BARGAIN THEATRE

ROLL ON THE DAY

Strolling in London on a bright sunny afternoon down Piccadilly, near Green Park tube station, the sight of paintings hung on Victorian iron railings along the pavement beside the park makes an interesting spectacle. Artists and dealers ply their wares here throughout the summer as the fully laden, open-top, tourist buses pass by with passengers eager for souvenirs. For many it’s become an icon of London in the sunshine and provides the setting to A Stage Kindly’s and Knockhardy Productions’ new chamber musical drama, directed by Vik Sivalingam.

A cast of three with musical director Tom Turner on keys, bring life to Roberto Trippini’s book, which began as a comedy sketch in the late nineties before being expanded into a play and subsequently complimented with new songs by Lawrence Mark Wythe, which on the whole are pleasing despite having some very dodgy rhymes! A steady foundation of well-balanced music and narrative has been achieved here, the songs taking it forward in natural progression.

Eko (Amersackie Osakonor) a Nigerian artist of ‘Piccadilly and Green Park’ ekes out a living on the roadside by selling the churned-out canvasses he reluctantly paints for visitors. His heart is elsewhere and it’s of merit that the writer delves deep to give a good insight into his background, emotions, hopes and fears. Eko is a freedom fighter, yearning to return to his native country but unwilling to do so until the political climate is right. It’ll be sometime soon though, he hopes, and roll on the day. Neighbouring stallholder Dan is typically British, probably East London, swears a lot and sells commemorative china. Sean Keating takes the role sporting an England football shirt and is proudly patriotic, though not to excess. This is no BNP-style protest story, in fact the opening concentrates on the friendship that has developed between the pair. The boys joke about women and sex to while away the sun-filled hours. Lavinia (Kendra McMillan) is an American who happens to like art and chances upon Eko’s pictures, she offers him a commission but wants African-inspired paintings, not the tourist views of Big Ben or Buckingham Palace. This seems an unlikely scenario, but Eko is hoping to get more than just money for his troubles and doesn’t stop to consider her motives. Some interesting twists take the story in unexpected directions, providing plenty of scope for the songwriter and actors alike.

Each character is not quite what they seem. Having dual United States and UK citizenship is a clear advantage for McMillan as her character transpires. Having to change accents mid way through the act cannot be easy but she accomplishes this with flair. She also provides quality vocals both in solo and ensemble numbers. Particularly impressively during the title duet with Sean Keating toward the end, although her animated performance occasionally tended toward music hall during that number.

Interestingly, this piece does call culture’s perception of right and wrong into question. Without revealing too much, one is a law breaker yet the others give the aura of bullying oppressors, attempting to beat their prey into submission using the power that society has given them. The director illustrates this very well, using the cast to turn the tables as the story progresses with Lavinia becoming a convincing Tracy Barlow-esque figure.

An enjoyable and well-written offering in so far as it goes, but there is potential for more and sadly it ended just as it really got into full swing. Oh, and I must pop down to Piccadilly while the sun is still out.

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REVIEWED: 29/03/12
By Gareth Richardson @BargainTheatre

27th March - 15th April 2012
Etcetera Theatre, London, NW1.

ICEBERG, RIGHT AHEAD!

In his programme note, Iceberg, Right Ahead! author Chris Burgess questions why there weren’t more plays about the Titanic. It seems to me that even though Burgess’ attempt at such a play is by no means misguided, it does perhaps highlight the reasons why there aren’t other plays about the ill-fated ocean liner. Although at the same time, when Burgess gets it right, he manages to create some truly magnificent moments.

The play is in three acts: the first on-board the Titanic in the run up to the collision and ends with the infamous line (and title of the play) ‘Iceberg – right ahead!’ Act Two thrusts the audience into the carnage of the sinking before offering a glimpse into the horror and disbelief of those lucky few watching from the lifeboats. The third act is a fascinating and poignant look into the inquest that followed the tragedy.

The set design by James Lewis definitely uses every inch of the Gatehouse performance space and is very effective, when it’s in place! It did feel though as if whenever act one began to develop momentum, it would be stalled almost completely by long set changes. The use of a large tickertape projected onto the front of the crow’s nest seated above the set, displayed interesting facts and important details crucial to the plot, a very nice feature. However, the structure of the design and the space itself left many seats with a restricted view of this.

