BARGAIN THEATRE

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.

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. 

VIEUX CARRE

THE ONLY TRUE HISTORY OF LIZZIE FINN

“It’s 1892. Lizzie Finn is a celebrated dancer. Charmed by a soldier returning from the war, Lizzie becomes entangled in an intense and passionate affair.”

You could have fooled me.

Shereen Martin takes the lead as Lizzie Finn, unfortunately monotone and lacking patriotic passion of the Irish. The only demonstration of her “celebrated” dancing was a few Can Can moments during the first scene. Justin Aroth as her suitable suitor Robert Gibson starts out very much the same but grows throughout to fulfil his role, though this still doesn’t light the passion between the pair.

The relationship between Jelly Jane (Lucy Black) and Finn is delightful. Jane’s departure is touching, especially the defiance to allow her emotions to take control. Penelope Beaumont as lady of the house Lucinda Gibson is accurately stern and discerning, but her curious accent confused me geographically. Andrew Jarvis as Bartholomew Grady was captivating during the second act with his small, entertaining snippets of dialogue.

Karen Grogan was most definitely the shining star here as Tilly and later Teresa. Both parts she played with equal conviction and I remember her striking a similar chord in Playboy of the Western World. From her first entrance she was energetic and engaging, commanding the audience’s attention and I found myself constantly awaiting her return.

Short scenes capture your attention but are equally disjointed, with random blackouts and time lapses. Relationship developments happen over a matter of seconds, not allowing us to invest or care.

Candles encased in jars suspended from the ceiling provide constant flickering light against a black backdrop, a nice touch to the night time scenes but not flexible enough for other scenes. One member of the audience found herself counting them, instead of watching the performance, to see if any had gone out. A set of steps reminiscent of a sea front provide the set, again not allowing much room for movement or imagination.

Don’t get me wrong, the cast are talented but the material leaves a lot to be desired. I couldn’t understand why this story attracted anyone’s attention in the first place to develop it for the stage.

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REVIEWED: 29/06/12
By Frank Butler

27th June - 29th July 2012
Southwark Playhouse, London, SE1.

THE SUNNY SIDE OF THE STREET

Following on from the successes of Bewitched, Bothered and Bewildered and Classic Moments, Hidden Treasures at the same venue, director Tim McArthur’s third summer musical revue at Jermyn Street puts the work of Oscar and Emmy award-winning lyricist Dorothy Fields firmly in the spotlight with an impressive all-female West End cast.  Over thirty of her best songs from a career spanning five decades are loosely tagged to a story set in a pink hairdressing salon, which connects the daily lives of all five girls.  

Rosemary Ashe thrills with solos including ‘Blue Again’, ‘He Had A Refinement’ and the lovely music-hall-esque ‘A Lady Needs A Change’; she very much sets the standard.  Leanne Jones adds flair of her own though, with ‘Lovely To Look At’ and ‘Remind Me’, while Shona White’s ‘Make The Man Love Me’ is a passionately portrayed highlight.  When joined by Helen Hobson and Jane Milligan, the show really chimes as the company assemble for classic numbers such as Sweet Charity’s ‘Something Better Than This’, ‘If They Could See Me Now’ and ‘A Fine Romance’ from the movie Swingtime.  If barber shops had female quintets, I guess this would be among the best sounding.  A top hat and cane finale provides a fitting close to the sung-through presentation and allows the audience a great excuse to release their pent-up applause at curtain call.

Single piano accompaniment is perfect in such a compact venue, played brightly by musical director Sarah Travis who doubles as the salon’s feather-duster waving cleaner and even sings a few lines of her own as the evening progresses, the bubbly starts to flow and the ladies get merry.

This entertaining production both looks and sounds delightful.  If there’s a fault, it’s in relation to the hairdressing concept which is rather weak, and in that regard it’s no shampoo but lots of set (David Shield’s detailed design and costumes have a central theme, everything’s pink and it works well).  However, that is a minor matter which is amply offset by the very talented cast who provide a fitting tribute to the lady who, from very humble beginnings, left a songbook legacy that richly deserves the fresh look that this production affords it.

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REVIEWED: 21/06/12
By Gareth Richardson @BargainTheatre
 
19th June - 7th July 2012
Jermyn Street Theatre, London, SW1.

LITTLE WOMEN: IN CONCERT

Ten West End performers including two witches, one Nancy, an illegitimate French child and the mother of a dirty dancer will transport Louisa May Alcott’s Little Women from Orchard House, Massachusetts to London’s Playhouse Theatre.

Steven Luke Walker’s musical adaption will be hosted by theatre critic Mark Shenton, directed by Nicola Samer, associate director to The Ladykillers and produced by, up and coming director and producer, Paul Taylor-Mills.

The performance is musically directed by Niall Bailey with a cast led by Gina Beck, Nikki Davis-Jones, Sarah Lark, Lisa-Anne Wood and Shona Lindsay with guest appearance from Samantha Barks. The cast will be supported by a specially formed GSA ensemble.

