BARGAIN THEATRE

MUCH ADO ABOUT NOTHING

Lauderdale House on Highgate Hill has a built reputation for quality, with regular cabaret seasons showcasing the talents of some of the best performers in musical theatre.  Constructed in 1582, the venue’s primary function is as an arts and education centre attended by over 65,000 visitors each year.  The grounds provide a wonderfully atmospheric setting for two productions this August, The Wind In The Willows and Much Ado About Nothing, both presented by Shooting Stars Theatre Company.
 
Directed by Helen Crosse and presented on the tea lawn, Much Ado features a sprightly and hugely energetic cast of twelve who inject passion and zest into the work, which has been updated to recent times.  With drunken soldiers in modern combats singing Jerusalem, an alcohol-laden beach party and the outdoor summer feel, the traditional setting of Sicily could just as easily be applied to Cyprus or any other ’Brits abroad’ holiday island destination.  There is a real feeling that each of the characters are there to have a good time.  

The two couples are well cast and evenly balanced.  Tabitha Becker-Kahn sets the standard as Beatrice and is great value, never flagging for a single moment.  Beatrice is always a great role to play and here, Crosse has allowed Becker-Kahn the freedom to make the part her own, injecting a degree of enthusiasm that lifts the entire production.  Her on-off partner, Michael Totton as the testosterone-laden, lifelong bachelor Benedick is a good match, their respective eavesdropping scenes being a highlight; the agile Totton uses the audience as good cover in an amusingly camp display and seems to be everywhere at once, while Becker-Kahn delights by borrowing hats and scarves to gain disguise.  

Joe Sargent’s Claudio is truly ‘one of the boys’ and would be totally at home in any army barracks, there is a lot of male-bonding here!  It’s no wonder that he falls for Hero (Emily Grace-Hyland), with her sugar-sweet looks and gorgeous curls.  Their first wedding scene is particularly well delivered, both parties giving passionate performances.  

As the sun sets over the trees of Waterlow Park and a clear blue sky with not a building in view, it’s easy to imagine you’re anywhere but London.  This delightful venue, with the players performing on the lawn in front of you, easily takes you to realms beyond the capital.  The occasional aeroplane overhead induces thought to pastures beyond the horizon, providing a perfect backdrop to the story as it evolves, transporting you to far-away places, maybe even to the port of Messina.  
 
Both productions are suitable for all ages but with short runs for each, there is only limited opportunity to enjoy their unique experience this summer.  Tickets are still available, make the effort, bring a rug and picnic if you wish or there is outdoor seating available should you prefer.  I’d not been before but I’m already looking forward to returning. 

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REVIEWED 23/08/12

By Gareth Richardson
@Bargain Theatre

Much Ado About Nothing - 22nd to 26th August, 7pm, £12
Wind In The Willows - 26th & 27th August, 2.30pm, £6.50

Lauderdale House, London, N6. (nearest tube Archway)

AN INCIDENT AT THE BORDER (WEST END TRANSFER)

Following a successful and sold-out run at the Finborough Theatre, reviewed previously for Bargain Theatre by Jamie Read, the laughs now continue at Trafalgar Studios 2 in the West End.  
 
Tom Bennett plays the engaging role of Arthur to great effect, blending subtlety and charm perfectly.  Boyfriend to Florence Hall’s Olivia, he finds the world a far too busy place for personal taste, longing for a more peaceful and tranquil life among the ducks.  The simplicity of his character is nicely captured by Bennett, leaving no doubt that Arthur is well-educated, despite questing the simplicity of a rural existence under the stars, with no cares.  Olivia meanwhile is level-headed, pushy and the obvious dominant force in his life.  She gets things done and is not the sort to suffer fools.  

An everyday stroll in the park becomes a life-changing experience with an unlikely and absurd scenario of a country redefining it’s borders through the centre of a bench upon which the couple are resting.  The line, created and defended by Reiver the guard, leaves the lovers one either side and becomes the source for a host of amusing one-liners.  The hilarity is tempered with concern, outrage and frustration as their predicament sinks in.  Marc Pickering plays the jobsworth guard in exaggerated form, clearly in answer to the comedic demands of the script.  It is Tom Bennett however who seems to secure the most laughs with his deadpan delivery, animated facial expressions and matter-of-fact resignation to evolving events.  

The situation forces the pair to examine their relationship, challenge their dependency and re-evaluate their future prospects.  The hapless and previously unlucky in love Reiver is all too keen to step into the shoes vacated by Arthur, should he get the opportunity.  He stands no chance, she would spit him out for breakfast without thinking twice.
 
