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.

- - - - - - - - - -

REVIEWED 20/08/12

By Colin Appleby

@CJ_Appleby

Sun-Tues, 19th August - 4th September 2012
Finborough Theatre, London, SW10.

THE FEAR OF BREATHING

While many will keep a casual eye on world affairs, the conflict in Syria may not be the most appetisingly interesting subject for most fringe theatre-going folk in the capital this summer.  A brave step therefore that the Finborough should stage their current weekday play and with impeccable timing as things have turned out, for people are being killed in their fight for democratic freedom at the very moment you may be watching the production.  While the gunfire roars in Damascus and elsewhere, this work topically allows an insight into the enormous effect that civil uprising can have on the lives of ordinary folk.  The use of television screens to run news reports adds another dimension to the piece without excessive intrusion. 

These are real life stories, experiences of oppression and graphic scenes of torture.  The whole play is based on verbatim reports from witnesses and those who have suffered first hand at the treatment administered by the Stalin-like regime of the ruling Assad family.  The first act is engrossing, for here the playwright invests highly in the characters as individuals, offering a wholesome insight into what makes them tick and the horrors that some have suffered.  Among those introduced are Quataba, played convincingly by Adam Youssefbeygi.  He is punched, kicked and whipped in harrowing scenes of torment and a great display of stage combat, his yells send shivers down the spine.  Ahmad (Gareth Glen) tells how they were forced to meet via Facebook since it is illegal for groups of more than seven people to congregate in person.  This is a virtual revolution as much as a physical fight.  Parallel experiences are fused together, forming a central core of discrete, moving and personal tales which are cleverly blended together to form a connected whole.
 
A war-torn second act, concentrates firmly on battles across the country and is somehow less piercingly disturbing since one on one private agony is replaced by the united and widespread collective misery of the whole nation.  The fate of those already met continues to be tracked, together with new characters including journalists and a Liverpudlian photographer played by Paul Crawley.  Killing, massacres and murder feature highly in a blaze of sound and flashing lights.  As the country spirals into anarchy, one character asks “What Did Britain Do?”  There is no positive response.
 
An excess of blasts and gunshots becomes a bit tiresome and a period of intense flashing lights irritates rather than entertains, but for a rich insight into the relentless world of martyrs and mayhem, chaos and confusion, terror and grief, this play delivers.   

- - - - - - - - - -

REVIEWED 22/07/12
By Gareth Richardson @BargainTheatre
 
17th July - 11th August 2012
Finborough Theatre, London, SW10.

A WARSAW MELODY

Twenty years ago, the Iron Curtain across Europe had all but totally fallen. In a few short years communism had ended, opportunities created and the lives of many millions changed forever. It all came too late for the couple at the centre of Leonid Zorin’s love story, which is set in Moscow and Warsaw spanning two decades. They no doubt longed for a revolution to set their relationship free, but dared not even speak about it, for these were times of fear and tyranny as Stalin’s Politburo set laws that, if broken, could result in years of hard labour in Siberia.

World War Two had barely ended when the two students first meet, quite by chance, during a Chopin recital at Moscow’s Conservatory. He studies wine making and she music, their initial encounter reveals they have little in common, yet a spark is immediately ignited. Emily Tucker is gracefully serene and swan-like as Polish Helya, responding to the charms of Oliver King’s Victor as they grab stolen kisses in the cold Russian winter. It’s New Year’s Eve, she dreams of taking him to Krakow, both are already in love as they exchange gifts. Oleg Mirochnikov’s direction is perfect during this touching scene, with Helya looking divine in a red dress and shoes, dancing and singing as she announces her love. Victor proposes and neither could be happier. The mood changes dramatically soon after as their fortune changes overnight and once again, the direction is spot-on as we learn of a new law forbidding Soviet citizens from marrying foreigners. Tucker gives a convincing performance, listening to the radio while the ban is announced, stunned and devastated as her world and their hopes are shattered.

