BARGAIN THEATRE

MUCH ADO ABOUT NOTHING

Lauderdale House on Highgate Hill has a built reputation for quality, with regular cabaret seasons showcasing the talents of some of the best performers in musical theatre.  Constructed in 1582, the venue’s primary function is as an arts and education centre attended by over 65,000 visitors each year.  The grounds provide a wonderfully atmospheric setting for two productions this August, The Wind In The Willows and Much Ado About Nothing, both presented by Shooting Stars Theatre Company.
 
Directed by Helen Crosse and presented on the tea lawn, Much Ado features a sprightly and hugely energetic cast of twelve who inject passion and zest into the work, which has been updated to recent times.  With drunken soldiers in modern combats singing Jerusalem, an alcohol-laden beach party and the outdoor summer feel, the traditional setting of Sicily could just as easily be applied to Cyprus or any other ’Brits abroad’ holiday island destination.  There is a real feeling that each of the characters are there to have a good time.  

The two couples are well cast and evenly balanced.  Tabitha Becker-Kahn sets the standard as Beatrice and is great value, never flagging for a single moment.  Beatrice is always a great role to play and here, Crosse has allowed Becker-Kahn the freedom to make the part her own, injecting a degree of enthusiasm that lifts the entire production.  Her on-off partner, Michael Totton as the testosterone-laden, lifelong bachelor Benedick is a good match, their respective eavesdropping scenes being a highlight; the agile Totton uses the audience as good cover in an amusingly camp display and seems to be everywhere at once, while Becker-Kahn delights by borrowing hats and scarves to gain disguise.  

Joe Sargent’s Claudio is truly ‘one of the boys’ and would be totally at home in any army barracks, there is a lot of male-bonding here!  It’s no wonder that he falls for Hero (Emily Grace-Hyland), with her sugar-sweet looks and gorgeous curls.  Their first wedding scene is particularly well delivered, both parties giving passionate performances.  

As the sun sets over the trees of Waterlow Park and a clear blue sky with not a building in view, it’s easy to imagine you’re anywhere but London.  This delightful venue, with the players performing on the lawn in front of you, easily takes you to realms beyond the capital.  The occasional aeroplane overhead induces thought to pastures beyond the horizon, providing a perfect backdrop to the story as it evolves, transporting you to far-away places, maybe even to the port of Messina.  
 
Both productions are suitable for all ages but with short runs for each, there is only limited opportunity to enjoy their unique experience this summer.  Tickets are still available, make the effort, bring a rug and picnic if you wish or there is outdoor seating available should you prefer.  I’d not been before but I’m already looking forward to returning. 

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REVIEWED 23/08/12

By Gareth Richardson
@Bargain Theatre

Much Ado About Nothing - 22nd to 26th August, 7pm, £12
Wind In The Willows - 26th & 27th August, 2.30pm, £6.50

Lauderdale House, London, N6. (nearest tube Archway)

AN INCIDENT AT THE BORDER (WEST END TRANSFER)

Following a successful and sold-out run at the Finborough Theatre, reviewed previously for Bargain Theatre by Jamie Read, the laughs now continue at Trafalgar Studios 2 in the West End.  
 
Tom Bennett plays the engaging role of Arthur to great effect, blending subtlety and charm perfectly.  Boyfriend to Florence Hall’s Olivia, he finds the world a far too busy place for personal taste, longing for a more peaceful and tranquil life among the ducks.  The simplicity of his character is nicely captured by Bennett, leaving no doubt that Arthur is well-educated, despite questing the simplicity of a rural existence under the stars, with no cares.  Olivia meanwhile is level-headed, pushy and the obvious dominant force in his life.  She gets things done and is not the sort to suffer fools.  

An everyday stroll in the park becomes a life-changing experience with an unlikely and absurd scenario of a country redefining it’s borders through the centre of a bench upon which the couple are resting.  The line, created and defended by Reiver the guard, leaves the lovers one either side and becomes the source for a host of amusing one-liners.  The hilarity is tempered with concern, outrage and frustration as their predicament sinks in.  Marc Pickering plays the jobsworth guard in exaggerated form, clearly in answer to the comedic demands of the script.  It is Tom Bennett however who seems to secure the most laughs with his deadpan delivery, animated facial expressions and matter-of-fact resignation to evolving events.  

