BARGAIN THEATRE

LUCKY STIFF

MASTER CLASS

BEOWULF

RODGERS & HAMMERSTEIN’S CINDERELLA

Richard Rodgers and Oscar Hammerstein II penned only one musical intended for screen, Cinderella.  Broadcast live in the USA on 31st March 1957, a record audience of over 100 million people tuned in to see a fifty-six strong cast, with Julie Andrews in the title role, supported by thirty three musicians.  Adapted for the stage and based on the popular revised 1997 Disney re-make featuring Whitney Houston, Whoopi Goldberg and Bernadette Peters; the Tabard Theatre’s production marks the London debut of this particular version, including additional songs.  A fairy-tale ending maybe, but this production is a musical in every sense of the word, not a pantomime.

Reduced to ten players, this company work hard to maintain the magic but succeed on many counts; opening well with the nicely choreographed ensemble number ‘The Prince is Giving a Ball’.  Vlach Ashton excels throughout as the dashingly handsome Prince Christopher whose baritone chords fill the theatre. What eligible would-be princess wouldn’t fall head over heels?  Humorously assisted by courtier Lionel (Josh Carter), there are one or two subtly camp moments between the pair, Carter delivering a nice amount of graciously timed, balanced wit.  Sarah Dearlove as Queen Constantina and tenor Brendan Matthew as King Maximillan prove a well-matched pair in their charming duet, ‘Boys and Girls Like You and Me’, a song originally written for Oklahoma but now skilfully brought back into service to good effect.  Helen Colby is stretched to play both Fairy Godmother and Stepmother, but copes admirably with this chalk and cheese combination leading finales of both acts.  Traditional fairy she is not, more cockney than classical and more gob than graceful.  Director Alex Young and Designer Chris Hone manage a visual feast in an enchanting sequence prior to the interval, transforming Cinderella into a Princess, mice into white horses and a pumpkin into a carriage while Colby and company sing the delightful ‘Impossible/It’s Possible’.  

Chemistry shines between Cinderella (Kirsty Mann), now a beautifully corseted Princess, and Prince Christopher during the ballroom scene, culminating in ‘Do I Love You Because You’re Beautiful?’  Meanwhile, overlooked and abandoned stepsisters Grace and Joy, who certainly don’t live up to their names, lament passing by any chance of living happily ever after at the palace in this melodic Kingdom.  Grace, an unfortunate, gormless bespectacled character, complete with lisp and constant itch, is delightfully played by Lydia Jenkins.  Together with Kate Scott, the siblings are masters in the art of facial distortion.

An adept five piece band; keys, two cellos, clarinet and flute provide impressively sounding accompaniment in the small confines of the Tabard, but never overpower the vocals.  Interestingly, two of cast members take to their instruments when not required on stage.  Nobody said it was easy!

The tale is familiar and this production hardly diverts, why should it? Cinderella without the glass slipper would be like Dorothy without her ruby heels and so the search for the elusive female ensues.  A short but nicely delivered wedding scene, with the Fairy Godmother looking down on the entire Company, serves as a fitting finale.  Children are famed for their honesty; perhaps the best accolade is a theatre alive with the winsome sound of tears, which is what I witnessed at the matinee performance I attended.  High praise indeed!

The cast are having a ball and so should you at the Tabard this year.  Put it on your Christmas list.

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REVIEWED: 03/12/11
By Gareth Richardson - @BargainTheatre

29th Nov 2011 - 8th Jan 2012
Tabard Theatre, London, W4. 

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 

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.

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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

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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. 

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.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT

The Churchill Theatre is set in the heart of Bromley, proudly towering above the surrounding buildings, and is this week’s home for Joseph and the Amazing Technicolor Dreamcoat UK Tour.  A mostly sung through musical based on the Biblical story of Joseph and his “coat of many colours”.

Jennifer Potts and her astronomical vest smoothly deliver the narrative, finally letting rip during the mega-mix showing what she’s truly made of.  Joseph Houston’s Butler is a treat, a slick, giggle-inducing stereotype.  Richard J Hunt, as Judah/Baker, thoroughly enjoys every moment under the lights, a delight to watch.  Keith Jack commands the audience with ease.  Scott Matson’s “Canaan Days” provides stylistic relief amidst a very animated show.  There are some questionable ethnic representations and one may query their modern day political correctness.  We cannot forget that this show received it’s debut presentation at a junior school, although production values most certainly need a lift to raise it from the assembly hall.  However, the audience do get their money’s worth as each musical number is performed at least twice within the show and then again during the 20 minute finale mega-mix (equal to the duration of Act Two’s narrative), including the carelessly positioned “Close Every Door”.  Joseph hasn’t ventured far from its original target audience, accounting for the musical’s pantomime tendencies, yet there is no excuse for the ridiculous, golden motorbike.  Choreography is suitable and in abundance performed by a strong supporting cast, taking on multiple roles and carrying the performance every step of the way, rarely leaving our sight.  Notable ensemble: Michael Harris and Shaun McCourt*.

Joseph is a fast paced show performed by a fully charged and talented, technicolour cast.  Definitely worth a look, if only to reminisce.

THE BOOK OF GENESIS ON AN ACID TRIP.

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REVIEWED: 04/10/11
By @BenVivianJones

4th - 9th October 2011
Churchill Theatre, Bromley BR1.

Ongoing UK tour
http://www.josephthemusical.com/

*[Disclaimer: Romantic attachments may affect certain credits.]