st Oct http://bit.ly/t33ioe *Lyric Theatre, West End.

TOP HAT - No known offers currently available for this show. Buy direct from the Aldwych Theatre box office to avoid booking fees. If you know of a deal, please let us know & we will include it here.

VIVA FOREVER - Top price seat £37.50 (was £67.50) for @whatsonstage members http://bit.ly/NSH3u4 Club night on 11th Feb. Piccadilly Theatre

WE WILL ROCK YOU - Top price seats £31 (was £62) Mon-Fri eves & Sat mats til 22nd Oct http://bit.ly/K8sDor *Dominion Theatre, West End

WE WILL ROCK YOU - Top price seats £37.50 + no fees (was £62) Mon-Thurs til 20th Oct http://bit.ly/ti3WkB *(also, £38.50 Fridays) West End

WE WILL ROCK YOU - Top price seats £37.50 (was £62) + most other seats reduced, Mon-Fri eves until 19th Oct http://bit.ly/HAqZpo *Dominion Theatre, West End

WICKED - No current deals known, buy direct & in person from the Apollo Victoria Theatre box office to avoid booking fees.

THE WIZARD OF OZ - Top price seats just £20 (was £65) on 15,16,21,22 & 23rd Aug http://bit.ly/NlTUGX London Palladium, West End

THE WIZARD OF OZ - Top price seats £32.50 (was £65) Tue-Fri performances until 24th August http://bit.ly/JetSBb *Palladium, West End

THE WIZARD OF OZ - Best available top price seats £39.99 (was £65) Tue-Fri eves til 30th Aug (£49.99 Sat & Sun) http://bit.ly/z02AY5 *West End + Upper circle £13.99

THE WIZARD OF OZ - Top price seats £39.99 (was £65) Tue-Fri eves til 30th Aug http://tidd.ly/53c97624 *West End

THE WIZARD OF OZ - Top price seats £45 (was £65) at most performances (Tue-Sun) til 30th Aug http://bit.ly/H2JEff *London Palladium West End

Plays

ABIGAIL’S PARTY - Top price seats £24.50 (was £49.50) Mon-Fri til 31st Aug (£30 at Sat matinees) http://bit.ly/LqfyrE *Other seats £10/15/20

ABIGAIL’S PARTY - Top price seats £29.50 (was £49.50) upper circle £19.50 & balcony £10 at all performances until 31st Aug http://bit.ly/KFKap2 *West End

ABIGAIL’S PARTY - Top price seats £32 (was £49.50) all dates (not Sat eves) til 25th Aug http://bit.ly/Lrtn3c *Garrick Theatre, West End. Other seats £12/£21.50

CHARIOTS OF FIRE - Best available seats £39.50 + no fee (was up to £55) til 7th Sept http://bit.ly/Pxn2tt *West End. Upper circle £15 + no fee.

CHARIOTS OF FIRE - Top price seats £46.50 (was £55) Mon-Fri + Sat matinees until 29th Sept* http://bit.ly/II53gL Gielgud, West End

HEDDA GABLER - Top price seats £35 (was £45) All performances 5th-11th Sept http://bit.ly/S493sR *Old Vic SE1, preview offer

LONG DAY’S JOURNEY INTO NIGHT - Top price seats £29.50 Mon-Thu & £33.50 Fri & Sat (was £53.50) til 18th Aug http://bit.ly/R3AcgU *Apollo Theatre, West End

LONG DAY’S JOURNEY INTO NIGHT - Top price stalls/dress seats £34.50 (was £53.50) Mon-Sat til 18th Aug http://bit.ly/JOWWC9 *Others from £18

ONE MAN TWO GUVNORS - Top price seats £46 (was £56) Mon-Thu til 29th Aug. Other seats from £12 http://bit.ly/ydtlOP *Theatre Royal Haymarket West End

ONE MAN TWO GUVNORS - Top price seats £46 (was £56) & gallery seats £12 Mon-Thu til 29th Aug http://bit.ly/L9MHU6 *TR Haymarket, West End

THE 39 STEPS - Best available seats just £10 (was up to £47.50) Weds matinees til 8th Sept http://bit.ly/MvSUt6 *Criterion, West End

THE 39 STEPS - Top price seats £23.75 (was £47.50) Mon-Fri until 31st Aug. Criterion, West End. Call 0844 847 1778 quote THEATRELAND OFFER