The situation forces the pair to examine their relationship, challenge their dependency and re-evaluate their future prospects.  The hapless and previously unlucky in love Reiver is all too keen to step into the shoes vacated by Arthur, should he get the opportunity.  He stands no chance, she would spit him out for breakfast without thinking twice.
 
With a running time of eighty minutes without an interval, the play is perhaps a bit stretched.  It started life in shorter form and has thus been extended to its current format.  The writing is funny and well delivered by the cast of three but does level-out mid-way.  Becoming conscripted into a new army introduces a fresh sense of power for Arthur and so gives author Kieran Lynn a welcomed opportunity to introduce further merriment toward the conclusion.  This is not ground-breaking stuff, boundaries aren’t broken and the only line that’s eventually crossed is the one drawn down the middle of the stage.  However, I doubt it’s intended to make you stop and think, to ponder or question, it’s simply supposed to make you laugh and on that level it succeeds.

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REVIEWED 22/08/12

By Gareth Richardson
@BargainTheatre

20th August - 15th September 2012
Trafalgar Studios 2, London, SW1.

BARROW HILL

When I have a trip to the Finborough in my diary my day is full of expectation as I look forward to another evening of exceptional theatre, following a glass or two of very tasty vino in the bar beforehand. This being my fourth visit here in recent weeks, and having seen two phenomenal plays plus one that was just ‘very good’, I suppose I should have expected to be disappointed sometime soon.

Written by Jane Wainwright and directed by Abbey Wright, Barrow Hill examines family loyalties as Kath Bilby, now in her twilight years, her son Graham and her grandaughter Alison battle over the redevelopment of the Barrow Hill Chapel. A place full of memories from yesteryear, including those of how Kath was woed by her late husband.

Sitting in a deckchair mounting a one-woman protest, Kath recalls those memories as she becomes more and more determined not to surrender the Chapel and her memories, whereas Graham is unequivocal that he needs to redevelop the Chapel as a way to solve some serious financial problems that he’s facing.

Although this is at heart an interesting piece, it is frequently guilty of not spending time with the more interesting characters and glossing over some potentially fraught exchanges by resorting to the easy option. One of those characters never given time to shine is “Boy” played by Tom Spink. He plays his character with a charming ease that commands you to watch his every move. His interaction with “Girl”, played with equal adept by Avye Leventis is a delight to watch and I would have liked to have seen more of their relationship as they are the highlight of the piece.

It could be said that the writing is deliberately gentle in tone but it seemed to me that the ideas contained within the narrative were never fully explored and they easily could have as the performance, billed as running at ninty minutes, actually came in a whisker over sixty on the evening I attended.

Notwithstanding the shortcomings in the piece,  Barrow Hill is still an interesting play, well cast and acted. It just isn’t as good as I have come to expect from the Finborough.

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REVIEWED 20/08/12

By Colin Appleby

@CJ_Appleby

Sun-Tues, 19th August - 4th September 2012
Finborough Theatre, London, SW10.

THE GREAT GATSBY MUSICAL

One of several adaptations produced this year of F. Scott Fitzgerald’s classic novel about 1920s opulent decadence is unfortunately anything but. The Great Gatsby Musical, not to be confused with the likes of Gatz that was playing in the West End until recently, feels unfinished. Written and directed by Linnie Reedman, The Great Gatsby Musical felt more like watching a workshop of a show than a fully formed piece.

In such a small space with hardly any set to speak of, bar a piano and some moveable chairs, the whole thing came off as under-rehearsed. The musical numbers, composed by Joe Evans, were largely forgettable and all the ensemble efforts, except the tango-inspired ‘I Bet He Killed A Man’, had eggy lead-ins and (when present) shoddy harmonies. The most frustrating problem with the songs was that they neither informed us of anything we didn’t already know about the characters within the scene, or did anything to further the story. They were numbers which could be removed from the piece without affecting the continuation, which surely defeats the object of creating a musical in the first place? I want to hear the innermost thoughts of the character which cannot be expressed through just words, not a little jazz-infused ditty that could be a stand alone tune outside the confines of the show. It is also a show which illustrates that the recent craze of using actor-musicians is not always a good idea.