With a running time of eighty minutes without an interval, the play is perhaps a bit stretched.  It started life in shorter form and has thus been extended to its current format.  The writing is funny and well delivered by the cast of three but does level-out mid-way.  Becoming conscripted into a new army introduces a fresh sense of power for Arthur and so gives author Kieran Lynn a welcomed opportunity to introduce further merriment toward the conclusion.  This is not ground-breaking stuff, boundaries aren’t broken and the only line that’s eventually crossed is the one drawn down the middle of the stage.  However, I doubt it’s intended to make you stop and think, to ponder or question, it’s simply supposed to make you laugh and on that level it succeeds.

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REVIEWED 22/08/12

By Gareth Richardson
@BargainTheatre

20th August - 15th September 2012
Trafalgar Studios 2, London, SW1.

BARROW HILL

When I have a trip to the Finborough in my diary my day is full of expectation as I look forward to another evening of exceptional theatre, following a glass or two of very tasty vino in the bar beforehand. This being my fourth visit here in recent weeks, and having seen two phenomenal plays plus one that was just ‘very good’, I suppose I should have expected to be disappointed sometime soon.

Written by Jane Wainwright and directed by Abbey Wright, Barrow Hill examines family loyalties as Kath Bilby, now in her twilight years, her son Graham and her grandaughter Alison battle over the redevelopment of the Barrow Hill Chapel. A place full of memories from yesteryear, including those of how Kath was woed by her late husband.

Sitting in a deckchair mounting a one-woman protest, Kath recalls those memories as she becomes more and more determined not to surrender the Chapel and her memories, whereas Graham is unequivocal that he needs to redevelop the Chapel as a way to solve some serious financial problems that he’s facing.

Although this is at heart an interesting piece, it is frequently guilty of not spending time with the more interesting characters and glossing over some potentially fraught exchanges by resorting to the easy option. One of those characters never given time to shine is “Boy” played by Tom Spink. He plays his character with a charming ease that commands you to watch his every move. His interaction with “Girl”, played with equal adept by Avye Leventis is a delight to watch and I would have liked to have seen more of their relationship as they are the highlight of the piece.

It could be said that the writing is deliberately gentle in tone but it seemed to me that the ideas contained within the narrative were never fully explored and they easily could have as the performance, billed as running at ninty minutes, actually came in a whisker over sixty on the evening I attended.

Notwithstanding the shortcomings in the piece,  Barrow Hill is still an interesting play, well cast and acted. It just isn’t as good as I have come to expect from the Finborough.

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REVIEWED 20/08/12

By Colin Appleby

@CJ_Appleby

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

CORNELIUS

Reviewing plays at the Finborough has been a highlight this year for me and after a run of such stunning plays as The Drawer Boy and Events Whilst Guarding the Bofors Gun I have started to approach pieces here wondering if they can keep their standards so high. I need not have worried as Cornelius just serves to confirm the Finborough’s place amongst those powerhouses of theatre who punch considerably above their weight time and time again.

Written by J.B. Priestley in 1935 Cornelius needs to be given it’s full title of Cornelius. A business affair in three transactions…as that is precisely what it is.  Originally written for the great actor Ralph Richardson and produced here for the first time in more than 70 years.

The setting is small, failing, metal importers “Briggs & Murrison” in Holborn struggling to make ends meet and fend off the assorted ranks of creditors, including their previously supportive bank manager. Whilst a senior partner is off in the wilds of the North attempting to drum up business, the staff led by the pressured Mr Cornelius, played deftly by Alan Cox, banter with each other all the while trying to remain guarded about their own deep seated insecurities. 

The staff members have their world shaken to the core by the arrival of Judy Evison, charmingly played by Emily Barber, who shows them all the possibility of living a life rather than just struggling to exist.   One by one they have to deal with their own reality and determine their own escape from what they regard as being trapped. Some are trapped by habit or lack of promotion, some by unrequited love and others by a strong sense of duty.  The office is certainly reminiscent of one that I used to work in many years ago and captures the banter between work colleagues perfectly.

Something else that is perfect is the casting. I have rarely seen a play where every single actor is flawlessly cast but here it is a delight to see.  All of the cast are uniformly good, from David Ellis as the teenage Lawrence stomping around in a huff, to Beverly Klein as the battle axe of a cleaner.

I won’t give away the plot here, but I will say that the first half is incredibly funny and had me, and most of the audience, frequently laughing out loud. The return of the travelling partner signals a shift in tone and the play takes on a decidedly darker hue for the second half.  This is essentially a play about hope and more particularly hope in the face of adversity. Yes it’s a period piece but the message is clear even to a modern audience, that we have the strength to shake off even the most horrid of events which come our way and deserve to live our lives to the full.