THE 39 STEPS - Top price stalls/dress seats £27.38 (was £47.50) Mon-Fri eves until 28th Sept http://tidd.ly/55d85206 *Criterion Theatre West End

THE DOCTOR’S DILEMMA - £26-£38 seats reduced to £20 at selected performances (not matinees) http://bit.ly/QAmsOr Natonal SE1. Use code p6245

THE MOUSETRAP - This show never discounts its prices (and in its sixtieth year who can blame them!), therefore no offers are available. For best price + to avoid booking fees, buy direct & in person at the St. Martins Theatre box office.

THE WOMAN IN BLACK - Best available seats £25 (was £45) Tue-Thu eves & £27.50 Fri/Sat until 17th Dec http://bit.ly/LqlalV *West End. Other seats from £12.25

THE WOMAN IN BLACK - Top price seats £27.50 or £29 (was £45) most performances til 14th Dec http://bit.ly/H03kTc *Fortune Theatre, West End

THE WOMAN IN BLACK - Top price seats £29 (was £45) all dates til 14th Dec http://bit.ly/JPTy8Q *Fortune Theatre, West End. Other seats £19.50

THE WOMAN IN BLACK -Top price seats £29.90 Mon-Thu, £35 Fri/Sat (was £45/£48) til 15th Dec http://bit.ly/w8yqv2 *Fortune Theatre West End

VOLCANO -Top price seats £23.75 (was £47.50) all performances til 10th Sept http://bit.ly/ODYbBt *Vaudeville Theatre, West End

WAR HORSE - No current deals, avoid booking fees by purchasing in advance of the day, in person from the New London Theatre box office - or tickets available for dates from August onward at face value plus booking fee at reputable sites: Last Minute http://bit.ly/HcZgS6 Love Theatre http://bit.ly/Pf4KfY Theatre People http://bit.ly/Op0MTQ London Theatre Direct http://bit.ly/NcMFfc UK Tickets http://bit.ly/NlRZ5j

YES PRIME MINISTER - Top price seats £23.35 (was £46.50) Mon-Fri eve+Sat mats til 22nd Sept http://bit.ly/Sv74QC *West End.

YES PRIME MINISTER - Top price seats £35 (was £46.50) Mon-Fri + Sat matinees til 31st Aug http://bit.ly/L2L8ck *Trafalgar Studios 1, West End

YES PRIME MINISTER - Top price seats £37 (was £46.50) at all performances til 31st Aug http://bit.ly/MjM4GP *Trafalgar Studios 1, West End

YES PRIME MINISTER - Top price seats £38.50 (was £46.50) Mon-Fri eves & Sat mats til 31st August http://bit.ly/OaMQ00 *Trafalgar Studios 1, West End

Miscellaneous

FASCINATING AIDA: CHEAP FLIGHTS - £12 ticket deal 3rd-27th Sept at E4 Underbelly http://bit.ly/Qdaudb Use code TMDEAL

LE GATEAU CHOCOLAT - Best available seats offer for £10. Most dates 13th-26th August http://bit.ly/MNd1nV *Menier Chocolate Factory SE1

LE GATEAU CHOCOLAT - Top price seat + free cocktail £15 + no fee, most dates til 26th Aug http://bit.ly/MUe5vT *Menier Chocolate Factory SE1

NAKED BOYS SINGING - £10 seats (was £15) Fri & Sat eves until 24th Nov http://bit.ly/OuZCQu *Charing Cross Theatre, London. Adult content

PAUL MERTON - Top price seats £21 Mon-Wed & £31 Thurs (was £36) from 1st to 17th Oct http://bit.ly/KOMGrT *West End. Book by 31st Aug

THE HURLY BURLY SHOW - Top price seats £24.75 (was £49.50) at all performances til 18th Aug http://bit.ly/MkKrLI *Duchess Theatre, West End

THE ROYAL FAMILY OF STRANGE PEOPLE - £12 ticket deal, 10th-26th Aug, E4 Underbelly http://bit.ly/Qdaudb *Use code TMDEAL

WHATSONSTAGE Annual membership - £20 (was £40) with free Rock Of Ages ticket + discounts etc http://bit.ly/OCr0QX *Deadline extended

NOTE: Some of the offers in the Directory may not be valid during school holidays and all are subject to availability.