The second act takes the form of a meeting in Poland some ten years later and another in Moscow a decade hence. Helya’s music career blossoms, both marry others, but lingering love resides. Once again Tucker shines, this time through her charming vocals as Helya takes to the Warsaw stage and later, in a frosty backstage, dressing room scene in Moscow. In this tense yet beautifully delivered final episode, tired through the ravages of work and constant touring, we see a totally different side to her.

In order for the play to work fully, a sense of total chemistry between the couple is a crucial element. Oliver King’s portrayal of the devoted Victor seems a little distant to match the passion displayed by his partner, giving the impression that this double-hander is, occasionally, a little one-sided. The production is further hampered by several scene changes which, while showing the versatility of Agnes Treplins’ clever yet simple design, can’t help but distract. That said, this UK premiere of Zorin’s celebrated Russian, classic romance is certainly enjoyable. Like a good wine it may well mature with time.

- - - - - - - - - -

REVIEWED: 30/03/12
By Gareth Richardson @BargainTheatre

28th March - 28th April 2012
Arcola Theatre, London, E8.

“Pay What You Can” Tuesdays in person from 6:30pm

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.

- - - - - - - - - -

REVIEWED: 25/02/2012

By David Coverdale @davidcoverdale9

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

MASTER CLASS

EXECUTION OF JUSTICE

Southwark Playhouse has developed a deserved reputation for quality work of late.  Receiving the 2011 Peter Brook Empty Space Award and with Chris Smyrnios now firmly established as Artistic Director, we at Bargain Theatre intend to visit frequently this year. The current main house production is a court room drama set in late seventies San Francisco, featuring a cast of twenty.  This political story concerns former police officer Dan White who shot and killed the city’s Mayor, George Moscone, and Harvey Milk who was the first openly gay American to hold elected office. This is the British Premiere.

The question is, why has the play never been staged in Britain before? After thirty years, times have changed and the content is no longer topical.  If it didn’t appeal to those catering for the London audience back in 1982, while it was winning awards in the States, what gives it attraction and relevance today?

The play opens to loud 70s disco music, a city going about its daily business and a shock announcement played on video screens around the auditorium. Cut to the Courtroom where a fellow politician is on trial for the murder of his two colleagues. The narrative unfolds in non-linear fashion, zipping back and forth through time, while the evidence of those on the stand is interspersed with accounts of others personally affected by the killings.  All gay and visibly ethnic candidates have been sifted from the jury. A token drag artist ‘Sister Boom Boom’ clad in red PVC, black fishnets, suspenders and wonderful heels, convincingly played by Aidan Downing, speaks from one end of the room while witnesses give their testimonies; but it all makes for an odd spectacle. The multi-layered discourse initially works but wears thin as time progresses and renders some dialogue inaudible.

There are some wonderful moments.  Philip Duguid-McQuillan shines as the accused during an emotionally-charged taped interview confession at the police station.  Later, an enchanting candlelit vigil is charmingly enacted by the large company in an arrangement supplemented by video footage.  Ben Mars impresses as Prosecuting Attorney, Thomas Norman, delivering a persuasive summation. However, it’s difficult to truly empathise with many of the characters, which is the real problem here, because the danger is in the action becoming just another courtroom battle, albeit intelligently written using original transcripts.  Adopting a verbatim approach undoubtedly brings inclusive benefits but with that comes a level of excitement insufficient to engage and fully capture the audience for a 100 minute one act piece.  A minimal set adequately serves.  Covering the entire floor and table tops with contemporary newspaper pages is a nice touch.

- - - - - - - - - -

REVIEWED: 17/01/12
By Chris Simms

 Runs until 4th February 2012
Southwark Playhouse SE1. 

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.

- - - - - - - - - -

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

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

THE LADYKILLERS

Graham Linehan breathes new life and lots of laughs into his stage adaptation of William Rose’s 1955 Ealing black comedy which has now opened at the Gielgud Theatre following a sell out run at the Liverpool Playhouse. Linehan, making his theatre-writing debut, pays tribute to the film, but has impressively reworked the script to make it a complete ensemble piece. With a stellar cast at his disposal, director Sean Foley has wonderfully brought silver screen magic to the London stage, whilst making it his own.