To my suprise, only ever having once seen a J.B. Priestley play on stage and that being a poor, clunky, dated production, Cornelius is a fast paced, powerful and touching play that veers from high comedy to high drama seemlessly. 

So if you find yourself with an urge to see a well written, acted, directed and brilliantly cast period piece which still holds sway with today’s ever hardening economy you should see Cornelius and remember that perhaps things were not always better in bygone times.


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REVIEWED 16/08/12 

By Colin Appleby
@CJ_Appleby

14th August - 8th September 2012
Finborough Theatre, London, SW10.

AN INCIDENT AT THE BORDER

In the same way that the Finborough Theatre itself punches well above its weight in the size-to-quality ratio, An Incident At The Border successfully tackles rather a lot of humanity’s foibles in quite a short space of time.

Originally a short piece designed to fit into a lunch time, the now extended version of this play by Kieran Lynn is set in an unnamed country on the day of its independence from a neighbouring land.  Olivia (Florence Hall) and Arthur (Tom Bennett) find their romantic afternoon in the park takes an unexpected turn when the disputed new border between these nations is redrawn right through the centre of the bench on which they sit.  The border, which is being delineated in red-and-white striped parcel tape by newly appointed border guard Reiver (Marc Pickering), leaves Arthur stranded on the wrong side of the lines, with no processes for repatriation having yet been put into place by Reiver’s bureaucrat superiors.

The line between Olivia and Arthur - as they stand inches apart, but in separate countries - becomes both a physical and metaphorical border, giving rise to each of them having to decide which of their own lines they are prepared to cross for one another and how much they are prepared to risk in the process.

Tom Bennett delivers character-comedy gold as Arthur, and Bruce Guthrie’s clean and simple direction of Lynn’s script also deliver him some of the finest moments in the show.  His unwittingly frank assessment of Olivia’s conversations about her own “emotional well-being” is delivered with a bewildered and tongue-tied resignation, and his happy-go-lucky, duck-loving creation is a joy to watch throughout.

Florence Hall is a feisty Olivia, who is, at times, rather too forthright to make Arthur’s decision whether or not to cross back over the line all that hard to make.  However, her strength of will and desire to become more “involved” are a great foil to Arthur’s apathy and Reiver’s idiocy and there are some fascinating moments between Olivia and Arthur as the plot develops beyond just the tape line and forces them to consider their feelings for one another and their own ideologies.

Marc Pickering as the newly appointed border guard delivers another strong performance, balancing the vulnerability of Reiver with the newly-found sense of importance that comes with his uniform and radio.  From being the buffoon of the piece early on, there are some genuine and poignant moments of pathos as his character tries to break free and make a stand.

This play is an insightful comment on group-think, the so called political and non-political classes and the ways in which we all draw our own boundaries through life, and it is exceptionally well handled in Bruce Guthrie’s production.

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REVIEWED 23/07/12
By Jamie Read @VoiceTeacherUK
 
Sun, Mon + Tues from 22nd July to 7th Aug 2012
Finborough Theatre, London, SW10. 

GATZ

Open for 23 performances and with rave reviews gushing over its sophistication, Gatz is the latest ‘must-book’ for the flush London theatre-goer.  It is not a conventional play, being an 8-hour word for word reading of the Great Gatsby, set on the stage of the Noel Coward theatre, and performed by 13 actors from the ERS theatre group of New York. Yes, 8 hours; 3 intervals.

‘But you’ve studied American Literature, you must know this?’ - so said my mother as we sat down. I explained that ‘study’ was pushing it for a term of English Literature A Level in which I read the set texts I was told to, and that F. Scott Fitzgerald’s classic had not come up. So I didn’t sit down to Gatz aware of the writing or the story, unlike the majority of people in that night. If you find yourself in my position, I’m afraid I can’t recommend it.

Hours pass slowly as the narrative crawls by. The pleasure of a book is that you can put it down, and the pleasure of theatre is watching people acting. Here you have a man reading a story out and fairly soon a random set of fellow office workers playing roles for people they are nothing like. To begin with the characters pop in out of the recital, but by act three they are standing about waiting for the adjectives for their behaviour to be read out. So you can’t put the book down or watch anyone acting. Not a happy medium; unless you think of mass as entertainment.

