BARGAIN THEATRE

MATILDA

“My mummy says I’m a miracle”

This time last year Matilda was drawing attention in Stratford-upon-Avon, so much attention that it was only a matter of time before it was given a place in London’s West End.  I have been anxious to see Matilda since its London arrival, always having an affinity for Roald Dahl, him being 70 years my predecessor to the very day and born just 20 miles from my hometown.  Thankfully the RSC has reclaimed Matilda as a British classic, Dennis Kelly’s book is a much closer interpretation of the novel than the feature film and Tim Minchin’s melodies and intricately, eloquent lyrics sparkle with wit, charm and satire; at times reminiscent of Sondheim.

As you enter the theatre you are immediately entranced by Rob Howell’s set design, hundreds if not thousands of scrabble tiles of various shape, size and colour climb the walls and spill out into the auditorium.  You’re instantly aware that you’re in for a magical evening.

Matilda is an unwanted child, born to ungrateful parents.  Her extraordinary mental abilities catch the attention of everyone around her, some reply with disgust, others with awe.  The role of Matilda is shared by four young girls, Sophia Kiely took the role the evening I attended and suited perfectly.  It is nothing but a marvel to see a young child remember so much material and choreography.  Eleanor handled the part extremely well, adding particular gusto during her confrontations with her parents and Miss Trunchbull, enchanting us and Mrs Phelps, the librarian, with her story-telling and captivating the audience with her solitary, book-stacked number ‘Quiet’.

Dahl’s classic ingredient, the adult villain, who in this story is the headmistress Miss Trunchbull, is expertly embodied by Bertie Carvel.  I thought it only obvious to cast a male in this role and was slightly hesitant of the outcome but Carvel is perfection, from his constantly clawed hand and persistent salivation to his subtle movements and sharp focus.  Carvel hasn’t wandered down the path of imitation, he has created a character, uniquely his own and lives it 100% without becoming caricature, adding intense authenticity to the role.  We are given glimpses into Trunchbull’s subconscious and her desire to be adored and respected, culminating in a jaw-dropping, show-stopping Phys. Ed lesson I shall never forget.

Lauren Ward, as Miss Honey, is a new face for me although her credits are endless.  The reserved and timid teacher shows absolute dedication to her children but wrestles with her own self-confidence and a past that is slowly unravelled.  Ward is sweet and caring, leaving no doubt that she has the best intentions at heart and her 11 o’clock lament, ‘My House’, is powerfully moving and this is where Ward proves herself vocally.

Mr and Mrs Wormwood, Paul Kaye and Josie Walker, create the most outrageous pairing and balance each other well.  Obviously the embodiment of Dahl’s belief in literary education and disdain for television, which I’m sure every parent could recognise a part of themselves, at one time or another, in the lazy twosome relying on the TV nanny.  These characters border on pantomime, which is necessary for the subtle villainess Trunchbull to be genuinely feared.

A particular favourite of mine was the librarian Mrs Phelps (Melanie La Barrie), who encourages Matilda’s thirst for knowledge, not only with access to the entire library but also her humorous reliance on Matilda’s stories, like the next crucial instalment of a soap opera

All the children involved should be commended, they rarely leave the stage and are involved in many of the scene changes.  Opening act one with their rousing ‘Miracle’ song, each claiming “My mummy says I’m a miracle”, adhering to Roald Dahl’s view that, “Some children are spoiled and it is not their fault, it is their parents”.  The act two childhood anthem ‘When I Grow Up’ is already a new favourite song of mine (having downloaded the soundtrack as soon as I got home).  They each execute complex choreography and their Spring Awakening send up, ‘Revolting Children’, is a tribute to their hard work and dedication.  The adult ensemble are constantly reused as multiple characters and even as children, but with young people who are evidently capable it seems slightly unnecessary to dress the grown ups in school uniform.  This youthful cast certainly proves that “If you’re little you can do a lot, you mustn’t let a little thing like little stop you”.