That being said, there were some performances that deserve some plaudits. Raphael Verrion stood out as the best in show, despite Nick’s role as the ‘narrator’ of sorts and not the ‘star’. He may not have had the strongest voice, in the one solo allowed him, but his acting was subtle, consistent and his character was the only one who truly felt believable. If he had been but a little broader and muscular he would have been a fantastically charismatic Gatsby.

Matilda Sturridge’s Daisy Buchanan, permanently open mouthed and whispy of voice, is a nice take on the character. She feels too young and wholesome to be playing the role, but she does it with conviction. Her voice is of the same ilk as Florence of ‘The Machine’ fame which is very listenable but not very period appropriate. She does whole-heartedly act her socks off whilst in song however.

Often it is a player in a smaller, less-pressured role who steals the limelight. That’s the case here with Alyssa Noble shining in her comedic role of Lucille. She may not be the strongest of singers, but it is almost unnecessary when the rest of her performance makes her so watchable throughout.

If the rumours that The Great Gatsby Musical has big ‘in town’ aspirations than there is a huge amount of work to be done by all involved. The only way I can see a transfer happening is with a new score, a new book, a new set, new choreography and a largely new cast. The ‘Rather-Disappointing’ Gatsby then, if you will.

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REVIEWED: 10/08/12
By Tom Norman @Tom_Norm

7th Aug - 1st Sep 2012
King’s Head Theatre, London, N1.

SOHO CINDERS

Despite the title, this is not a panto.  Ugly sisters yes, and there is a ball; but those hoping for a dame and ’Oh yes he is’ might want to reconsider.  Award-winning composer and lyricist team George Stiles and Anthony Drewe provide a host of great songs that fuse together seamlessly in an original score that is one of the best newly-written musicals I’ve heard in a long while.  Choreographer Drew McOnie brings life to each number with routines that are slickly delivered, while Director Jonathan Butterell gives dimension to Elliot Davis’ book (co-written with Drewe).  

Set in Soho’s famous gay village on Old Compton Street, it’s the story of rent-boy Robbie’s struggle to keep a roof over his head and a lid on his potentially explosive love-life.  Would-be mayor James Prince (Michael Xavier) has a secret which could ruin his prospects, Robbie is head-over-heels in love, while Lord Bellingham (Neil McCaul) is just a dirty old peer who thinks he can buy anything and anyone.  The ugly sisters, played by Suzy Chard and Beverley Rudd, are the epitome of The Fat Slags from adult comic Viz, feasting on men and booze; but they have their eye on Bendix-bender Robbie’s beautiful laundrette business, hoping to turn it into a strip joint. 

 Stand-out songs include the joyous ‘Wishing For The Normal’ sung by Tom Milner as the dashing and fresh Robbie, with his soulmate Velcro played by the talented Amy Lennox who later also delights in the duet ‘Let Him Go’.  Milner needs no fairy godmother to help with his excellently delivered and passionate solo ’They Don’t Make Glass Slippers’.  An excellent ensemble ensure that all the company numbers hit the mark, particularly ‘You Shall Go To The Ball’ leading the audience upbeat into the interval, played out by Musical Director Stephen Ridley, sat aloft on keys with a five piece band.  
 
The second act proves to be surprisingly emotional as lives unravel and real issues are tackled.  Jenna Russell shines here as the fiance of James Prince, coming to terms with the consequences of infidelity.  Lighting Designer Hugh Vanstone has done a fine job with just the right hues and tones to emphasise key moments of the twisting story.  