Other
BARGAIN FERRET - If you need help looking for a theatre deal, tweet me the name of the show and your dates & I’ll try and find you a selection of offers.

Folks, consider being an @ATGtheatres Friend http://www.atgtickets.com/theatrecard/ £30 for access to good theatre deals all year round etc & no booking fees

Aged 19-23? Register to see great theatre for only £10 or less via TheatreFix/Mousetrap Theatre Projects http://www.theatrefix.co.uk/offers/ Wow, bargain!

£5 tickets to every performance at the National Theatre for anyone aged 16-25 http://www.nationaltheatre.org.uk/entrypass wow!

Accommodation
Discounted tickets many West End shows when booking from a choice of London accommodation at TicketTree here* http://bit.ly/IT1Iuf
Current offers include
Blood Brothers
Chariots Of Fire
Chicago
Ghost
Jersey Boys
Les Miserables
Mamma Mia
Matilda
Phantom Of The Opera
Shrek
Singin’ In The Rain
Soul Sister
Stomp
Sweeney Todd
The 39 Steps
The Bodyguard
The Lion King
The Lion, The Witch and the Wardrobe
The Wizard Of Oz
The Woman In Black
Thriller
Top Hat
War Horse
We Will Rock You
Wicked
http://bit.ly/IT1Iuf

Additionally, try Theatre Tickets Direct for ticket + hotel deals* http://bit.ly/IO2BrG

Alternatively, *show ticket + hotel packages, plus optional rail tickets http://bit.ly/xmvl9w with Show and Stay

Info
Please note that some of the links (generally identified by *) do now result in us receiving a nominal commission, rest assured that there is never any extra cost to you. The amounts are generally very small but it does help us to keep this service free and to pay for the occasional extra theatre ticket in order that we can bring you more reviews on the blog. The Directory includes all decent deals we find, irrespective of whether they are commission bearing or not.

Tweeps, if you’ve saved money via any the offers, please consider making a small donation to Wiltons Music Hall restoration fund. Thanks!

Thanks to all who’ve sent me details of theatre deals recently, very much appreciated :-)
All the deals listed here were available when I originally tweeted them, please check yourself though!
Wow, approaching 3.500 followers now :-) Welcome to anyone who joined us recently and thanks to everyone else too!

Don’t forget our Facebook http://www.facebook.com/#!/BargainTheatre2010 page by @BargainTheatre & @BenVivianJones for bargains & reviews :-) And please follow us on Twitter @BargainTheatre. For general London attraction discounts and more, follow @BargainLDN

Producers, if you have a theatre deal you would like us to tweet and/or include here, or a production you would like us to review, tweet us @BargainTheatre or contact us via our Facebook page.

Please note that this list takes a lot of time, dedication and effort to compile. It should not be reproduced elsewhere, in part or full, without the prior permission of @BargainTheatre and @BenVivianJones

That’s all from me, enjoy your bargain theatre! http://twitter.com/#!/BargainTheatre

OUTWARD BOUND

Revived in London for the first time in fifty years as part of the Finborough’s rediscovery series, Outward Bound was first produced at the Everyman Theatre, Hampstead in 1923 and enjoyed subsequent West End success.  Perhaps Sutton Vane’s most prominent play concerning the tale of seven passengers who meet in the smokers’ bar of a ship as it sails from an English port to an undisclosed destination. Alex Marker’s set is mighty impressive and surely a contender for award nomination.  The intimate theatre space has been neatly transformed into an art deco saloon, complete with four brass portholes and twenties-style, walnut veneered, hexagonal bar tables.  Some of the on-stage seating is used by the audience, adding to the ‘friends at sea’ atmosphere.  David Brett plays the role of Scrubby the steward perfectly with a “Yes sir, no sir, three bags full sir”, tenderly patronising approach; nothing is too much trouble yet all the while you are aware that he knows something that the others don’t.  