The piece has been precisely directed by Matthew Warchus and choreographed by Peter Darling.  Hugh Vanstone’s lighting design is superb, but as impressive as they were, I felt the lasers were out of the context with the show’s character.  Rob Howell’s design is stunning, the segues into each new scene are seamless and the library bookshelves are beautifully constructed.  In comparison to The Courtyard Theatre it is easy to understand why some may think the story gets lost in the Cambridge, but sitting in the front row I couldn’t have felt more involved.

It is an absolute joy to see a new musical so well received without the necessity of celebrity casting.  Let’s hope that this is the foundation of things to come in London’s West End.  

The first child-centric, British musical since Billy Elliot and if that is anything to go by here’s hoping Matilda will have a very long and splendiferous life.

- - - - - - - - - -

REVIEWED: 24/11/11
By @BenVivianJones

Cambridge Theatre, London, WC2.

8 day seats are released at 10am for each performance at £5 for 16-25 year olds.

PIPPIN

“This unique production promises a Pippin like no other”.
A guarantee and a warning.

All I know of Pippin is at drama school I heard enough versions of ‘Corner of the Sky’ to last me a lifetime…and a few more hours.  I had no knowledge of the show besides that song, I thought it may have been about hippies, eagles and rivers, and with much trepidation I made my way to the Menier Chocolate Factory.

Having seen Roadshow not so long ago, I was interested to see how they had transformed the space.  As you step through the warehouse door you enter a small tunnel plastered with posters of sci-fi movies, anime and computer games. At the end of the tunnel sits Pippin, staring at a computer screen, flicking a zippo lighter.  The set is phenomenal and before I go any further Timothy Bird should be commended for his work on this piece, from the revolving flats to the elasticated walls.  We are soon aware that we have entered Pippin’s computer, he is on the outside looking in, but it’s not long before the Leading Player sucks Pippin in to join us.

Originally a troupe of actors performing a show, their newest member playing the part of Pippin.  Here however, Pippin is a new player to the virtual game and must complete each level, learning a new lesson, before he can move on to the next. Inspired!

Harry Hepple plays the Northern protagonist with ease and charm, a good sense of humour and timing.  Hepple’s voice is well-controlled; a smooth, jazz undertone with a rough edge to parallel the synthesised score.  Ian Kelsey is the boy’s father Charlemagne, the vision of medieval leadership and authority.  The Lead Player, Matt Rawle, is a cheeky, seductive character with an impressively high rock vocal, which sometimes sacrifices diction.  Frances Ruffelle is the Only Way is Essex housewife and stepmother, so sexually driven that it’s easy to believe her son’s Oedipal eye.  Although Ruffelle knows what she’s doing I found her slightly inhibited and aware of the audience’s presence, but it’s early days yet.  One of my favourite performances came from Carly Bawden, who recently starred in Umbrellas of Cherbourg, another captivating performance.  Bawden, as the widow, is sweet and gentle, her defiance of the players and love for Pippin passionately portrayed.  Louise Gold’s turn as the karaoke singing grandma definitely put a smile on everyone’s face, even if some were reluctant to join in the chorus.  Holly James is a prolific dancer throughout, especially during the sequinned bowler hat and cane number.

I don’t want to give too much away as I want you all to go and see it for yourselves, but when you do go buy a drink and take a fan, it’s very warm and for this the actors deserve even more praise.

Mitch Sebastian’s concept is genius.  Pippin is a coming of age tale and what better way to tell that story in this era than through our generation’s obsession with virtual technology; adopting the constructs of many modern-day, fantasy, computer games, movies, projected images and Skype dates.  Sebastian’s direction is stunning and his take on the original choreography is sublime.

Bob Fosse envisioned a show disturbing and surreal and were he alive to see this production today, he would be speechless.