Newspaper reviewers have glowingly commented that Gatz showcases F. Scott Fitzgerald’s prose, but for me it’s more a weakness than a strength. Where the stale narration (‘he said’, ‘she said’) would so obviously be cut in a conventional adaptation, here it is not; conversely there are moments when the actors are being highly distracting on stage, causing irritation that you cannot focus. With the huge visual limitations of the dull office and the unadapted costumes, it’s hard to conjure the scenes in the story without listening accurately to the narration.

Traditonally you’d name drop some actors at this point, but I’m afraid there’s little to say. The narrator deserves praise for reading out the novel without much of a break; although his intonation and tone make concentrating tedious. The rest, well; with no acting in a conventional sense I found none made much impression. I also didn’t understand why such underwhelming acting was chosen for the role of Gatsby, for whom presumably we are supposed to care for.

Seats remained filled more than I expected as the hours passed. I suppose at £75 a throw it’s a bitter pill to swallow to conclude your time could be better spent. I must be honest in saying that after the end of act three and over six hours in, I could take no more. I was now watching people shuffle around the stage but focusing on the behaviour of the breathy man and fat sweet-sucking woman behind me, listening to the story had become a stress-inducing chore and that isn’t what either reading or going to the theatre should be about.

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REVIEWED 15/07/12
By Piero McCarthy

8th June - 15th July 2012
Noel Coward Theatre, London, WC2.

MACK AND MABEL

Is it something they put in the water in Southwark and Lambeth?  These two inner London boroughs certainly punch far greater than their weight when it comes to musical theatre at fringe venues.  A succession of quality and in some cases, award-winning productions, have formed from seeds that germinate here and the latest to join the pedigree is Mack And Mabel at Southwark Playhouse, produced by Danielle Torento.  Director Thom Southerland and choreographer Lee Proud give a feast for the eyes with a hard-working and eager cast keen to deliver.  

Norman Bowman impresses immensely.  His role as movie-maker Mack Sennett is totally believable, I bought into him from the first second and that remained with me until the last.  His strong voice, presence and posture fills the cavernous auditorium and although perhaps the story has no happy ending, he ensures the audience leave with a smile on their faces.  Laura Pitt-Pulford is the cherry on top of the sundae as Mabel Normand, the sandwich delivery girl who makes it big in silent movies after Mack spots that something special in her.  Although affinity with her character takes a short while to mature, by the time Pitt-Pulford gets to her big solo ‘Wherever He Ain’t’, she has the room hanging off every word she sings.  Aptly seeming to come from nowhere, taking everyone by surprise, just like Mabel does herself. 

Jerry Herman’s score is one of his strongest and must be a pleasure for Michael Bradley to work with as Musical Director.  A large, unseen band add to the ‘big production’ atmosphere.  There are many ensemble numbers, freshly delivered by a company that is clearly enjoying every minute, building to a crescendo with the marvellous dance number ‘Tap Your Troubles Away’ gloriously costumed in the favoured art deco gold and black of the 1920s and delightfully choreographed by Proud.  Not an easy task on the uneven and dusty concrete floor, which presents problems even with judicious use of tap boards, but nonetheless the end result is worthy of all the effort. 

This is a busy production on many levels, with a perfectly cluttered design to represent the randomness of a US movie studio.  The decision to use a wheeled step tower is inspired and adds not only height but gravity at key moments in this well-executed drama of love, fame and (lack of) fortune.  Then, of course, there are the Keysone Cops for which this musical is possibly best known.  The build up to their second act arrival is maybe the only point in the show which isn’t quite working as well as it might.  A flurry of slapstick activity immediately before the police enter doesn’t really reach the degree of amusement it could; but just as that becomes apparent in come the cops and suddenly hilarity takes over with the glorious ‘Hit ‘Em On the Head’ routine, with masterful comic timing.  Every element looks so easily delivered but you can be sure it’s taken hours to perfect. 

The combination of great music and lyrics, charming direction and crisp choreography make it a must-see for any musical theatre fan this summer.

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REVIEWED 11/07/2012
by Gareth Richardson @BargainTheatre

5th July - 25th August
Southwark Playhouse, London, SE1.

THE HURLY BURLY SHOW

“Are there any burlesque virgins in the house?”

The first question we are asked by our beautiful compere, Miss Coco Dubois, superbly played with charm and sass by Joanna Woodward.

I am ashamed to say that I, indeed, was a burlesque virgin and the reason is plain. I have always believed it would simply not be for me.  As a strong minded woman I have always secretly thought that it was just a (slightly) classier version of stripping with dirty old men looking on therefore I would feel uncomfortable and quite frankly hate it from start to finish.

I am happy to report, I was completely and utterly wrong.

