BARGAIN THEATRE

GOODBYE BARCELONA

The Spanish Civil War is not an area of history with which I’m very familiar.  Something about Franco, republicans and Fascists being the extent of my understanding.  I certainly didn’t realise that some 2,300 British and Irish men and women rallied to the cause, rushing to fight in a conflict that would never be of any personal benefit.  Over 500 of those were killed.  From July 1936, the war raged between Franco’s German and Italian-backed fascists and a Republican government, notably unsupported by Britain.  Despite all the odds, the republicans managed to resist the fascists until 1939, assisted greatly by an assortment of 35,000 volunteers from over 50 countries. The International Brigaders were the inspiration for this new musical, staged as a tribute to their courage with 2011 marking the 75th anniversary of their formation.

Sammy (Tommy Gill) is an eighteen year old Jew from Stepney who hates fascism and all it stands for.  Mother Rebecca (Lucy Bradshaw) has brought her son up to fight for his beliefs, a course she comes to regret when he sets sights on Spain; she can’t prevent her hot-headed boy placing conviction over consideration and shipping out to fight in a war he knows little about.  In company of individuals with a similar mindset, Sam discovers love and tragedy over the following two years.  Pilar (Katie Bernstein) has lost both parents in the struggle and is facing the prospect of prostitution when Sammy falls for her.  Rebecca meanwhile decides that she too must rally to the cause and undertakes nursing duties while searching for him.  Bradshaw copes well portraying a mother pining for a son of whose fate she knows nothing.  

Sam is one of a band of Brigaders who journey across Spain in the fight for freedom.  Mark Meadows is strong as Northerner Jack, cynical World War One veteran and reluctant mentor to the lads, infusing self discipline and wisdom in equal measure by his actions rather than words.  Jack Shalloo plays cocky George with spirit and energy.  Their clever faction’s patter song is certainly a highlight.John Killoran gives a persuasive performance as Ernesto, self-proclaimed anarchist who stumbles upon Rebecca in a hospital.  She is too busy to tolerate his bad-tempered demanding, a quality which he finds attractive.  Predictably, romance blossoms.  The somewhat unimaginatively titled ‘Ernesto’s Song’ is charmingly delivered.

K.S. Lewkowicz has compiled a decent score in this his second musical, to include rousing political war chants, together with a sprinkling of touching ballads and attractive ensemble pieces. A bouyant four-piece band, overseen by Musical Director Mark Smith, gives accompaniment to a talented and energetic cast, which includes some fine vocalists. Although sound levels were just about perfect, I do question the need to use microphones, but that is purely a personal preference.

Whether the quality of this new musical is sufficient to carry it forward is difficult to judge. Certainly, it has potential and the cast received a hearty reception at curtain call. Spanish speakers could be heard aplenty in the audience and while I couldn’t discern their precise conversation, approval was evident. Indeed, I found this production generally appealing and the committed cast engaging.

Judith Johnson’s book does not err far from the predictable war-torn romances between both couples and this is a flaw, allowing a lack of true grit to the storyline.  The interval proved to be a watershed, a beefy second act provided more of the bad language and despair one expects from a war being fought by fatigued Brigaders subsisting on beans and fighting with amunition ill-suiting their ageing weapons. The piece climaxes with a tearfully moving and sincere final scene, superbly played by Lucy Bradshaw.  La Pasionaria’s Farewell is chillingly sung by the very able Laura Tebbutt to close the show.

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REVIEWED: 28/11/11
By Gareth Richardson - @BargainTheatre

Nov 24th - Dec 23rd 2011
Arcola Theatre, London, E8.

TEN10 - First ten performances £10
Tuesdays - Pay What You Can 

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.

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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

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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!

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REVIEWED: 19/11/11
By @BargainTheatre

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

EX

“Why do women always fall for the bad guy?”

Rob Young wrote EX because he wanted to explore the awkwardness of meeting said beau in a bar, “you still fancy them, even though you know what they’re like”, and this is just that.  The troublesome couple Ruby and Jack, respectively played by Amy Booth-Steel and Gerard Carey, reminisce and repress the memories of their past.  The shit hits the fan when their current lovers step into the scene (sorry for the “language” but if you can’t handle that, then you won’t be able to handle this).

Amy brings a jilted-ex, feistiness to the role softened by her charming, native, Brum tongue and sweet vocal.  The rogue, cheeky, playboy Jack is very undesirable and it’s hard to see the attraction…but we’ve all been there.  Gerard has great comic timing, plays the cad extremely well and successfully creates a character upon a character, a stereotypical, macho facade masking Jack’s discontent.  Keith (Simon Thomas) is tall, dark and handsome, clichéd perfection, who in reality would tower above Jack making the situation all the more outrageous.  Siobhan Dillon is Jack’s current lover Claire; the leggy, belting blonde from box 33.  Again, difficult to justify her choice in Jack, and appearances lead you to believe she may be a little dim witted, but this is a total misconception.  Claire gives stability to the surroundings, seemingly the only one who can add any sense or rationale to proceedings; calling out Jack on his behaviour, Ruby’s ridiculous choices and Keith’s naive notions of love.

Right now I couldn’t hum you a tune from the show but there was one where she danced with a chair, one where she talked about men and one where they lengthened the word “Fuck” across four bars.  Ross Lorraine’s music is jazzy and quirky, with some questionable lyrics from Young but I felt this is what they were going for.  Well sung by all the cast, particularly Siobhan Dillon, and quite a few melodic moments tugged at my heart strings.  Chris Whitehead, associate musical director, accompanies the piece throughout as the bar pianist Harry.  They break the fourth wall on a regular basis and are blatantly aware they’re in a musical.  There’s also a very memorable, show-stopping number in act two, which I won’t spoil for you.