Carmen Rodriguez gives a wonderfully nasal and snobbish air to Mrs Cliveden-Banks, a cut above the rest with an equally acerbic wit who takes an instant dislike to fellow passenger Reverend William Duke (Paul Westwood), declaring him ‘unlucky at sea’.  Little does she know that to navigate this voyage requires far more than good fortune. In total contrast, chair lady Mrs Midget, ably played by Ursula Mohan is far more introvert, down to earth and carries a secret.  Cliveden-Banks would have her in steerage, but this mysterious vessel only has one class so they are stuck with each other.  Rotund MP and boring old duffer Mr Lingley (Derek Howard), astute drunk Tom Prior (Nicholas Karmi) together with couple Henry (Tom Davey) and Ann (Natalie Walker) make up the other ship mates on this ill-fated trip.
 
Booze-loving Prior is the first to realise their fate and that excepting their barman, there is no captain or crew. Nicholas Karmi plays him convincingly, his announcement to the others being a highlight of the play.  After an unnecessary second interval, the group, chaired by Lingley, call an extraordinary meeting, one by one they all reach the same unhappy conclusion. Mrs Cliveden-Banks is appropriately dressed in black mourning as the ship sails into very strange waters.  Enter Martin Wimbush, very distinguished as the Reverend Frank Thomson, to determine their fate.  If you haven’t guessed the plot already, I’ll not spoil if for you.  
 
Yes, this is a play which is showing its age a little and is a relatively slow mover compared with most of today’s output but a talented cast has managed to keep this revival pleasing. There are some very comedic moments, most of which still work very well.  The enigmatic couple of ‘halfways’ add very little to the story until the end, but when secrets are opened and all is revealed, their presence makes perfect sense. 

A steady, entertaining and retro work that’s certainly deserving of an outing; overall however, it’s unlikely that this old sea dog will cause too much of a storm.

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REVIEWED: 01/02/2012
By Gareth Richardson @BargainTheatre

Runs until 25th February 2012
Finborough Theatre, London, SW10. 

ELASTIC BRIDGE

MIDNIGHT TANGO

On Tuesday I went to the opening of Midnight Tango, which after an extensive UK tour, and before a second leg, is hitting the West end courtesy of Vincent Simone and Flavia Cacace of Strictly Come Dancing fame.

Midnight Tango, is produced by Arlene Phillips and Adam Spiegel, and directed by Karen Bruce, so you know this is going to be an evening of choreographic delight, intense rhythms and breathtaking partnerships – you won’t be disappointed.

From the shadowy setting of a hot, smoky bar (exquisitely designed set by Morgan Large) we are introduced to an array of sizzling dancers, who form the company, including a beautifully told side story of a sweet older couple, who run the bar, providing many a comic moment throughout this dance fest.  Tango Siempre and Miguel Angel provide an authentic score to accompany the dancers and dazzle the audience.

The very loose story is one of rivalry.  Everyone in the bar is enjoying their evening and the company, the romance between Vincent and Flavia is flourishing, then in walks a sultry, dark figure vying for Flavia’s affection.  All the cast are named characters, but never actually addressed by said names.  The evening is played out with fierce Latin battles and group dances, each pairing getting their five minutes to shine.  Couples move incredibly quickly and accurately with brave footwork causing audible intake of breath from the audience on many occasions.

There are too many wonderful individual moments to point out, however if I had to choose, the finest point of the evening was the simply beautiful slow dance between Vincent and Flavia in act two.  This movement brings a tear to your eye with its pure elegance and grace; you can see the respect and care oozing from the pairing all the way through the show.  A special mention must also go to James Whiteside, for the most gorgeous and affective lighting design I have seen in the West End in a long time.

At 2 hours including Interval, this show simply zips by. Yes, at times it ventures towards being repetitive, but saying that, I would have happily watched it again straight away. If you go to Midnight Tango, and I wholly suggest you do, you will watch a mesmerising evening of dance and come away with a massive smile on your face. There is a reason this show has sold out across the country, and as it is going on another extensive UK tour straight after its west end run, I would catch it now before you regret it.

A sure fire hit.

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REVIEWED: 31/01/2012
By Christopher Owen @cobartlett

20th January - 31st March 2012
Aldwych Theatre, London, WC2B. 