—

I don’t usually do this but I was so impressed with the entire production I felt the need to include each cast member and creative:

CAST

Carly Bawden

Ben Bunce

Louise Gold

Bob Harms

Harry Hepple

Holly James

Ian Kelsey

Anabel Kutay

David McMullan

Stuart Neal

David Page

Matt Rawle

Frances Ruffelle

Kate Tydman

CREATIVE TEAM

Director / Choreographer
Mitch Sebastian

Production Design
Timothy Bird

Costume Design
Jean-Marc Puissant

Lighting Design
Ken Billington

Sound Design
Gareth Owen

Musical Director
Tom Kelly

Orchestrations / Musical Supervisor
Simon Lee

- - - - - - - - - -

REVIEWED: 24/11/11

By @BenVivianJones

22nd Nov 2011 - 25th Feb 2012

Menier Chocolate Factory, London SE1.

STEPPING OUT

Set in a North London church hall and theatre, Stepping Out concentrates on the lives of eight disparate characters, seven female and one male, who meet for weekly tap classes.  Most of the dancing in act one is dire, but that’s the point!  The interest comes as group skills improve and their interaction builds.  The hit comedy enjoyed West End success, running for almost three years in the mid-eighties at the Duke of York’s Theatre.  This production includes a few script changes, for which writer Richard Harris attended rehearsals and worked with the Union Theatre cast, guiding their implementation.

Mavis aspires to greater things but has to settle with her lot, she runs the class but is much more to the group than their teacher.  She is not immune to problems of her own; patience, composure and tolerance are essential qualities.  Barbara King supplies all this and much more.  Act two includes a graceful solo routine, in which she demonstrates exactly why she is cast.  Ruth Evans delightfully plays the formidable pianist, Mrs Fraser, and completely captures the essence of the Northern battle-axe.  I was not surprised to read that Evans’ TV credits include Coronation Street because she plays this character in pure Tony Warren style and would easily be at home in the Rovers Return with Ena Sharples, except that she is tee-total, or so she says!  Mrs Fraser wears a winter coat, often indoors, even in June and July, and has a hat to die for! 

Alexander Giles is the only male in the cast of ten.  His Geoffrey is a timid chap who has to cope not only with dance steps but also with the eclectic array of female company.  One in particular, clumsy Andy (Helen Terry), has unrequited eyes for Geoffrey.  Chemistry between Giles and Terry is evident throughout.  Andy is deliberately brusque and cold, detached and isolated, she carries a secret.  Lynne on the other hand, played by dance captain Laura Brydon, displays a constant smile and is delightful to watch.  The foibles and strengths of each character in this play provide entertainment and humour, but this is neatly tempered with reference to serious topics including domestic abuse and pregnancy.

Helen Jeckells, as stuck-up, interfering Vera, delivers a strong and very witty performance.  Her portrayal is spot-on, friendly yet aloof so that while many of the jokes are aimed in her direction, the audience is able to laugh with, not just at her.  Rubber gloves and furniture polish a speciality; she wears an assortment of costumes but one in particular is glorious, no spoilers here though.

Resident lighting designer Steve Miller has done a fine job, accentuating the mood of each scene.  Overall, director David Ball has captured the sense of community well, while still allowing all the opportunity to develop individually illustrating their diversity.  Although some of the comic timing needs improvement, this cast certainly put a smile on my face.  The finale to this engaging story is a treat and provides a fitting, rewarding climax.  

This production has certainly started off on the right foot!

- - - - - - - - - - 

REVIEWED: 19/11/11
By @BargainTheatre

Nov 15th - Dec 10th 2011
The Union Theatre, London, SE1. 

HOW THE WORLD BEGAN

BURLESQUE

Creator Adam Meggido directs his own work in this new musical written with Roy Smiles. Set in 1952, Burlesque is the tale of mediocre comic Johnny Reno, blacklisted by witch-hunters of the McCarthy movement in anti-communist America. He needs to clear his name, fix his love-life and clean up his act. Added to the mix is Freddie Le Roy, broke proprietor of the Palace Theatre, a faded strip and comedy joint, together with a succession of showgirls who don’t stay long, probably scared off by the owner’s lustful antics. All this is overseen by matriarch-like Lula Malakah, earnest and wholesomely played by Buster Skeggs.