Credit definitely has to be given to the cast of nine who not only gave wonderful performances but were also responsible for all set changes (including dismantling two very large collapsible lifeboats). This piece is certainly an example of ensemble acting at its best and to call this cast hardworking is an understatement. That said, Rosalind Blessed really did make the production for me as the ‘unsinkable’ Margaret Brown. It’s difficult to pin down exactly what it was she did to have this effect, Blessed just seems to be one of those lucky actors who has that extra spark and can command a stage (and an audience) with nothing more than a glance.

Perhaps there are too many individual story lines in the first act and that did change my feeling towards the characters, with the impression of watching small insights into a group of people rather than developing a real understanding of individual characters. In a piece involving a tragedy like the sinking of the Titanic, I think it is the understanding and care for the characters that would really make the emotions hit home as the play intensifies in acts two and three.
The only time this production seemed to fall down due to the small cast in a limited space was during the beginning of act two as passengers began to be loaded into lifeboats and off the ship. This full section took place on a small landing raised above the main stage floor. This was the one time I couldn’t help but feel disconnected from the action.

However, it is after this small section that the production really comes into its own, with scenes in the lifeboats being a glorious example of how brilliant fringe theatre really can be. With two large lifeboats filling the stage floor, the sheer intimacy achieved here by director John Plews is beyond anything you could experience in commercial West End theatre and something truly magical. Even so, the feelings I was experiencing at this stage were more about the Titanic disaster in general than the specific characters used to tell the story. This is the turning point, the production then goes from strength to strength. The final act in which the audience witness the inquest into the sinking is a prime example of how real transcripts from 1912 can be combined with new writing to create an almost overwhelming sea of emotion (pardon the pun) bringing the production to a perfect end…as perfect an end that a play about the greatest maritime tragedy of all time can have.

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REVIEWED: 27/03/12
By David Coverdale @davidcoverdale9

22nd March - 22nd April 2012
Upstairs at the Gatehouse, London N6.

DUCHESS OF MALFI

Set in the Italian court of Malfi during the first decade of the sixteenth century, the Jacobean drama, loosely based on true events, was written by Englishman John Webster one hundred years later and performed to its first regular audience at the Globe Theatre shortly afterwards, falling in and out of fashion ever since.  I have only seen two prior productions, Stage on Screen at Greenwich Theatre in 2010 and ENO/Punchdrunk’s promenade the same year. The first, I viewed merely in preparation for the second.  I was stunned by the sheer power of this play at Greenwich, only to be subsequently disappointed by the latter.

An eerie atmosphere descends over the Old Vic during the opening scene.  Druid-like figures, bearing candelabra in the darkness, provide a guard of honour as we are introduced to the primary male characters. Bosola (Mark Bonnar), whose ‘corruption grew out of horse dung’ is soon reluctantly engaged by the unhinged Ferdinand (Harry Lloyd) to become his illicit agent.  The lustful Cardinal, played by Finbar Lynch, imposingly dressed in red. A dramatic blinding avenue of white light emphasising the Duchess’ pureness, spectacularly heralds the arrival of Eve Best in the title role.  Each drops their mask in a sign of strength and confidence, whereas they are in fact revealing their inner weaknesses.  I must admit, it took me a while to adjust to Webster’s distinguished poetic language, but the effort is worth investing.

Tom Bateman gives the virile Antonio a charming depth of passion, his dashing looks soon finding the Duchess’ attention.  A secret wedding, arranged in haste and without ceremony, is witnessed only by her maid and confidant Cariola, who some nine months later also becomes her midwife.  Apricots, it seems, were believed to induce labour; a tactic employed by the suspicious Bosola who sends word back to her brothers.  Beds are a favoured prop in this production, wheeled on and off stage with various occupants at an alarming rate.  There are many visual shocks; seeing a fully dressed cardinal vigorously astride his mistress is arguably amongst the most horrific!  Antonio meanwhile proves equally astonishing, providing two further offspring with remarkable speed as the family exile in Ancona before he and the eldest son flee to Milan.