Burlesque, or certainly burlesque to this high standard, is an art form.  Performed by some of the most beautiful women I have ever seen, their bodies are their temples, and watching them move and dance in beautifully crafted costumes is nothing short of breathtaking.  There are some rather raunchy moments, however what The Hurly Burly Show manages to do with ease is mix these seamlessly into lighter, comedic encounters, which really makes the production shine as it instantly gives the girls a likeability factor…which with those bodies is no mean feat!  The production values are stunning, absolutely exquisite costumes and set make the piece come to life and invite you in.  By the end of the show, no one wanted to leave, it felt like we’d only been there 10 minutes when in reality we’d been there two hours.

What I genuinely loved most is even though for the vast majority of it the girls are wearing next to nothing, think sequined nipple tassels and crystal G-strings, you forget that they are pretty much naked, as you are stunned by the feminine athleticism of their bodies.  These women are truly magnificent, watching such skilled dancers move whilst seeing their bodies genuinely create the movement is what makes it an art form, rather than a strip show.  This is where the show’s strength lies for it’s a show for everyone, most of all women to celebrate the beauty of the female form, and let’s be honest, a woman’s body is a beautiful creation. One particular Hurly Burly girl Rachel Muldoon, who is given the accolade of ‘head’ girl, is absolutely fabulous and whenever she is on stage it is very difficult to tear your eyes from her.  She has what many performers lack, and that is, old-fashioned star quality.

Another highlight for me is a contemporary dance sequence between two girls, which stood out as beautiful choreography from additional choreographer Adam Murray.

Leading lady and creator of the show, Miss Polly Rae, has done herself proud and obviously worked very hard in creating this show and quite rightfully giving her the forum to become the British Dita Von Teese.  This show has achieved so much, earning its West End status, and I genuinely think it should be given a longer run.

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REVIEWED: 10/07/12
By Sally Bowles

2nd July - 22nd Sept 2012
Duchess Theatre, London, W1.

SFATS LIVE!

The illusive @westendproducer’s Search For A Twitter Star reached its climax at the Lyric Theatre. Not one but two potential stars have been selected from an original entry pool of over 650 hopefuls.  Ten finalists battled for the title in a full-on West End live final, delivering one song each before an audience electronic vote decided the winners.  Judging panel Louise Dearman, Mike Dixon, Gemma Lowy Hamilton and David King gave a fair amount of praise and a lot of criticism after each contestant had sung.  This was really ‘rabbit in the headlights’ stuff, stood alone on the large stage, listening as their entry was picked apart, while an audience of fans, industry professionals and the plain curious looked and listened uncomfortably.  Reading journalistic criticism of a production in the privacy of your own home is one thing and can be pretty unpleasant if the review goes against you, standing there on stage in full public view as your solo performance is publicly dissected is quite something else.  This is lonesome territory and definitely not for the feint hearted.

While some of the hopefuls have received professional theatre school education via traditional routes, others are just embarking on that path and for several, this was their first time ever on a West End stage.  Without exception, the achievement of getting through to the final ten is one to be proud of but for those yet to be formally trained, it’s quite remarkable.  Particularly given that they won’t have made those all-so-important industry contacts which come by working ‘in’ the profession, which must surely have made mustering sufficient support to get through the initial public voting stages online, a very difficult task.  Quite extraordinary then, that eighteen year old contestant Felipe Bejarano (@FelipeBejarano_) with no such qualification and making his debut on a professional stage, should win the male title.   For him, this truly is the stuff that dreams are made of and a great start to one’s career.  His crowd-pleasing performance of Jason Robert Brown’s ‘Someone To Fall Back On’ demonstrated great dynamic range and stage charisma, together with a natural warmth.

Kara Bayer (@karabayer) works in theatre, but having studied textiles and costume design she too has no traditional performing background and is currently a wardrobe assistant with Garsington Opera Company.  Nonetheless, her gutsy and convincing performance of ‘Taylor The Latte Boy’ earned her a nail-biting place in the final four, along with judges’ favourite Alexandra Da Silva (@alexdasilva27) and Benjamin Vivian-Jones (@BenVivianJones) who had also enchanted the audience enough to make it to the very last hurdle with ‘The Man That Got Away’ from A Star Is Born and ‘Stranger In This World’ from Taboo, respectively.  Kara took the female crown after a tense sing-off.

Guest appearances from Louise Dearman, Associated Studios and Patch of Blue Theatre Company provided light relief as the voting rounds took place.  
With the winners announced by presenter Aled Jones, Jon Lee and Kerry Ellis gave duets with each; no doubt a stunning experience for both Felipe and Kara who stepped up to the mark admirably.