With over 20 musical numbers to choose from, Burlesque offers variety aplenty. Whenever a book features love tangles, ballads are sure to feature. Alicia Davies does well in this regard, taking the role of dancer Honey Hogan. She is pregnant to Johnny Reno and powerfully delivers ‘New World’ and ‘Love Never Plays Fair’ the latter especially so. ‘You Change Your Mind’ beautifully sung by graduate Sinead Mathias with clarity and conviction. Buster Skeggs tackles her patter song ‘Time To Give Up Girls’ with great timing and gusto, making the most of wonderfully descriptive lyrics. Also lyrically rich is the enjoyable ‘Loves The Same All Over The World’. This is a musical in which the solo numbers set the standard. A pity therefore that the ensemble arrangements don’t match those high levels of attainment. Closing songs to both acts simply fail to rouse; a fault of the writers rather than cast, I suspect. The show’s Finale is disappointing in that it ends before it barely gets started, while Act 1 concludes with ditty ‘Luck Of The Irish’ which Chris Holland doesn’t quite pull off, sacrificing diction for accent. The number needs to be slowed down so that the undoubtedly humorous lyrics can be deciphered and appreciated by the audience. Contrastingly, slapstick number ‘Leave ‘em Laughing’ earlier in the show is delivered at perfect pitch by Holland, this time in duet with Jon-Paul Hevey as the comic lead, Reno. Dressed in a plaid suit and impressive fifties quiff, he reminds me of a younger version of camp comic Ted Bovis from TV’s Hi De Hi of the same era.
FBI investigator Bill Henry seeks to convict Reno who claims to have been mistakenly labelled a ‘Commie’ rather than comic! Alex Bartram might fare better taking a darker approach to his portrayal than merely offering a sour demeanour and dead-pan manner.

A three piece band provides polished accompaniment, the piece being musically directed by Duncan Walsh-Atkins and supervised by Michael Bradley. Sound levels were more or less spot on at this preview performance, apart from Victoria Serra’s ‘Little Red Riding Hood’, a saucy, titillating act two opener, but I’m confident that will be corrected. 

The book is interesting and tidy, while Martin Thomas’ costumes and set neatly fit this production, a proscenium-arched stage, lavishly curtained, opening to reveal a detailed dressing room area. The girls are indeed a treat for discerning gentlemen and, no doubt, preying impresario Freddie Le Roy who is played well by Linal Haft. 

With tightening of both choreography and ensemble numbers as the production matures, Burlesque has potential to please. However, the lack of a decent finale is disappointing and needs revisiting.

A promising and well-written new musical, which definitely has legs.

- - - - - - - - - -

REVIEWED: 13/11/11
By @BargainTheatre

9th Nov - 18th Dec 2011
Jermyn Street Theatre, London SW1.

THE PLAYBOY OF THE WESTERN WORLD

Greeted by a bevy of singing maidens, some more feminine than others, the curtain goes up, or in this case falls, to reveal a courtyard scene elaborately mounted on an immediately turning revolve.  Within a minute, the impressiveness of Scott Pask’s design becomes apparent as we are greeted to the richly detailed interior of a shabby one-roomed Irish tavern.  I wonder if I’m mistaken and about to watch a musical version of Larkrise to Candleford?  I check my surroundings, this is the Old Vic, it’s a play! A tale of an unlikely hero, gullible women, brutality, booze and broken hearts in true Irish style, causing riots on the streets of Dublin when it first opened in 1907 at the city’s Abbey Theatre.

Following a row with his father and leaving him for dead, gormless loser Christy Mahon becomes a wandering wreck who stumbles across the hospitality of well-intentioned folk in a small village on the West Coast of County Mayo.  Robert Sheehan, of E4’s Misfits, makes his stage debut as the geeky runt Mahon, with energy and humour.  His unlikely metamorphosis to cocky champion, enabling him to win the betrothed daughter of the house, is a difficult mountain to climb but Sheehan manages to make it probable with ample assistance from talented Ruth Neega, as a flirty but already spoken-for Pegeen Mike.