The drawback of this production, if there is one, is the price of seats.  At £37.50 for stalls seats and £27.50 for the side-view stools, this is among the most expensive fringe theatre musicals I’ve encountered.  Standing places are available at £12.50 and previews were just £2.50 less.  I’m reliably informed that performances have been sold out thus far.  The question is: Are production levels sufficiently high to justify paying such amounts?  Time will tell.  Certainly the show makes for enjoyable viewing, is very strong musically and the design, while essentially static, is top end for off-West End.  The modern venue is such that it is virtually impossible to get a ‘bad’ seat and, of course, it is centrally situated.  This premiere run may well be the season’s ‘must see’ of the London fringe circuit, not least because the cast lists Stephen Fry, who provides the recorded voice for the part of Narrator.  However, in a summer when many Theatreland shows have had to discount heavily to attract audiences, there is a lot of competition for your forty-odd pounds, so spend wisely.


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REVIEWED: 08/08/12
By Gareth Richardson @BargainTheatre
 
3rd August - 9th September 2012
Soho Theatre, London, W1.

PREVIEW: PIRATES OF PENZANCE

When William Gilbert and Arthur Sullivan penned the Pirates of Penzance I doubt they envisioned such a production as Sasha Regan’s all-male escapade.

Pirates of Penzance, or The Slave of Duty, premiered in 1979 on consecutive days in Paignton, England and then New York to discourage those who managed to evade copyright by performing “pirate” versions of G&S’ previous operetta HMS Pinafore. The production opened in London the following year and ran for 360 performances.

Sasha Regan’s All-Male G&S shows have achieved cult status and considering there have only so few that’s pretty high praise indeed. Pirates opened in 2009 at The Union Theatre before transferring to Wilton’s Music Hall for a sold out 6 week run and then a fortnight at Kingston’s Rose Theatre. It was at the Rose that the Pirates were spotted by overseas investors and plans were put in motion ready to raise the main sail and set off on their voyage to the other side of the world two years later.


Sasha Regan takes the helm once more as Director and also Co-Producer, alongside Ben De Wynter (Regan De Wynter), of the down under production steering the tour of Oz. Sasha’s directing credits include such infamous shows as Sweeney Todd and Cabaret, and of course more recent all-male jaunts Patience and Iolanthe, the latter of which broke the 12 year box office record at Wilton’s Music Hall in 2011.

Original Choreographer Lizzi Gee is back onboard with a plethora of West End, Fringe and International credits under her belt including Buddy, Million Dollar Quartet, Hair and The Sound of Music.

Taking his maiden voyage with this particular production is Musical Supervisor Michael England. Having recently supervised Patience at the Union Theatre, England is no stranger to the fierce falsetto of an all-male cast. Michael England’s credits abound having musically directed West End productions of Les Miserables, Phantom of Opera and Jerry Springer to name but a few. England also conducted the opening weeks of Cameron Mackintosh’s 25th Anniversary Tour of Les Miserables and the new cast recording.

Familiar faces Steve Miller (Design) and Robyn Wilson-Owen (Lighting Design) are also back on deck for the revival of this award winning production.

Six of the original shipmates will also join the international cast with Alan Richardson reprising the role of Mabel, for which he received People’s Award for Best Actor in the Off West End Awards 2011. Michael Burgen returns as the Pirate King’s right hand man Samuel, Lee Greenaway and Stewart Charlesworth will be donning their frocks as Connie and Edith, and Raymond Tait and Adam Lewis Ford are back as cover Sergeant of Police and Sisters, respectively.

The production will be touring Australia throughout October and November culminating in a three week run at The Sydney Theatre. Before they raise the anchor and set sail you’ll be able to see the Pirates in full swing, and no doubt acrobatic action, at the Hackney Empire from 26th - 30th September 2012.


For more information and booking details visit www.piratesisback.com.
Follow the swashbucklers on Twitter @PiratesOnTour

PIRATES OF PENZANCE
Top price seats £15 (was £27.50)
26th-30th Sept
http://www.hackneyempire.co.uk/
Book by 31st Aug. Use code EARLY BIRD PIRATES

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Preview by @BenVivianJones

CURTAINS

LEAVE IT ON THE FLOOR

Leave It On The Floor is, by admission, a passion project for director Sheldon Larry and writer Glenn Gaylord. Two decades in gestastion, Larry has finally created his musical love letter to the ‘Ball Community’ of America he loves. 