SLEEPING WITH STRAIGHT MEN

Buoyant and bouncy gay male Stanley (Wesley Dow) lives on a trailer park in Pontiac Michigan with his mom (Julie Ross), he works at the Flamingo Bar and has a liking for straight men.  One in particular has recently taken his fancy, a dashing local waiter named Lee who has a body to die for, proficiently played by Adam Isdale, his stage debut.  In fact, Stanley is so enthused that he arranges to out his secret crush on a prime time television chat show.  His good friend, and local drag queen, Sally tries to warn him but Stanley will not listen.  This is small town America, the opportunity to appear on TV might never arise again, maybe this is his one chance.  The allure also proves far too tempting for fiercely heterosexual Lee, he dreams of fame but has no idea of the notoriety he could be about to achieve.  Blissfully ignorant that his secret admirer is male, Lee’s curiosity gets the better of him and away to the bright lights of the big city he goes, while his girlfriend Karen waits devotedly at home.

Amy Anzel plays TV presenter Jill Johnson with panache; all boobs, big teeth and false smiles.  Jill is the essence of American talk show glamour, constantly seeking higher ratings she is happy to facilitate the meet.  Image-conscious Lee recoils in humiliation at the reveal, he remains polite because this is TV after all, but his disgust is evident.  Stanley’s lustful attention is clearly misguided and unrequited but he remains undeterred.  Forced to share a vehicle and flight home, Lee takes refuge in Budweiser and arrives back in Pontiac quite drunk.  It all becomes a touch unlikely as they both end up at Stanley’s place and become a lot more intimate, however good direction by Paul Taylor-Mills together with excellent lighting lift the scene considerably.  Fleeing back to his girlfriend, Lee stews over his actions for a few days before returning to Stanley and shooting him dead.

Although a fictional tale, it is based on the true life events of Jonathan Schmitz and Scott Amedure who appeared on the Jenny Jones daytime US talk show in 1995, during which Scott confessed his crush for best friend Jonathan.  Although not appearing unduly alarmed on the programme, Schmitz murdered Amedure three days after filming and is currently serving a 25-50 year prison term.

Ronnie Larsen’s writing is distinctly threadbare, every character is single layered and stereotypical but in terms of entertainment and with a cast of eight, this black comedy certainly has its moments.  Larsen sends up the chat show concept, effectively mocking both hosts and hopeful guests to amusing effect.  Martin Milnes, superbly-dressed as drag queen Sally has a fine falsetto which is put to good use to supplement the narrative.  A selection of well arranged numbers include “New York, New York” and “The Lady Is A Tramp”.  “Every Breath You Take” is used to particularly charming effect as an accompaniment to displaying a selection of photographs on TV monitors.  Richard Lambert has done well with a considerate lighting and video design, while David Shield’s costumes and set are equally commendable.  Overall though, it’s a pity that this tragic comedy concentrates on humour at the expense of the tragedy.

An interesting programme note by Above The Stag artistic director Peter Bull states that 2011 saw records broken in terms of audience numbers and box office takings, enabling the theatre to pay their actors and creative teams without relying on public funding.  Hopefully that trend will continue, Sleeping With Straight Men has got the venue off to a good start in 2012, there wasn’t a spare seat in the house.

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REVIEWED: 24/01/12
By Gareth Richardson @BargainTheatre

Runs until 26th February 2012
Above The Stag Theatre, London, SW1E.

AND NO MORE SHALL WE PART

Mention euthansia and I’ll start to yawn.  I put the subject into the ‘Not interested until I need to be’ category and there it stays.  And No More Shall We Part gives the matter powerful consideration, in a tense, emotional and developed fashion.  This double-hander delicately journeys down a road that everybody hopes they will never have to travel and I don’t even care to contemplate.
 
Set on a revolve, we watch as the effect of the tablets takes its stride together with the pain and anguish of the period leading up to the precious final moments.  Except the end doesn’t come in an instant as the couple expected, but rather over the course of a few hours.  Imagine the endurance, anguish and self-struggle required to assist a partner in ending their life, only to find that having taken the pills, nothing much seems to happen.  The excruciating wait that must be sustained, tormented by the question: What will happen next?
 
Pam is in her fifties suffering with a terminal illness, months to live and resigned to her fate.  Dearbhla Molloy plays a sensitively refined Pam, with a matter of fact air that is spot-on.  Pam has thought the matter through and is determined that her last days will be as peaceful as they can be.  She doesn’t want to depend on anyone to help fulfil her basic functions.  This resolve has forced her to be strongest of the couple.  Having made the decision, she needs to convince husband Don to assist in a crime for which he has no appetite.  Bill Paterson copes admirably with the demanding role.  The torment shows on his face as he strives to bear the strain both in the lead-up and subsequently.  The opening scene is particularly poignant, Paterson clearly demonstrating a husband in turmoil, expecting his wife to die within the next few minutes, battling to comprehend exactly what she is saying to him as his brain swirls with the grief and emotion that the situation dictates.
 