Little Women is a much loved and respected story of domesticity, work and sisterly affection with a score that Nicola Samer believes brings it “into the modern world whilst retaining a classic musical theatre sound…[and] anyone who comes to see this concert will be able to relate with one of the characters”.

The one off performance is in aid of The Gingerbread Charity who support single parent families.

“Everyone has their own Little Women story.”
Nicola Samer

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Book tickets here: http://www.atgtickets.com/Little-Women-Tickets/15/3534/
Or call: 0844 871 7631

June 24th 2012
Playhouse Theatre, London, WC2.

SPINACH

DENIAL

HIS GREATNESS

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

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

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

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

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

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

SPAMALOT

If only I’d looked on the bright side of life…

Growing up with my Dad’s friends doing their interpretation of the Ministry of Silly Walks and suffering teenage boys galloping around pretending to be a Monty Python horse I had run fast in the opposite direction when Spamalot originally opened up at The Palace. But it was the enthusiasm of an eighteen year old who made me realise that Spam can indeed be a tasty musical theatre experience. Even the interval Spam Vol au Vent came with extra showbiz pizzazz served by Christopher Biggins no less.

Just 15 minutes before curtain up at The Churchill, Bromley I decided to take advantage of my ATG membership and picked up a front row stalls ticket at half price. But within 15 minutes of curtain up my smile and laughter was indicating I’d made a big mistake by never seeing Spamalot before. The premise to the plot is King Arthur’s search for the Holy Grail, but for me the Holy Grail was discovering that Spamalot is an excellent parody of the structure of a musical. It would take a hardened musical theatre lover not to break out into a big smile during ‘The Song That Goes Like This’ or ‘The Diva’s Lament’.

I had heard from other theatre goes that the set was on the wobbly side. This was evident from the start as not only did it look like it had been made for a short panto season, it clearly wasn’t travelling well with a few too many bash marks on the castle walls.

I found Todd Carty under whelming as Patsy during the first act despite him perfecting the look of the down trodden side-kick of King Arthur and was beginning to wonder why Patsy was there. However during the opening of the second act I found the bright side of life.

The show wasn’t just about spam, spam, spam as it also had its fair share of cheese, most notably during ‘His Name is Lancelot’ led by Kit Orton and Adam Ellis with camembert oozing out of their pores.

Spamalot won’t stretch you but it won’t leave you thinking you should have left it in your junk folder of shows to be missed.

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REVIEWED: 30/04/12
By Sara Brown @TheTheatreFox

Until 5th May 2012
Churchill Theatre, Bromley, BR1.

 

MISTERMAN

What are the qualities that define an outstanding performance?  I mean, what is it that makes something great rather than just good?  For ninety minutes without an interval in a very cramped seat at the Lyttleton, I found myself in awe of Cillian Murphy.  I soon forgot about how uncomfortable I was and settled to watch his riveting monologue.  The subject matter did not capture me so I can remove that factor from my opening question.  Don’t get me wrong though, there is nothing wrong with the story, but for me personally it just isn’t my natural area of interest.  

For one and a half hours he totally immerses himself into the guise of Thomas McGill, a confused no-hoper living in the small town of Innisfree.  We learn of his affection for biscuit-loving mum (mammy), his pain at the death of his dad and he introduces us to an eclectic mix of townsfolk, some clearly as distracted as him.  Cassette recorder strapped to his shoulder wherever he goes, McGill finds friendship and comfort in the playback of his many taped conversations of the past.  Some are truly touching, others darkly disturbing, some are just mundane, but all offer an insight into his world.  For Tommy does not really reside in Innisfree, he dwells there, exists there, but lives in his own imagination and it is this fanciful place that Murphy is able to bring to life with stunning realism.

The design is abstract and huge, a two-storey industrial building that becomes Thomas’ playground, his home and a shrine to his parents.  We’re told that his father is dead, but his mother’s situation is less clear and this is a clever trick by playwright Enda Walsh.  Mammy is always present but never seen; there in spirit, a strong character on stage though not tangible.  Thomas is depressed, frustrated, bullied and finds consolation in her and his faith.  He cannot live without her and refuses to let go, he cannot for she is his only true friend and lifeline.  

Making full use of a host of props, together with some mime and plenty of dialogue, he becomes the embodiment of a whole town.  The tormented Thomas rips around his surroundings, trying to correct the town’s inhabitants of their immorality.  Presumably this is his interpretation of his parents’ influence, his evangalism becoming a method of pleasing them. 

There are many unanswered questions, since trying to make full sense of the story is itself nonsensical.  The fact that it is comprehensible at all is due to the intense understanding that the writer and actor have formed. A partnership that combines both minds to produce that illusive quality, the key that opens the door and makes this production all the more remarkable.

Murphy’s totally convincing portrayal makes us believe not only in Thomas but also in his mammy and the host of other characters he introduces and maybe now I’m starting to comprehend just what makes a performance great.

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Reviewed 14/04/12 (first preview)
by Gareth Richardson @BargainTheatre

Runs until 28th May 2012
Lyttleton, National Theatre, London, SE1.

THE KING’S SPEECH