‘Ball Community’ is the term used to describe the LGBT subculture in the US where people ‘walk’ for prizes at ‘balls’. These ‘walks’ can include outrageous costumes, drag personas, dancing and vogueing.  Many of those who take part in the balls ‘walk’ for a specific team, or ‘house’, which is run by a single leader. 

Knowing literally nothing about this underground world that inspired Madonna’s ‘Vogue’, I was quite taken aback from the outset by how balls-to-the-wind the movie appeared to be. Beginning with an eponymous company number, which included drag queens, outlandish dance moves and catwalking like no supermodel could even dream of, this is a film which grabs you by the scruff of the neck and drags you from start to finish, taking you on a surprising emotional journey along the way.

Centred around love, loyalty and friendship within this colourfully bitchy culture, Larry crafts a touching and believable love triangle between ‘ball’ newcomer Brad (the talented Ephraim Sykes), flamboyant youngster Carter played by the outstanding Andre Myers and Princess Eminence (Phillip Evelyn), the 2^nd in command of ‘House Eminence’. Having been thrown out by his mother for being gay, Brad quickly becomes immersed in the LA Ball Community, taken under the wing of Princess Eminence, much to the disdain of the House ‘Mother’, Queef Latina; possibly one of the greatest names in the history of cinema. Following arguments, betrayal, fabulous dance offs and a transgendered pregnant Lady Gaga-like named Eppie Durall, all comes good and we return to our opening scene for a rousing finale.

Despite being a screen musical, it is in the characters and their relationships that this film excels. Touching portrayals of heartbreak, true love and conflict keep the audience with the story from start to finish and often has them rolling with laughter. Andre Myers plays the outwardly cocky, inwardly gentle Carter who you can’t help but root for over the lead. Evelyn walks a fine line between hilarious and ridiculous, and Sykes is believable in his portrayal of the put upon ingenue. However, it is Barbie-Q who steals the show. Queef Latina has the best lines, the most touching dialogue and some of the best numbers, allowing Q to produce the best Effie White I have ever seen a man do!

Sadly it is the music that lets the film down. With too many conflicting styles, including rap, dance, R&B and Little Shop-esque kitsch, it becomes an obstacle to the storytelling and the transition from speech to song is more often than not, very awkward. This is a shame as the choreography is excellent, and the cast very talented.

Ironically, for a film that knows what it wants to portray, it is very confused about how to address it. Sheldon Larry’s passion is evident and he has crafted a beautifully touching piece. The movie is hindered by it’s musical ideas, and could have been an outstanding indie darling as a straight (no pun intended) piece, but that is not to say it isn’t enjoyable. As a view into a world most of us will never know, and as character driven entertainment Leave It On The Floor is one to watch. As a modern musical it is odd and falls short of it’s Beyonce-inspired aspirations, and also includes the most surreal funeral scene ever put to celluloid.

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REVIEWED: 01/08/12
By @Tom_Norm 

3rd - 16th August 2012
Leicester Square Theatre, London, WC2H.

JACK THE RIPPER’S LONDON

“Roll up, roll up” shouts the promoter, enticing the crowds at London Bridge to join the entourage.  It’s no easy task being in direct competition with established attractions such as The London Dungeons and The London Bridge Experience, all plying for those seeking a trip into the gruesome past of the capital.  Despite it being a blazing summer afternoon, the Victorian-costumed company manage to secure a comfortably-sized audience of both pre-booked and on-the-spot customers, all keen to discover exactly what they’re letting themselves in for.  As the clock of nearby Southwark Cathedral strikes the hour, a Mary Poppins like figure, sporting long black coat and hat and carrying a very large red carpet bag over her shoulder beckons all to follow.  A potted history of the life and deaths of Jack the Ripper follows as she shepherds the audience on a tour along Georgian streets and cobbled lanes, stopping off at various points of interest, informatively speculating where Jack might have lived or visited.  
 