However, it is Naimh Cusack, playing the scheming Widow Quin, who impresses most. Having unrequited eyes for Mahon on his arrival, she comes into her own when his foul-tempered father unexpectedly appears, quite alive but head bandaged, seeking revenge.  In a melee of confusion, Quin quickly grasps the reality of Mahon’s lie-ridden tale and concocts an improbable but nonetheless believable cover story for him.  Cusack gives a full-on performance and her account imaginatively transforms the gangly nomad into an appealing playboy of sporting grace, much to the bewilderment of his demented father.  Chaos ensues, with bar room brawls aplenty.  The cast of fifteen includes a sharp ensemble of farmers, village girls and peasants; some of whom briefly double as folk singers and musicians in a nicely added, non-intrusive touch.  Featuring most in the revengeful and vigilante final act, they contribute wit and charm to a rushed, yet entertaining conclusion.

Atoning one’s ears to the delightfully poetic language of writer John Millington Synge does take a few minutes.  The Irish accents are strong and vernacular rich; I struggled at times, but not enough to distract from my enjoyment.   It must be difficult for a director to gauge where to sacrifice authenticity for the comfort of a London audience.  John Crowley seems to have erred on the side of accuracy, so do be prepared to adjust!

Playboy may seduce you, but it’s not revolutionary.

- - - - - - - - - -

REVIEWED: 07/11/11
By @BargainTheatre

17th Sep - 26th Nov 2011 
The Old Vic Theatre, London SE1.

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.

- - - - - - - - - -

REVIEWED: 04/11/11
By @BargainTheatre

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

WEST END UNPLUGGED

WEST END UNPLUGGED was the latest venture from Interval Productions.  A company set up to give performers a chance to showcase their talents alongside current West End performers.

The team behind WEU:

Musical Director - Ellie Verkerk

Asst. MD - Tom Curran

Creative Director - Tori Allen-Martin

Choreography - Kamilah Beckles

Producer - Sarah Page

Inspired by the devastation of the recent London riots, Interval Productions decided to dedicate their evening to charity MyGeneration who aim to “break the cycle of poverty, crime and ill-health in struggling communities through people-centred, sustainable change”.

The Leicester Square theatre was an intimate setting for the Live Lounge inspired evening.  Dance troupe ‘Sirens’ kicked off the show with some stunning urban choreography.  Natasha Barnes and Amelia Adams-Pearce opened with powerful performances, and we would expect nothing less from these two ladies.  Gaz Jenkins rocked Lance Horne’s ‘In the Name of the Father’.  Andy Coxon delivered a seamless mashup ‘Fire to Rain/Edge of Glory’ with impressively controlled vocals.  Dale Page not only showed off his comedic talents but a unique, close harmony, jazz/ska version of ‘I Kissed A Girl’, alongside Katherine Moraz and Mat Roberts.  Jon Boydon on guitar and Madalena Alberto on Ukulele gave an acoustically beautiful performance of ‘I’ve Got This Friend’.  Laura Selwood proved to any doubting minds that understudies are not to be scoffed at, with an amazing rendition of ‘With You’ from Ghost.  Tori Allen-Martin and Paul Spicer took on the duet ‘Fix You/Nothing Even Matters’ and their close relationship radiated throughout.

West End Unplugged ran an online YouTube competition for someone to join the cast as a solo performer.  The little lady that won was Lucy Fellows with ‘Won’t Let You Go’ and by gosh did her voice not match her tiny stature, blown away.

However, the true stars of the show, and rightly so, were the Ensembelles: a group of thirteen unknown performers in harmony and descant.  Noteable numbers were the boys’ ‘Moves Like Mick Jagger/Parachute’ and the finale ‘Raise it Up’.  All individuals in style and voice but blended well together and enjoyed every minute.

Ensembelles: Lauren Austin, Jennifer Coyle, Callum Fitzgerald, Bethan Forsey,  Anna Haresnape, Samantha Giffard, Mark Gillion, Sam Hallion, Simon Ouldred, Sarah Page, Michael Pratt, Nicholas Robinson, Samyouel Young.