And then, some six months or so after it all began, Search For A Twitter Star was complete.  Are we any the wiser to the identity of @Westendproducer?  Well, a rather distinguished-looking male could be seen sat somewhat aloof in a box throughout the evening, complete with laptop, teddy bear and a huge bottle of Dom.  He was never introduced to the audience, though he did take a bow.  Could that really have been him?  The mystery, it seems, is not totally over yet!  

Contestants (in order of appearance)
 
Jason Broderick @Jason_Broderick
Bindy Baker @BeeBopBind
Elliot Clay @elliotclay
Alexandra Da Silva @alexdasilva27
Mikey Wooster @MikeWooster
Kara Bayer @karabayer
Felipe Bejerano @FelipeBejarano_
Sarah Gies @Sarah_Gies
Benjamin Vivian Jones @BenVivianJones
Emily Barker @Emsbarker


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REVIEWED: 09/07/12
By Gareth Richardson @BargainTheatre

9th July 2012
Lyric Theatre, London W1.

THE ONLY TRUE HISTORY OF LIZZIE FINN

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

You could have fooled me.

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

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

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

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

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

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

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REVIEWED: 29/06/12
By Frank Butler

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

FLORA THE RED MENACE

Flora the Red Menace was Kander and Ebb’s first collaboration to be produced, and throughout a neat production of this lesser known musical, you can’t escape the feeling that they are on their way to writing Cabaret but haven’t quite got there yet.

This musical tells the story of Flora - a young, headstrong, out of work fashion illustrator – during the Great Depression of the 1930’s, and her search for work, love and justice.  At a time when unions, workers’ rights and poverty are on the rise, Flora (Katy Baker) is drawn haplessly into the communist party by her stammering love interest Harry (Steven Sparling) leading to conflicted feelings about her new relationship, her newly-landed job at a New York department store, and the needs of her artisan friends with whom she shares studio space in an old hotel ballroom.

The show fits neatly into the small space of the Landor, and Randy Smartick has created a suitably intimate and light-hearted production with musical direction and arrangements for the piano/bass band by Aaron Clingham.  The set serves its purpose effectively in the way that a fringe musical set has to do, although the devil is in the detail – some graduation gowns in dire need of an iron, an opening number full of mortar board hats wobbling to the point of collapse, and an office desk with a visible layer of dust could do with being fixed up to add a layer of gloss to the visual elements, but overall a lot is achieved by this show with very little.

Without a question of a doubt however, there is one element of this production that is utterly superlative, and her name is Katy Baker.  In the title role of Flora, she carries the audience with a firm and reassuring hold through the show giving a performance of extraordinary depth and charm.  Somehow invoking the spirits of Judy Garland and Lucille Ball at the same time, her characterisation of Flora brings her naivety, wilfulness and confliction to life with great clarity and Baker’s emotional, husky, 1930’s Broadway belt of a voice steamrollers through Liza Minelli’s original version.  It is worth noting that this is Baker’s first musical since graduating Central School of Speech and Drama (although she has sung with a band since then) and it is hard to think of anyone recently having looked more comfortable on the musical stage.

With strong ensemble singing throughout and some nice moments choreographically between Greg Sheffield as Kenny and Kimberley Moses as Maggie in their act two tap-dance duet, the show is largely enjoyable and fun to watch and is well suited to be scaled back for a fringe production like this.  A few cuts wouldn’t go amiss, but any dragging of the heels seems to be largely the fault of the material itself rather than the  production, and the subject matter of the masses struggling to survive the financial crash has definite resonances for contemporary audiences.  Catch it at the welcoming Landor Theatre until July 14^th.

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REVIEWED: 29/06/12
By Jamie Read @VoiceTeacherUK

26th June - 14th July 2012
Landor Theatre, London, SW9.

SPRING AWAKENING

Spring Awakening is most popularly known as the multi-award winning musical that took Broadway by storm, though less impact on the West End in 2009. New company Outfox Productions, headed up by producer Kirsty Fox and director John Fricker, present Frank Wedekinds original text at the Brockley Jack Studio Theatre.  

The Brockley Jack provides an intimate setting which allows Fricker the opportunity to invite the audience into the exhilarating and at times unsettling stories of the main protagonists.  A simple set consisting of several moving blackboards and minimal projections provides an ample backdrop, both complementing Fricker’s direction and Genevieve Pecks lighting design.  A well judged minimal design concept for a space that could be easily dominated.  

The youthful cast lead by David Palmstorm (Melchior) and Ana Luderowski (Wendla) are fine choices and connect superbly with what, at times, proves to be difficult text.  Calum Mould deserves particular praise for his rendition of Hans’ monologue to a portrait of Desdemona in act one, along with Oliver Malam for his sensitive and well pitched Ernest demonstrating his emotional variety.  