Dark and dank alleyways abound in this area, lending themselves neatly to the narrative and it’s down one in particular that the Ripper story is vividly brought back to reality for the curious group of followers.  “Shall we go down here?” the mysterious guide asks, as if seeking permission.  Apprehension overcome, we enter Jack’s realm, meeting his prey ‘in the flesh’ as they go about their rough trades and daily business in the grime and squalor of nineteenth century London.  It’s market day with purveyors of assorted goods including fresh fruit and silks all keen to make their money.  Try your hand at games of chance, if you will.  I try to throw old pennies onto china plates without success but everyone’s a winner here for the experience itself is one to savour.  A bobby goes about his beat turning a blind eye to the rackets taking place in front of his nose.  A couple argue in the street, “She’s Mary Kelly, likes the gin does that one”, someone whispers in my ear. “Every day’s the same, they’re always at it”, another tells me.  The copper pays no heed, even though she’s about to be the next .  Period-costumed characters fill the marketplace and I feel a little under-dressed.  But these are a friendly bunch in the main, save a few males of criminal class who menacingly roam, perhaps looking for a fight or to pick your pocket.  
 
A distinguished gentleman in finer dress looks on and then beckons you to his public house, the Ten Bells, for a drink and good old-fashioned evening of cockney sing-song around the piano .  I get a drink from the bar and chat with ladies of the night as we’re entertained by music hall hits of the time, such as Champagne Charlie, lead by the surprisingly fine-voiced publican who I’m told likes a drink himself, just to oil the vocal chords.  The convivial atmosphere being in sharp contrast to the dark events happening elsewhere, which all too soon become apparent.

With performances during the daytime and in the evenings, tailored for young and old alike, this theatrical promenade production is both entertaining and educational. The engaging cast draw you into their world, visiting the personal life of his unfortunates.  An atmosphere of amusement fused with graveness is always in the air as the sights, sounds and smells interact and immerse. The cast take turns playing various roles so no two performances are identical.  For those taking in the evening show, why not stay behind afterwards and mingle in the bar as darkness falls?  Just be careful as you walk home, for while you may have a smile on your face, don’t forget to look over your shoulder.

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REVIEWED: 25/07/12
By Gareth Richardson @BargainTheatre

18th July - 5th August 2012.
An undisclosed new arts space, London, SE1.

AN INCIDENT AT THE BORDER

In the same way that the Finborough Theatre itself punches well above its weight in the size-to-quality ratio, An Incident At The Border successfully tackles rather a lot of humanity’s foibles in quite a short space of time.

Originally a short piece designed to fit into a lunch time, the now extended version of this play by Kieran Lynn is set in an unnamed country on the day of its independence from a neighbouring land.  Olivia (Florence Hall) and Arthur (Tom Bennett) find their romantic afternoon in the park takes an unexpected turn when the disputed new border between these nations is redrawn right through the centre of the bench on which they sit.  The border, which is being delineated in red-and-white striped parcel tape by newly appointed border guard Reiver (Marc Pickering), leaves Arthur stranded on the wrong side of the lines, with no processes for repatriation having yet been put into place by Reiver’s bureaucrat superiors.

The line between Olivia and Arthur - as they stand inches apart, but in separate countries - becomes both a physical and metaphorical border, giving rise to each of them having to decide which of their own lines they are prepared to cross for one another and how much they are prepared to risk in the process.

Tom Bennett delivers character-comedy gold as Arthur, and Bruce Guthrie’s clean and simple direction of Lynn’s script also deliver him some of the finest moments in the show.  His unwittingly frank assessment of Olivia’s conversations about her own “emotional well-being” is delivered with a bewildered and tongue-tied resignation, and his happy-go-lucky, duck-loving creation is a joy to watch throughout.

Florence Hall is a feisty Olivia, who is, at times, rather too forthright to make Arthur’s decision whether or not to cross back over the line all that hard to make.  However, her strength of will and desire to become more “involved” are a great foil to Arthur’s apathy and Reiver’s idiocy and there are some fascinating moments between Olivia and Arthur as the plot develops beyond just the tape line and forces them to consider their feelings for one another and their own ideologies.