Alex Marker’s simple, bold design works extremely well; I particularly loved the framed entrances and lighting fixture.  Although, the flashbacks could have been aided by the addition of a sofa, as I did get slightly lost in time.  Fluidly directed by Tricia Thorns, with few jarring moments, a difficult thing to do with multiple scenes on one set.  The first act resided on the past relationship a little too long and could have used a cliff hanger, like Keith’s arrival, to lead us into the interval, which due to poor lighting operation no-one in the audience was sure had arrived…cue twenty seconds of awkward silence and uncomfortable glances.

Buffy went there. Scrubs followed suit. Even Grey’s Anatomy gave it a stab.

Original and entertaining: a modern musical episode of a contemporary British sitcom.

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REVIEWED: 19/11/11
By @BenVivianJones

10th Nov - 3rd Dec 2011
Soho Theatre, London W1. 

POLEROID THEATRE

“You know, I just wish life was a little more John Lewis”

Poleroid Theatre is a fresh, new venture of recent GSA graduate Molly Roberts.

After a tweet storm of admiration for the piece following its first performance in Theatre503, I made my way along to Camden’s Etcetera Theatre to see what all the fuss was about.  I had intended to book days before but, as usual, numerous things got in the way, and I regretfully adopted the cavalier attitude, as we all sometimes do, in regards to fringe performances: “There’ll be tickets left”.  Low and behold I was mistaken, not only was it sold out but I was third on the reserve list.  Disheartened, I bought a pint, grabbed a stool and waited for the performance to finish.

Flickbook is described as a “fast-paced 60 minutes of new writing and different takes on relationships in modern society”.

Although I didn’t see the piece, I was fortunate enough to chat with the producer Molly Roberts and actor Scott Arthur.

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What inspired the creation of Flickbook?
SCOTT: With theatre like it is at the moment, where you need to be a name to get into things and you have to have a great CV to get anywhere, it initially creates an opportunity for actors to put on their own work.

So tell me about the piece.
SCOTT: It’s pockets of life, pegging up a series of polaroid photographs…a flickbook of life.
MOLLY: I was keen to cast the right people who could play to the strengths of the characters, certain people literally slotted into it.  I wanted to make it as naturalistic as possible.

For you it’s all about the reality then?
MOLLY: In drama school you have to play such ridiculous stereotypes and kind of out of your castibility.  I want to bring it back down to give people an opportunity to showcase themselves for what they truly are.

You’ve listed six writers here.  Was this a collaborative piece?
MOLLY: We had so many submissions from new writers that I didn’t want to just pick one.  We chose writing that had similar themes and some of the actors wrote some stuff so it really was a collaborative effort.  I was worried about pieces jarring but it worked.

Have you got any advice for people wanting to start their own companies?
MOLLY: Well, I was very lucky because I had some money put away, I had saved up a little bit.  You have to promote it in the right way, it’s all about the design.  You have to think you’re more than you are at the start or you’re not gonna get anywhere.  There’s no point in planning it and saying “I want a company and maybe we’ll do this in a year”, just go for it.

What vision do you have for the type of work Poleroid is going to produce?
MOLLY: I want to create comedy with a darker edge.  I know it sounds wank but it has to be edgy, unconventional writing. 

It has to be real?
MOLLY: Not even real it just has to be a bit…um….off-beat.  It has to make a statement.  I want the audience to be laughing one minute and then to have the rug completely pulled out from underneath their feet, so they’re like “Oh shit! That just happened” [she clocks imaginary spectators around her with an awkward, unsure look].

So what’s next for Poleroid?
MOLLY: We’re doing a new development of Flickbook at the White Bear in January and a new piece of theatre based on Adam O’Brian’s work on the the high amount of disappearances and killings of women in London at the moment.
SCOTT: Adam, who I was in college with, is a really good writer, writes fantastically complex comedic things and Molly said they wanted to get new writers on board and I really thought his writing should get seen.
MOLLY: It’s kind of a thirty minute portrayal of the darker side to loneliness and that’s going to be a prologue to the newly developed Flickbook.  So we’ll do that, maybe get a transfer?  We’d love to get to Latitude Festival.

This may be a really controversial spelling mistake but…
MOLLY: Pol-ER-oid? Copyright reasons. Spelling it slightly differently will help incase there are any issues and people may think they’ve spelt it wrong but to be honest, I genuinely thought that’s how polaroid was spelt to start with…[a sly smile creeps across her face, as she mocks her earlier words]…it’s edgy man!

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It is evident that this company has a lot to give, their enthusiasm and eagerness is overflowing as they try to beat each other to answer the next question.  Two sold out premieres and a transfer already secured, I think we are going to see great things from Poleroid Theatre…let’s just hope the next piece I actually do get to see.

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FLICKBOOK

Directors - Gareth Aled and Molly Roberts

Writers - Gareth Aled, Helen Armes, Peter Groom, Adam O’Brian, Kandyce Walters, Katy Wix

Cast - Scott Arthur, Joanna Bool, Chris Kinneston, Molly Roberts, Ben Riddle, Kandyce Walters

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By @BenVivianJones 

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.

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REVIEWED: 13/11/11
By @BargainTheatre

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

EARTHQUAKES IN LONDON

*WARNING: MOST DEFINITELY CONTAINS SPOILERS*

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

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

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REVIEWED: 26/10/11
By @BenVivianJones

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

UK tour 22nd Sep - 12th Nov 2011.

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

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