An enjoyable evening of live music backed by strings, keys and brass, more orchestra than band.  Giving space to emerging talent and performers who are not always in the spotlight but definitely deserve to be and all in aid of an amazing cause.

- - - - - - - - - -

REVIEWED: 30/10/11
By @BenVivianJones

Leicester Square Theatre, London WC2.

SISTER ACT UK TOUR

SISTER ACT UK TOUR

Standing in the box office queue, surrounded by women, a lady behind me confessed she had never seen the film Sister Act, I was mortified.  However, it just goes to show that not all audiences venture to the theatre to see adaptions of their most loved screenplays, a refreshing realisation.

Sister Act received its debut in California three years before it settled into the London Palladium, where it was nominated for four Olivier’s and won Best Actress and Lighting at the What’s On Stage Awards.  The show ran for sixteen months on the West End and has now been rejigged and revamped for its first UK tour.

This production, as I understand, is the new revised adaption which opened on Broadway in April 2011.  Being forewarned of this, I nervously nestled into my seat prepared to be shocked and appalled, having seen the London production numerous times.  Ok…so there’s no golden cherub hanging from the proscenium…I can handle that…just about…then came some American voice, that was most certainly not Whoopie Goldberg’s, doing the pre show chat…I shed a small tear…the curtain lifted, no revolve, my heart sank.  Deloris and her posse position themselves in front of a haphazard, hanging lighten rig…at this point I’m nearly beside myself…and then Cynthia Erivo opened her mouth.

Having recently witnessed Cynthia and her piercing tones in Umbrellas of Cherbourg, those who have seen the show will know exactly to which point I am referring and once I start singing it I cannot stop, I was anxious to see her thrust centre stage.  Dolled up in short dresses, fur coats, swinging hoops and “F*** Me” boots, Cynthia’s Deloris has a sassy attitude that never borders on arrogance.  This production paints her as a try hard girl, opening with an audition for Curtis, a club owner she’s sleeping with, Deloris is desperate to get her name in lights.  This determination is at the core of Cynthia’s interpretation, and by ‘Fabulous Baby’ (Reprise) we want nothing more than to see her succeed.  Cynthia brings a warmth to the character that I’ve never seen before, making the bond between her sisters more emotive, particularly Sister Mary Roberts and Mary Patrick.  It seems to be the season of pint sized performers, which is good news for me, and having recently seen Sarah Lark blow the lid off Miss Mona’s Chicken Ranch, Cynthia Erivo and Julie Atherton raise the abbey roof.  Atherton’s Mary Roberts is simply adorable in her pop socks and sandals.  Her fresh face and wide eyes bring new life to the role and her distinctive voice makes sure she isn’t overlooked.  The revised version has changed ‘How I Got the Calling’ to ‘It’s Good to Be a Nun’, a more humorous and appealing number to the ear.  However, this song change skips past the fact that Mary Roberts is actually an orphan abandoned on the convent’s steps.  This change now a sees a naive young girl who may have prematurely chosen this path before experiencing ‘The Life [She] Never Led’, which gives her character more edge.  Laurie Scarth plays a perfectly over zealous Sister Mary Patrick, beaming face and bubbly charm.

Kadiff Kirwan is a recent graduate of CSSD and took the part of Eddie on the evening I seen the show.  Kirwan’s Eddie is all heart hiding behind a badge, known as “Sweaty Eddie”, but more strength than sweat.  From the moment Deloris and Eddie’s eyes meet you can sense the giggly teenage attraction, which is something I failed to feel in the London production.  Cynthia’s affection and Kirwan’s modest strength match perfectly, creating such a cute couple.  The audience loved Eddie, indicated by the rapturous applause and audible “aaahs” during his solo number, ‘I Could Be That Guy’.  Well-known casting rather than a celebrity ploy sees Denise Black in the role of Mother Superior.  It is evident that Black has worked hard on her vocal and concentrates all her energy into every song, and I applaud her effort.  The relationship between her and Deloris is less stern than Sheila and Patina, more of a maternal jealousy than a stern distaste.  Black’s Broadway number ‘Haven’t Got a Prayer’ shows that she’s more of a Dawn French Vicar of Dibley than a Maggie Smith Mother Superior.  Michael Starke dons the robes of Monsignor O’Hara who’s effervescent enthusiasm transforms him into the congregational DJ, rocking the mic and flashing his bling, a comical touch.