Marc Pickering as the newly appointed border guard delivers another strong performance, balancing the vulnerability of Reiver with the newly-found sense of importance that comes with his uniform and radio.  From being the buffoon of the piece early on, there are some genuine and poignant moments of pathos as his character tries to break free and make a stand.

This play is an insightful comment on group-think, the so called political and non-political classes and the ways in which we all draw our own boundaries through life, and it is exceptionally well handled in Bruce Guthrie’s production.

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REVIEWED 23/07/12
By Jamie Read @VoiceTeacherUK
 
Sun, Mon + Tues from 22nd July to 7th Aug 2012
Finborough Theatre, London, SW10. 

THE FEAR OF BREATHING

While many will keep a casual eye on world affairs, the conflict in Syria may not be the most appetisingly interesting subject for most fringe theatre-going folk in the capital this summer.  A brave step therefore that the Finborough should stage their current weekday play and with impeccable timing as things have turned out, for people are being killed in their fight for democratic freedom at the very moment you may be watching the production.  While the gunfire roars in Damascus and elsewhere, this work topically allows an insight into the enormous effect that civil uprising can have on the lives of ordinary folk.  The use of television screens to run news reports adds another dimension to the piece without excessive intrusion. 

These are real life stories, experiences of oppression and graphic scenes of torture.  The whole play is based on verbatim reports from witnesses and those who have suffered first hand at the treatment administered by the Stalin-like regime of the ruling Assad family.  The first act is engrossing, for here the playwright invests highly in the characters as individuals, offering a wholesome insight into what makes them tick and the horrors that some have suffered.  Among those introduced are Quataba, played convincingly by Adam Youssefbeygi.  He is punched, kicked and whipped in harrowing scenes of torment and a great display of stage combat, his yells send shivers down the spine.  Ahmad (Gareth Glen) tells how they were forced to meet via Facebook since it is illegal for groups of more than seven people to congregate in person.  This is a virtual revolution as much as a physical fight.  Parallel experiences are fused together, forming a central core of discrete, moving and personal tales which are cleverly blended together to form a connected whole.
 
A war-torn second act, concentrates firmly on battles across the country and is somehow less piercingly disturbing since one on one private agony is replaced by the united and widespread collective misery of the whole nation.  The fate of those already met continues to be tracked, together with new characters including journalists and a Liverpudlian photographer played by Paul Crawley.  Killing, massacres and murder feature highly in a blaze of sound and flashing lights.  As the country spirals into anarchy, one character asks “What Did Britain Do?”  There is no positive response.
 
An excess of blasts and gunshots becomes a bit tiresome and a period of intense flashing lights irritates rather than entertains, but for a rich insight into the relentless world of martyrs and mayhem, chaos and confusion, terror and grief, this play delivers.   

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REVIEWED 22/07/12
By Gareth Richardson @BargainTheatre
 
17th July - 11th August 2012
Finborough Theatre, London, SW10.

VIEUX CARRE

THE WEST END MEN

When I was given the opportunity to review The West End Men at the G Live venue in Guildford, I jumped at the chance. Not because I was a particular fan of the performers involved, but since the likes of Lee Mead and Kerry Ellis attract such a cult following, I wanted to see what all the fuss was about. 

MR KOLPERT

It’s hard to discover what Mr. Kolpert  is all about without a deep delve.  The King’s Head Theatre website is vague and general, with a hint of storyline though void of detail.  The press release likewise and the programme totally barren.  Therefore expect the unexpected must be the caveat and go with an open mind.  A large and locked trunk, placed off-centre, forms the basis of what turns out to be a black comedy translated from German.  Two couples at a dinner party, except there is no party to speak of and definitely no dinner prepared.  Cue a bewildered pizza delivery boy and much talk of a dead body.  Include lots of swearing and more than a little nudity for absolutely no reason whatever.  Throw in a game of Botticelli and you have all the ingredients.
 