The real drama begins as the brothers execute their spiteful revenge.  An impressively elaborate multi-levelled design of steps, bridges and platforms caters perfectly for the most famous Malfi scene, which director Jamie Lloyd superbly stages to great effect in this production.  Harry Lloyd gives a masterly portrayal as he returns to the Duchess in the dead of night, tormenting her witlessly after deceptively gaining his sister’s confidence.  What follows is one of the most gruesomely haunting theatrical sights as Borsola reveals the brothers’ horrific deeds.  Shock is heightened at the devilish sight of Ferdinand looking down on the fearfully pained Duchess from the back of the stage, hovering on high in viscious provocation.

With prospects bleak, Eve Best takes her portrayal of the ruined Duchess to an even greater level. She wrings every ounce of performance in the tense, gory action that follows, hard to describe further without spoiling the plot, but her display of writhing yet graceful agony as her character prepares to meet her fate is remarkable.

The deaths of many occur in quick succession, some more believable than others and a fault of the author that each is given a speech to deliver using their last breaths. This was the only part of the macabre tale that I found unconvincing, with a small sub-set of the cast over playing the drama. Mark Bonnar shines in this awesomely dark and violent tale though, with Bosola’s realisation of remorse, having had a hand in all the killings only to be betrayed by his malicious master.

Written some four hundred years ago but retaining much relevance today, the Old Vic’s Duchess Of Malfi is a bloody nightmare, superbly executed.

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REVIEWED: 24/03/12
By Gareth Richardson @BargainTheatre

Previews until 27th March
17th March - 9th June 2012
The Old Vic, London, SE1.

ASSASSINS

As a huge Sondheim fan, and in particular Assassins, I was both thrilled and concerned when I was asked to review this production. I saw Assassins in 2010 at The Union Theatre and did not think it could be bettered or matched, certainly not on the fringe and most definitely not so soon.  However, no need for concern as the two productions turned out to be very different interpretations. 

Sondheim is renowned for his musical plays, requiring strong actors and highly skilled musicians to successfully pull off any of his works.  Thankfully, the ensemble manage this with ease.

Notable mentions must go to Padraig Breathnach, for his wonderful energy and the intricate nuances he portrays as Guiseppe Zangara.  Johnjo Flynn, as Balladeer, gives his songs a lovely, jazz like sound making Sondheim seem almost effortless, which is no mean feat.  Brandon Force finds the humour of Charles Guiteau without overplaying it. He keeps the audience laughing, whilst maintaining Guiteau’s darker aspects with natural charm and comic timing.

Stand out performances go to Alexander Forsyth for his simple and honest portrayal of Leon Czolgosz, a part usually outshone, but Forsyth proves that sometimes vulnerability is what can make a performance great. Martin Dickinson as John Wilkes Booth, sings the role with maturity and skill. He is perfectly cast, displaying wonderful stage presence, and leads the ensemble as he cajoles the rest of the would - be assassins to “kill a president”.

Although accents on a couple of the actors do falter once or twice and some comedy scenes are a little on the forced side, detracting from the writing, these are minor flaws.

The set and costume design are fantastic; visually simple but impressive, a different class to other fringe productions.  David Elser and Gemma Veitch must take credit for the detail gone into each design aspect.

Choreography subtly shines in a small space, Chris Whittaker uses his ensemble to enhance the intricate songs and add to their dynamic, something I wasn’t expecting. 

Director Ray Rackham has delivered a wonderful production of Assassins, and one which I am sure will sell out, so I would advise you to book your tickets in advance. 

It seems that fringe theatre will not be backing down anytime soon as the place to see first class performances for a fraction of the cost.

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REVIEWED: 22/03/12

By Miss Sally Bowles

23rd March - 8th April 2012
Pleasance Theatre Islington, London, N7.

SWEENEY TODD

ONE FLEW OVER THE CUCKOO’S NEST

SONG OF THE SEAGULL

The concept of ‘site specific’ theatre has been gradually diluted over recent years to the extent that the phrase no longer has any reliable meaning.  This production is billed as being such, presumably due to it being set in an art gallery in the same building that houses the Menier Chocolate Factory.  Yes, there are pictures hung on the wall of a basement space and uncomfortable, wooden restaurant-style chairs to sit on for two hours; but come on, does that really warrant such an over-egging of the pie?  Or perhaps it refers to the toilet immediately next to the gallery, the door of which could frequently be heard being slammed by patrons enjoying the interval of Abigail’s Party in the main theatre?  We were handed shots of vodka while waiting for the play to start, dispensed as an accordionist played background music.  Na Zdorovie! This was a nice touch, I hoped it wasn’t an ominous sign.