The play begins a short while after taking the pills and travels both backward and forward in time in a gritty and emotional portrayal of love, death and determination.  Tom Holloway’s writing fuses joy with pain and despair with humour as the pair recall some of the happiness they have shared, refreshingly serving as relief from the intensity of other scenes.  They recollect camping trips with the children in the tender time as she waits to die.  The contrast between Pam’s quiescent calmness and Dan’s stress is striking.  Their arguments are powerful; she resolute, he at the end of his tether, but love for her forces him to listen. There are moments of amusement, they both confess to having had affairs twenty years ago but neither care, their love is far stronger and they are happy together. 

RODGERS & HAMMERSTEIN’S CINDERELLA

Richard Rodgers and Oscar Hammerstein II penned only one musical intended for screen, Cinderella.  Broadcast live in the USA on 31st March 1957, a record audience of over 100 million people tuned in to see a fifty-six strong cast, with Julie Andrews in the title role, supported by thirty three musicians.  Adapted for the stage and based on the popular revised 1997 Disney re-make featuring Whitney Houston, Whoopi Goldberg and Bernadette Peters; the Tabard Theatre’s production marks the London debut of this particular version, including additional songs.  A fairy-tale ending maybe, but this production is a musical in every sense of the word, not a pantomime.

Reduced to ten players, this company work hard to maintain the magic but succeed on many counts; opening well with the nicely choreographed ensemble number ‘The Prince is Giving a Ball’.  Vlach Ashton excels throughout as the dashingly handsome Prince Christopher whose baritone chords fill the theatre. What eligible would-be princess wouldn’t fall head over heels?  Humorously assisted by courtier Lionel (Josh Carter), there are one or two subtly camp moments between the pair, Carter delivering a nice amount of graciously timed, balanced wit.  Sarah Dearlove as Queen Constantina and tenor Brendan Matthew as King Maximillan prove a well-matched pair in their charming duet, ‘Boys and Girls Like You and Me’, a song originally written for Oklahoma but now skilfully brought back into service to good effect.  Helen Colby is stretched to play both Fairy Godmother and Stepmother, but copes admirably with this chalk and cheese combination leading finales of both acts.  Traditional fairy she is not, more cockney than classical and more gob than graceful.  Director Alex Young and Designer Chris Hone manage a visual feast in an enchanting sequence prior to the interval, transforming Cinderella into a Princess, mice into white horses and a pumpkin into a carriage while Colby and company sing the delightful ‘Impossible/It’s Possible’.  

Chemistry shines between Cinderella (Kirsty Mann), now a beautifully corseted Princess, and Prince Christopher during the ballroom scene, culminating in ‘Do I Love You Because You’re Beautiful?’  Meanwhile, overlooked and abandoned stepsisters Grace and Joy, who certainly don’t live up to their names, lament passing by any chance of living happily ever after at the palace in this melodic Kingdom.  Grace, an unfortunate, gormless bespectacled character, complete with lisp and constant itch, is delightfully played by Lydia Jenkins.  Together with Kate Scott, the siblings are masters in the art of facial distortion.

An adept five piece band; keys, two cellos, clarinet and flute provide impressively sounding accompaniment in the small confines of the Tabard, but never overpower the vocals.  Interestingly, two of cast members take to their instruments when not required on stage.  Nobody said it was easy!

The tale is familiar and this production hardly diverts, why should it? Cinderella without the glass slipper would be like Dorothy without her ruby heels and so the search for the elusive female ensues.  A short but nicely delivered wedding scene, with the Fairy Godmother looking down on the entire Company, serves as a fitting finale.  Children are famed for their honesty; perhaps the best accolade is a theatre alive with the winsome sound of tears, which is what I witnessed at the matinee performance I attended.  High praise indeed!

The cast are having a ball and so should you at the Tabard this year.  Put it on your Christmas list.