The three ‘adults’ Rachel Dobell, Andrew Wickes and Sophie Doherty present real versatility often playing more than one authority figure - a personal favourite being Rachel Dobell’s frustrated yet loving Frau Bergmann, striking a poignant relationship with her daughter Wendla.

A carefully chosen soundtrack provides uplifting and appropriate support sending the audience out on a high.

Although I am certain this particular production company and team will grow and move onto much bigger ventures, this  debut production, with its bold direction and strong performances, is not to be missed.

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REVIEWED: 30/06/12
By Stephen Oliver-Webb @SOliverWebb

20th June - 24th July 2012
Brockley Jack Studio Theatre, London, SE4. 

KISS ME KATE

Chichester Festival Theatre’s production of Kiss Me Kate is keenly anticipated among musical theatre devotees, following the huge success of last year’s Singin’ In The Rain and Sweeney Todd, both of which are currently pleasing West End audiences, having transferred from this producing powerhouse.  With combined directorial talent of Trevor Nunn, choreography by Stephen Mear and the musical direction of Gareth Valentine, prospects in this fiftieth anniversary year look bright indeed.  So does it meet the very high bar that this venue has created for itself?  There is no doubt at all that the standards reached are impressive and with a November transfer to the Old Vic already announced, it should warm the hearts of Londoners this winter.  

Cole Porter includes several enjoyably uplifting ensemble numbers to delight, but equally here the solos and duets shine through.  Hannah Waddingham is simply Wunderbar in the title role and provides what I consider to be her best performance yet, amazingly she just goes from strength to strength and will undoubtedly be pivotal to the success of this production.  Adam Garcia, Samuel Holmes and Kevin Brewis make a fine trio of suitors (Lucentio, Gremio and Hortensio respectively) to Bianca, played by Holly Dale Spencer who also takes the part of empty-headed blonde bombshell Lois Lane, a former nightclub singer.  In fact there is plenty of role-doubling since being a play within a play (actually a play within a musical I suppose! Or is it the other way round?), there are effecively two sets of cast here.  The first being a typical US theatre company with their usual loves, losses, money problems and individual aspirations of making it big; the second being the principles and players in a cut version of The Taming Of The Shrew that the company are presenting, the proceeds being used to pay off gambling debts. This of course, dictates many costume changes, of which the standard is of the highest degree and an absolute credit to Irene Bohan.


Stephen Mear has injected his usual choreographic flare, and this production lends itself to dancing all the way on the huge Chichester stage, resulting in a range of tight routines that have come to be expected of him.  The full-company openers of both acts in particular are marvellously energetic, with Jason Pennycooke as the dresser to Fred (Alex Bourne, also Petruchio in The Shrew) excelling immediately post-interval in the invigotating number ‘Too Darn Hot’. 

David Burt and Clive Rowe as hapless gangsters in pursuit of debts are tasked with sticking to frustrated Lilli Vanessi like glue (Waddingham’s dual role, the ex wife of money-owing Fred, which she plays superbly).  Although they do amuse and Rowe in particular is a sight to behold when dressed as a player, I expected more myrth from them. Trevor Nunn has not allowed the humour in their parts to project as much as perhaps it should.  That’s not to say they’re unfunny, but much heavier reliance is placed on Hannah Waddingham to despatch the comedy element and of course, she excels.  

So does it live up to the high expectations dictated by previous Chichester offerings of late?  It certainly delivers hugely in the all-singing-all-dancing category and with exceptional talent both on and off stage alike, together with Cole Porter’s delightful score and lyrics, there is plenty to enjoy.


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REVIEWED: 27/06/12
By Gareth Richardson @BargainTheatre

18th June - 1st September 2012
Chichester Festival Theatre, Chichester, PO19.

THE SLUTS OF SUTTON DRIVE

The UK debut of award-winning American playwright Joshua Conkel is also the world premiere of his work The Sluts Of Sutton Drive, directed by Rebecca Atkinson-Lord.  Conkel chooses to emphasise shock over substance in a chaotic plot, which touches upon several taboos but fails to grasp any in much volume.  This play is not for the easily offended, and coupled with the intimacy of this space, it could quickly become an uncomfortable experience for some, though I suspect that’s the point.