Based on real events, this is a fictional musical drama which tells the story of Nina, a wayward wife who brings misfortune and despair to her cuckold husband Osip after betraying him for artist Zac.  Anton Chekov seems to be included as an after-thought, presented in an attempt to inject interest into an otherwise run-of-the-mill, dull tale.  This tactic fails, the plot is tedious and the production lack-lustre.  
 
Lindsey Crow best portrays her character Nina strongly, displaying her vocal ability, therein adding some light.  Nicholas Gauci plays the top hat and tailed Osip with grace and finesse too, but overall this cast do not stretch the piece and that fault must lie with the director.  Instead of taking the audience along with her on a flight of fantasy, this seagull’s wings are tightly clipped.  Zac the lover and artist, who we oddly never see with a paintbrush, should provide spice and life but instead he mopes and laments, even stating how he is bored, depressed and lethargic as the second act begins.  My sentiments exactly.  
 
Described as a play with songs, the musical interludes do provide relief but lack the harmonies required to lift spirits.  There are some nice touches in design and the costumes are a visual treat but I’m afraid it’s definitely ‘nyet’ from me.

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REVIEWED: 15/03/12
By Gareth Richardson @BargainTheatre

15th - 31st March 2012
The Menier Gallery, London, SE1.

THE GLORIOUS ONES

The era when actors reigned supreme in the theatre, pursuing a basic plot by using improvisation instead of following a script, is the setting for The Landor Theatre’s latest musical.  While Shakespeare was busy penning in London, Commedia gained popularity in town squares across Europe, particularly Italy and France.  The Glorious Ones, while partially factual, combines musical theatre with comedy cameos to tell the story of a commedia dell’arte troupe working at the time when staged writing gained popularity over the long-established tradition of simply making it up.  Telling the story of those who look to the future with excitement and others who yearn for the comfortable ways of the past, in a similar way to say, Singin’ in The Rain encompasses that time when pictures became talkies and the wealth of change it brought.

Busty maidens, quacks, lovers and prostitutes are just some of the eclectic mix who travel from town to town with their lewd show, having hardly more qualification than the belief that ‘If you’re good in bed, you’re good on stage!’  I’m not sure how that argument would stand up today?

The strength of this production is undoubtedly in the music: Stephen Flaherty’s score comprising of twenty five numbers, played by five musicians including musical director Joanna Cichonska on piano.  Stand out vocals being those of Kate Brennan playing the buxom Columbina and Peter Straker as Pantalone.  Essentially though, this is an ensemble piece and the cast of seven produce admirable harmonies to compensate for the somewhat tedious book.  Ironic that the script should be at fault here, but it seemed that the comedic interludes simply did not stand up and the story as a whole is somewhat lame.  That is not to say it’s unfunny, simulated sex behind backlit calico sheeting and saucy song lyrics yield good laughs.  Delightful period costumes, which I suspect were sourced from wardrobe at The National, certainly add a lush feel to this European Premier.  
 
The writing duo Flaherty and Ahern who brought us Ragtime, excellently staged by the same creative team at this venue last year and receiving three Off West End theatre awards, have not quite hit the same mark here.  There are some very strong elements, particularly musical, which fans of that genre should not hesitate to hear for themselves.  While lead male Mike Christie doesn’t dominate as much as he might, the strong cast enthuse with energy under the ever-reliable direction of Robert McWhir.

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

6th March - 7th April 2012
The Landor Theatre, London, SW9.

WHAT WOULD HELEN MIRREN DO?

After a short break from writing reviews, because I’ve been treading the boards myself, I was eagerly awaiting this trip to see Anita Parry’s one-woman show What Would Helen Mirren Do?  My eagerness was partly due to being able to check out another new venue in London, Waterloo East Theatre, and to have an enjoyable night out at a  ”laugh-out-loud play about love, work, letting go and finding out who we really want to be”.

A one woman show, written by Josie Melia, provides an insight into the life of Susan, a checkout operator from Oldham, who is faced with a number of trials and tribulations in both her work and personal life and is forced to choose a role model. After some deliberation she picks Helen Mirren.

As far as story goes, that’s pretty much it. Susan is likeable and played well by Anita Parry, but did not engage me. Although I have to add that there were spontaneous outbreaks of laughter from those seated around me.