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REVIEWED: 03/12/11
By Gareth Richardson - @BargainTheatre

29th Nov 2011 - 8th Jan 2012
Tabard Theatre, London, W4. 

EARTHQUAKES IN LONDON

*WARNING: MOST DEFINITELY CONTAINS SPOILERS*

Tonight was my debut outing with Twitter’s very own Twespian society, bringing together theatre types who love to tweet…and seeing as I tweet more than breathe, I thought I should see what all the fuss is about.  Richmond Theatre played host to the society treating us with complimentary food, drinks and tickets…now you all want to join!  Having missed it at the National I was very excited have the opportunity to see Barlett’s critically acclaimed piece.
Earthquakes in London by Mike Bartlett received its premiere in 2010 at the Cottesloe Theatre, the smallest and most intimate of the National Theatre’s spaces.
Earthquakes rockets us from 1968 to 2025 in 2 hours and 35 minutes.  The play focuses on the lives of three sisters, abandoned by their father who’s climate predictions have affected their lives more than he thought possible.  The eldest sister Sarah, played by Tracy-Ann Oberman, is a politician caught between obligation and expectation.  The middle sister Freya (Leah Whitaker) is frightened by the prospects of bringing her unborn child into a dying world.  Jasmine is the youngest sister (Lucy Phelps), who was raised by Sarah when their mother died, a troubled student in desperate search of love.  The play presents us with a myriad of characters as it attempts to highlight the dangers of climate change, through one family’s life.
Tracy-Ann Oberman executes the headstrong business woman with ease, reminiscent of her stint on Doctor Who…not the only Who reference to be made this evening.  Tracy shares a touching relationship with her husband (Seán Gleeson), the dynamic seems somewhat off, so we can understand the attraction to her colleague but the embers of a dying spark still exists between them.  Leah Whitaker is the eccentric, emotional, mother-to-be, we feel for her but she is hard to watch at times, hysterics reaching maximum heights.  Lucy Phelps embodies the attention seeking, self destroying student in her ripped tights and tiny tops, acting outrageously but touches with her paternal reunion.  Helen Kripps’ 14 year old Peter is a wonderfully written character, which she constructs with her precise comic timing.  Paul Shelley as the girls’ father Robert is exquisite, delivering one of the best scenes through his diatribe on his relationship with Mrs Andrews, making one hunger for more similar work from Bartlett (maybe a one person play).
My problems come with the actual piece itself.  It simply tries to do too much…hence being 2 hours and 35 mins, that’s without the interval.  We jump back and forth through time with lightning speed that you barely have time to register where you are or why you’re there.  The sisters’ narratives slowly unfold and you begin to piece each one together and invest in their lives, which Bartlett should have focused more on.  The issue arises with the message and the attempt to cram it into every nook and cranny and down the throat of the audience.  This all culminates in a completely out of place animation regarding Solomon who walked the earth bare foot to deliver a message to humanity (Martha Jones anyone? Last of the Time Lords?).  This warning of climate change is then broadcast worldwide via satellites, televisions, newspapers etc all the things which caused climate change in the first place!  Music was neatly used throughout to relieve us from the constant flow of dialogue, without detracting too much.  I will never understand the relevance of a talking foetus, an unused bungee cord, an echoey heaven hospital or a transgendered, imaginary, unborn-yet-born child.  So we’ll leave that there. 
The design was tremendous, simultaneous revolves eased transitions stylistically between scenes and the constantly changing, ever moving backdrops of London enhanced vitality and movement, aiding an accurate sense of location.
Earthquakes has an array of poignant moments, some very strong, powerful performances and alluring stylistic features but seems unsure of what it’s actually trying to be.  A story intertwined with global warming or a fictionally glossed political message?  Narratives run smoothly into each other but are laboured with cumbersome scientific detail, leading to a completely unrealistic and unsatisfying, futuristic, Alice in Wonderland ending.

Earthquakes is a shaky piece, worth a look for its style and spirit but unfortunately not a red on my richter scale.

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REVIEWED: 26/10/11
By @BenVivianJones

25th - 29th October 2011
Richmond Theatre, Richmond TW9.

UK tour 22nd Sep - 12th Nov 2011.

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Mike Bartlett’s 13 will play at the National’s Olivier Theatre.
1st November 2011 - 8th January 2012.

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