This play could be funny, except director Rachel Valentine Smith has made all the characters over-act, presumably to provide emphasis in a quest for laughs.  Regrettably this strategy proves counter-productive and instead quickly becomes tedious.  It’s hard to believe in any of these folks although occasionally that matters not in comedy.  Indeed sometimes that is the very element that makes it work; John Cleese found perfection in Faulty Towers afterall, but here it falls a long way short.  Damian Lynch as the temperance architect Bastian Mole who borders on schizophrenic, for instance, certainly lays on the violence and bad temperament well but chiefly in a shocking manner rather than humorously.  Likewise, Ralf Droht (Edward Fulton), although more engagingly amusing, still somehow misses the mark.  Both try hard, but appear hindered by heavy-handed direction.  They are not helped either by a cumbersome script which relies on recycling the same few gags.  You can only laugh so many times at a misunderstood telephone conversation about a take-away pizza order for example, otherwise the joke wears a bit thin, however much it is reinvented.  Or does it?  Perhaps I’m wrong about the script, for Mr Kolpert was afterall, well received Upstairs at the Royal Court in 2000 with Richard Wilson at the helm.  
 
Violence and murder feature heavily as might be expected, but never with a wholesome sense of subtle macabre to turn this production truly black .  The resulting combination of much projectile vomiting, thrown food and copious stage blood is pretty gruesome however, but makes for a very slippery stage during the second half, causing the cast a few slips but thankfully never a fall.  My advice is not to sit in the front row with good clothes or nice shoes on and don’t even think about asking what’s in the trunk!

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REVIEWED 16/07/12
By Gareth Richardson @BargainTheatre

15th July - 5th August 2012
King’s Head Theatre, London, N1.

GATZ

Open for 23 performances and with rave reviews gushing over its sophistication, Gatz is the latest ‘must-book’ for the flush London theatre-goer.  It is not a conventional play, being an 8-hour word for word reading of the Great Gatsby, set on the stage of the Noel Coward theatre, and performed by 13 actors from the ERS theatre group of New York. Yes, 8 hours; 3 intervals.

‘But you’ve studied American Literature, you must know this?’ - so said my mother as we sat down. I explained that ‘study’ was pushing it for a term of English Literature A Level in which I read the set texts I was told to, and that F. Scott Fitzgerald’s classic had not come up. So I didn’t sit down to Gatz aware of the writing or the story, unlike the majority of people in that night. If you find yourself in my position, I’m afraid I can’t recommend it.

Hours pass slowly as the narrative crawls by. The pleasure of a book is that you can put it down, and the pleasure of theatre is watching people acting. Here you have a man reading a story out and fairly soon a random set of fellow office workers playing roles for people they are nothing like. To begin with the characters pop in out of the recital, but by act three they are standing about waiting for the adjectives for their behaviour to be read out. So you can’t put the book down or watch anyone acting. Not a happy medium; unless you think of mass as entertainment.

Newspaper reviewers have glowingly commented that Gatz showcases F. Scott Fitzgerald’s prose, but for me it’s more a weakness than a strength. Where the stale narration (‘he said’, ‘she said’) would so obviously be cut in a conventional adaptation, here it is not; conversely there are moments when the actors are being highly distracting on stage, causing irritation that you cannot focus. With the huge visual limitations of the dull office and the unadapted costumes, it’s hard to conjure the scenes in the story without listening accurately to the narration.

Traditonally you’d name drop some actors at this point, but I’m afraid there’s little to say. The narrator deserves praise for reading out the novel without much of a break; although his intonation and tone make concentrating tedious. The rest, well; with no acting in a conventional sense I found none made much impression. I also didn’t understand why such underwhelming acting was chosen for the role of Gatsby, for whom presumably we are supposed to care for.

Seats remained filled more than I expected as the hours passed. I suppose at £75 a throw it’s a bitter pill to swallow to conclude your time could be better spent. I must be honest in saying that after the end of act three and over six hours in, I could take no more. I was now watching people shuffle around the stage but focusing on the behaviour of the breathy man and fat sweet-sucking woman behind me, listening to the story had become a stress-inducing chore and that isn’t what either reading or going to the theatre should be about.

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REVIEWED 15/07/12
By Piero McCarthy

8th June - 15th July 2012
Noel Coward Theatre, London, WC2.