Sometimes plays just don’t hit the mark for us when we go and see them. When that happens I’ve given up asking myself what it is that the others around me can see that I can’t, and try to figure out what it is that’s allowing my mind to wander away from what is being played out on stage. Where’s the weakness?  Here I cannot really lay the blame on Anita Parry as she portrays Susan perfectly well enough. The problem for me is the writing.  Never once did I actually find myself caring what happened to Susan or any of the myriad of other broadly drawn characters that Parry also plays, sometimes confusingly close to her own physicality so that it’s a little tricky to tell who is meant to be speaking.

The play is only short, 80 minutes according to the programme note, but it seemed to be longer.

I’m sure some will like this piece, and I’m sure that in a different venue, perhaps one a lot more intimate like Trafalgar Studios 2 or Jermyn St, it would be a charming piece of entertainment but here it just falls short. The writing is not strong enough to compensate for the limitations of this venue. The trains rumbling overhead pull focus every time they trundle above. I even found myself wondering where the trains were going, who they were carrying and what the passengers lives were like, when I was supposed to be caring about Susan. 

I suppose that’s the nub of the issue here, I just didn’t care about, or for, Susan.

FLOYD COLLINS

HAY FEVER

After seeing that Delfont Mackintosh had taken the decision to replace Million Dollar Quartet with a revival of Noel Coward’s Hay Fever, I was dubious to say the least.  As the country comes out of recession I struggled to imagine the theatregoing masses flocking to the Noel Coward Theatre to see a comedy of manners written over 80 years ago.  However, whilst taking my seat at the back of an almost full capacity stalls the realisation set in that I had perhaps underestimated the pull this still has on an audience. The play centres around retired actress Judith Bliss and her eccentric family as they embark on the “Darkest Friday to Monday ever”. Four different house guests descend on the Bliss house with the intention of staying in the “Japanese room”, what follows is a glimpse into the weekend from hell, filled with ridiculous pastimes and to put no finer point on it, posh people behaving badly. 

The curtain rises upon Sorrel and Simon Bliss (Phoebe Waller-Bridge and Freddie Fox) trying to pass a dull Friday afternoon with fierce sibling banter.  The opening scene rattles along at an extremely pleasing pace as we are thrown into the midst of the Bliss family’s ridiculous world.  Waller-Bridge and Fox shine as the horribly spoilt son and daughter, delivering their parts in annoyingly perfect RP, making their revolting characteristics even more amusing, particularly in the second act when Sorrel loses one of her favourite parlour games. 

This production truly comes to life with the arrival of Lindsay Duncan as Judith Bliss. Despite the play generally being an ensemble piece, this work belongs to Duncan: she uses every word of Coward’s marvellous script to maximum effect, forcing the audience to hang on her every word so much so that I constantly looked forward to her next entrance. 

Following Howard Davies’ success with the 2001 revival of Coward’s Private Lives, it was definitely a safe decision to set him once again at the directorial helm. Davies directs with excellent attention to detail and every inch of Bunny Christie’s extravagant set is put to good use.  One of the best features of this Coward script is the use of silences to really accentuate the awkwardness of the situation and Davies doesn’t waste a second of it, nor does he make the simple mistake of allowing a pause too long to breathe.

Overall the production moves along at an exciting pace, however there was a brief period at the height of act one in which I felt the momentum drop dramatically; the arrival of the first house guest Sandy Tyrell (Sam Callis). Impetus is soon restored as Callis woos Judith with an amusing series of flirtatious comments but it is after this scene that Callis’ character unfortunately slips off the radar almost completely – along with Richard Gretham (Jeremy Northam). That said, the fault here seems to be more with the script than direction. 

Playing Clara, the Bliss family’s overworked maid, is Theatreland veteran Jenny Galloway.  As with any part she plays, Galloway brings that special mix of delivery and presence that only she can to the stage and, for me, made one of the smallest characters one of the most memorable. It is an absolute delight to see Galloway back in the West End. 

Good contributions also from Amy Morgan as the well-meaning but empty-headed Jackie Coryton and Kevin R. McNally as David Bliss but once again, this production is a star vehicle, and in this instance that star is Lindsay Duncan.

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REVIEWED: 25/02/2012

By David Coverdale @davidcoverdale9

Booking until 2nd June 2012
Noel Coward Theatre, London, WC2.