A valiant cast of five give the writing full life, Georgia Buchanan as struggling mother Stephanie Schwartz delivers an especially strong performance.  Kelly Burke as Sharice, her best friend since childhood, is equally vigorous in spirited support.  The difficulty is that there are just too many unlikely plot lines that it’s hard to reach totally affinity with any of the characters.  Eric Kofi Abrefa as the twelve year old son Jayden is totally convincing, despite appearing to be almost twice the age and four times too muscular.  However, while others around him suffer one bizarre calamity after another, his role develops little over the two acts and therefore the actor’s investment remains somewhat unharnessed as he flees to live in the woods.  Earlier though, having confessed an amusing fondness for pornography, he explains his resultant erotic urges and disrespect for women.  This is an open door for the playwright to explore a topical argument of the sexual pressure that teen girls find themselves under today versus the determination that some young males nourish for carnal lust and their brutal expectations of women to comply.  The  idea that porn is a driver for this apparent lack of care and compassion is also left undone.  Instead, the work continued to flit between themes, almost in a ‘tick-list’ fashion, leaving a disjointed and a (literally) dismembered experience.

Having exhausted a long list of sexual and violent unspeakables during the first act, culminating with the audience left to walk gingerly over a severed penis, it was difficult to predict the destination post-interval.  I had hoped that a revisit to some of the less abhorrent topics might be on the cards but I was disappointed.  Instead we were expected to give purchase to the spectre of a resurrected lover, who had returned from hell to take up residence among the faded cushions of a living room sofa.  But worry not, for there is always a naive stalker on hand in these situations, in this case a friendly postman, who is eager to enter uninvited.  Moreover, if you treat him well enough he will surely plant a bomb to eradicate the problem for you; just don’t let your friend Sharice upset him after she has gouged her husband’s eyes out.

This is not an easy play to act out and the cast should be rightfully acknowledged for their steadfast dedication to make it work.  There is no doubt that some will love this production, it is fashionably out of the ordinary and to it’s credit, takes the audience far out of their comfort zone.  However, I found it incoherent and, like a jigsaw with too many pieces, incomprehensible to decipher in any logical fashion.  It’s certainly thought provoking, but there are so many doors only half opened that I have no idea exactly what it is that I’m supposed to be thinking about.

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REVIEWED: 25/06/12
By Gareth Richardson @BargainTheatre

Sun & Mon 24th June to 9th July 2012
Finborough Theatre, London, SW10.

LITTLE WOMEN

Louisa May Alcott’s Little Women is not a book I’ve read, though for some it was compulsory classic literature, force-fed by sage school-mistresses or old maiden aunts.  Neither am I overly familiar with the compositional work of Steven Luke Walker.  However, the lure of a cast brimming with West End credits and the interesting prospect of hearing a new musical in the making proved more than ample temptation to venture into town.  There have been two previous musical adaptations of the story with varying degrees of critical success so this would clearly not be an easy nut to crack.
 
Set around 1876 in New England during the American Civil War, the plot centres around the growth of four sisters Meg, Jo, Amy and Beth, into young women.  Their lives and loves, happiness and heartaches provide a wealthy source for the lyricist and composer to pen a total of twenty two contemporary songs over two acts.  The trick though has been to introduce a sympathetically modern musical style to the Victorian tale, while retaining the nostalgic yesteryear appeal of period drama.  This is Walker’s stated objective and he has achieved it charmingly.
 
From the very beginning, an opening Christmas carol ensemble piece, I was won over.  Of course, these are still comparatively early days and the varied score is not perfect but it is hugely enjoyable and was generally well received by an enthusiastic audience.  The first act is perhaps a little long but includes some beautiful songs including a stunning duet ‘Sometimes’ sung by Sarah Lark and Nikki Davis-Jones and the gorgeously buoyant ‘First Impressions’ presented in true Julie Andrews, Mary Poppins style by Helena Blackman to great appreciation.  

The somewhat shorter second act offers more musical delights, particularly in the form of a lullaby, sung with clear and heartfelt emotion by Shona Lindsay, Gina Beck and Nikki Davis-Jones.  The men (Norman Bowman, Daniel Boys and Jon Robins) delight too with the humourous and lyric-rich parody ‘Women’. An ensemble choir of nineteen members from the Guildford School of Acting, competently led by an impressive sounding Maeve Byrne closed the show with ‘Once More’
 
Fittingly, given that the four sisters were raised alone by their mother Marmee, while their father was away at war, the evening raised funds for the Gingerbread Organisation which supports single parent families.

With a score brimming with good melodies and clever lyrics, this is a work crying out for a fully staged production.  With luck and a fair wind, it would be marvellous to see Little Women grow.

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REVIEWED: 24/06/12
By Gareth Richardson

Presented in concert on 24th July 2012 only.
Playhouse Theatre, London, WC2.