The plot centres around a hapless, dastardly gang unlikely posing as a string quintet while scheming a high-profile robbery. It’s an out-of-tune, fatally-flawed plan that hilariously falls apart in the most disastrous manner. Occupying a rented room in a very lopsided King’s Cross house, suffering subsidence above a railway line.  Confidence trickster Professor Marcus, played superbly by Peter Capaldi (The Thick of It & The IT Crowd), hosts rehearsals of a very different nature duping the unsuspecting landlady Mrs. Wilberforce.  Marcia Warren is magnificent in the role of the doddering, innocent old lady who is not so dotty as she first appears. Un-ably assisted by flustered, cross-dresser Major Courtney (James Fleet - The Vicar of Dibley), Romanian gangster Louis (Ben Miller), cockney wide-boy Harry (Stephen Wright) and dimwitted, ex-boxer, One Round (Olivier award winner, Clive Rowe).  The group stumble from one mishap to another, all to to the tune of Boccherini’s minuet, continually playing on a gramophone record to please the listening ears of Mrs. Wilberforce, sitting downstairs in her linen and lace, chintzy drawing room, talking to an unseen parrot named General Gordon! There is an absolutely remarkable, ludicrously side-splitting scene involving the five crooks, a policeman and a small cupboard. A moment I shall remember forever.

It’s a wonder that this gaggle of unfortunates ever get to the point of committing the crime, but when they do, it is delightful. The security heist is simultaneously ridiculous and genius in conception. But their troubles are only just beginning! This is not an open and shut case by any means, getting the loot past Mrs. Wilberforce proves a formidable task. There is no honour amongst thieves here, murder and mayhem ensue with disappearing acts aplenty, in a display of impeccable stagecraft and rhythmic comic timing that has the audience roaring with laughter.

Michael Taylor’s glorious set is worthy of much praise. A large revolve reveals a clever, slanty design of rooftops, a tunnel, stairs, landings and hall, together with Mrs. Wilberforce’s beautifully detailed, drawing room and Professor Marcus’ bedroom, where the furniture seems to have a life of its own. Wildly sloping, everything is at an angle and none of them ninety degrees!
A cast of such pedigree solicits high expectations, I was not disappointed and praise should be extended all round. Linehan’s writing has given each character substance. Clive Rowe will be greatly missed in pantomime this year, his role here is nothing like a dame but he produces as many laughs in a delightful performance as the dubious prize-fighter and bumbling buffoon. Top prize goes to Marcia Warren who perfectly captures the essence of batty Mrs. Wilberforce and gives the younger boys a true ‘run for their money’.

Don’t rob yourself of the chance to see this crooked tale of villains on the fiddle.

- - - - - - - - - -

REVIEWED: 27/11/11
By @BargainTheatre

Playing until 14th April 2012
Gielgud Theatre, London, W1.

PIPPIN

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

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

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

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

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

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

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

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

—

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

CAST

Carly Bawden

Ben Bunce

Louise Gold

Bob Harms

Harry Hepple

Holly James

Ian Kelsey

Anabel Kutay

David McMullan

Stuart Neal

David Page

Matt Rawle

Frances Ruffelle

Kate Tydman

CREATIVE TEAM

Director / Choreographer
Mitch Sebastian

Production Design
Timothy Bird

Costume Design
Jean-Marc Puissant

Lighting Design
Ken Billington

Sound Design
Gareth Owen

Musical Director
Tom Kelly

Orchestrations / Musical Supervisor
Simon Lee

- - - - - - - - - -

REVIEWED: 24/11/11

By @BenVivianJones

22nd Nov 2011 - 25th Feb 2012

Menier Chocolate Factory, London SE1.

STEPPING OUT

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

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

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

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

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

This production has certainly started off on the right foot!

- - - - - - - - - - 

REVIEWED: 19/11/11
By @BargainTheatre

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

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.

- - - - - - - - - -

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.

—

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!

—

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.

—

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

- - - - - - - - - -

By @BenVivianJones 

THE PLAYBOY OF THE WESTERN WORLD

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

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

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

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

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

- - - - - - - - - -

REVIEWED: 07/11/11
By @BargainTheatre

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