Cavin Cornwall is menacingly sensual as Curtis, a smooth vocal leaving you unsure whether you should be turned on or off.  The gangsters are always a hit, especially their trio ‘Lady in the Long Black Dress’ but Tyrone Huntley as the, even more, effected TJ steals the spotlight with his scatty remarks, scarily high voice and failed moonwalks.  Mary Lazarus, played by Jacqueline Clarke, always gets the audience going during her Eminem moment.  Gemma Knight Jones and Hannah Levane are natural divas with a ‘tude.  The cast are superbly strong and the nun’s quartet during ‘Raise Your Voice’ gave me goosebumps.

The design is simple and will never match the amazing revolve of the Palladium but they have done the best they can with a touring show.  Costumes are phenomenal, never fail to impress or blind with a trillion sequins.  This book is much more commercial, truer to the screen version, more farcical than the first and filled with continuous cultural references to engage the regional audiences.

Although change is always daunting, I do believe that this production has a lot more heart and the relationships are emotively stronger.  By the curtain call the audience were standing, screaming and shouting…I gladly joined in…true testament to a fantastic show and not only a talented, but fully invested group of performers.

A Sunday service that could teach TFL a thing or two.
Amen.

- - - - - - - - - -

REVIEWED: 28/10/11
By @BenVivianJones

Oxford Playhouse, Oxford OX1

UK tour until September 2012.

@SisterActUK
http://www.sisteractthemusical.com/tour/

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.

- - - - - - - - - -

REVIEWED: 26/10/11
By @BenVivianJones

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

UK tour 22nd Sep - 12th Nov 2011.

- - - - - - - - - -

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

FOLLOW @Twespians on Twitter

THE BEST LITTLE WHOREHOUSE IN TEXAS

The Union Theatre has denounced its morals learned from The Baker’s Wife and given rise to The Best Little Whorehouse in Texas.

Whorehouse tells the story of a midwestern brothel run by Miss Mona (Sarah Lark) that finds itself under attack from Melvin P. Thorpe the Texan Watchdog (Leon Craig).

We open on two new prospects moving into Miss Mona’s Chicken Ranch. Frankie Jenna is the sassy Angel, a killer body and haircut to match. This hard girl melts hearts when we discover the reason behind her choices.  Sheriff Earl Dodd is infatuated with Miss Mona and forced to make a tough decision between love and the law resulting in a touching finale between the pair, creating a stark contrast with Parkes’ Will Ferrell inspired sheriff.  It’s a shame we don’t see more of Lindsay Scigliano and her cafetiere, cracking voice.  Lark’s blonde bonnet, boots and bust personify Miss Mona and any age queries are quickly quashed.  Melvin P. Thorpe became a camper than Christmas cowboy, which I found completely hilarious, but did distract from the Evangelistic intentions of the script. The boys give the girls a run for their money with their footwork, which is definitely worth the watch, choreographed by Crazy For You’s Richard Jones.  Unfortunately the necessary electric band over power the vocals too often and the stripped back numbers work much better with close harmonies from the cast.

The show has some great musical numbers but narratives come and go too often. For example, Angel and Shy who appear to be our focus aren’t centered on again until the second act and the narrator Doatsey Mae’s scenes are shoe-horned in. However, this is a fault with the writing not with the creatives and cast.

A not so wholesome hoedown with a punch packing performance from the Valleys turned Texan, Miss Sarah Lark.

- - - - - - - - - -

REVIEWED: 20/10/11
By @BenVivianJones

18th October - 12th November 2011
The Union Theatre, London SE1.