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April 04, 2012

THE KING’S SPEECH



After the massive success and recognition of the film it is difficult to review The King’s Speech as a play within its own right, since whether you want to or not, it’s natural to constantly compare the two. Although originally written by David Seidler for the stage, I can imagine that the reason for the West End transfer of this production is largely due to the screen success. As a story the only deviation from the film is the longing for Mrs Logue to return to Australia.  In actuality this was probably a wise move to drop it for the film’s release, as it is a subplot that is superfluous to the script, in fact it almost makes you like Lionel a little less, portraying him as slightly more selfish and less warm hearted when compared to the way he is characterised on screen.

Jonathan Hyde plays speech therapist Lionel with wonderful craftsmanship and flair, however it would be difficult for any actor to fill the shoes of the master that is Geoffrey Rush.  Hyde doesn’t quite but it would be unfair to say he does not do a wonderful job in his own right, though I’d be very surprised if I’m the first reviewer to compare the two.
 
On the other hand, I wasn’t anticipating any actor able to do justice to King George VI (Bertie) other than Colin Firth, after all it did earn him an Oscar.  Charles Edwards steps up to the plate and delivers a stirling performance, which could give even the national treasure that is Colin Firth, a run for his money.  Higher praise I could not bestow.  What actually strikes most about the difficulty of playing the part is the authenticity of perfecting the speech impediment.  My dad struggled with a stammer that would block his speech for his entire life, although mild, you could still feel my father’s frustration in his body not doing as he commanded; something I think Edwards, captured perfectly, both the physicalisation and the underlying resentment.

Secondary characters such as Winston Churchill and The Queen Mother are not as “imitated” as they are represented in the film, and are played with gentle nods to the character rather than out and out impression; and probably for the stage is best, as it could have, especially in the case of Churchill, become almost satirical.
The King’s Speech is a genuinely wonderful, heartwarming story that, whether you want it to or not, makes you feel incredibly patriotic.  I even choked up a little at the end when Bertie and Lionel shake hands as ‘friends’, something that in those days would have been actively discouraged. 

I suggest getting a ticket in honour of our Queen’s Golden Jubilee and treating yourself to a cup of tea and a scone afterwards! 
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REVIEWED: 29/04/12
By Miss Sally Bowles
 
Booking until 21st July 2012
Wyndham’s Theatre WC2.

Tags: bargain theatre deals discounts reviews london west end fringe uk plays comedy drama thriller musical theatre musicals the king's speech colin firth charles edwards jonathan hyde

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March 26, 2012

DUCHESS OF MALFI



The Duchess of Malfi, when done well, is in my opinion one of the best plays of them all.  Having key ingredients of love and tragedy, it opens doors on eternal debate, questioning the motive and passion of the main players; arguments regarding male dominance and the role of women in society go on, incest remains taboo and sexual erring of clergymen continues to haunt.  The emphasis of this production centres on Bosola, who, having returned from penal servitude for murder, is sent by Ferdinand to spy on the widowed Duchess under the guise of being her equestrian provisor.  The corruptly sinful Cardinal and demented Ferdinand are brothers of the Duchess, the latter her twin, and there is a hint of an incestuous nature between the siblings.  They selfishly plot to prevent her from marrying in an effort to preserve their inheritance, but she is defiant and secretly weds steward Antonio, bearing him three children.  The brothers exact their cruel and callous revenge to shocking and devastating consequence. 


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

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

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

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

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

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

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

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

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


Tags: duchess of malfi bargain theatre bargains deals discounts reviews london uk west end fringe musical theatre comedy plays the old vic old vic john webster jacobean tom bateman jamie lloyd harry lloyd eve best mark bonnar

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March 23, 2012

ASSASSINS


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

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

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

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

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

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

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

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

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

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REVIEWED: 22/03/12

By Miss Sally Bowles

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

Tags: bargain theatre bargains deals discounts reviews london west end fringe uk musical theatre musicals plays pleasance theatre islington assassins miss sally bowles sondheim ray rackham padraig breathnach johnjo flynn brandon force alexander forsyth martin dickinson david elser gemma veitch chris whittaker

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March 21, 2012

SWEENEY TODD



There is no doubt about it, Chichester’s Festival Theatre has proved to be a hotbed of late for musicals worthy of West End transfer.  I had seen neither Singin’ In The Rain or Sweeney Todd down south, and decided to sample them both within the space of a week in London.  Each appeal in very different ways and I have high hopes for Kiss Me Kate at the same location this summer.
 
Jonathan Kent’s production oddly updates proceedings to the 1930’s though nineteenth century London provides the original setting.  Todd returns following an unjustly administered exile, having changed his name from Benjamin Barker, to discover that in his absence daughter Johanna has suffered at the hands of the same lecherous judge who sentenced him to transportation some fifteen years prior.  Revenge becomes the ultimate goal, a rented room above a Fleet Street pie shop the venue, and thrifty landlady Lovett the accomplice.  An industry soon develops as the doomed are sliced, minced and baked in an effort to satisfy the eternal appetite of the pie shop’s growing clientele.
 
Imelda Staunton is the runaway star of this show as ruthless yet empathetic Mrs Lovett, giving a truly unmissable performance and placing her as a very strong contender for awards.  A real on-stage fireball of energy at fifty six years of age, the production simply breathes on the dynamic and potent oxygen she fires into it.  Humorous first act closing number ‘A Little Priest’ is zestfully delivered by Staunton in a superbly timed comic duet with Michael Ball who looks barely recognisable in the title role. He plays satanic Todd with grit and determination and proves menacingly adept at cut-throating, though a tad less imposingly daunting than perhaps he could have been.  I suppose I did not expect to find myself liking the sinister character, that’s somewhat disturbing!  Lucy May Barker and Luke Brady as would-be elopers Johanna and Anthony add romance and charm to the otherwise macabre narrative.
 
I sometimes struggle with Sondheim but this score is entirely up my street.  With murder as the major theme, it’s black and melodramatic but he adds sufficient spring and bounce to raise the gloom so that the overall feel is uplifting.  Musical director Nicholas Skilbeck has delivered an ensemble that rings with euphonic resonance.
 
Sweeney Todd is a very caliginous affair; the lighting and set designers illustrate this aspect with immense creativity, encorporating a huge iron structure comprising several levels and a revolving box housing gourmet pie maker Mrs Lovett and the upstairs barber shop. Every corner of the playing area is utilised by an impressively large ensemble who lurk in cimmerian shadows, giving the impression that they are everywhere at once by Mark Henderson’s cleverly-rolling spotlights, sensitively illuminating various nooks at will. This is a production where the darkness radiates through as much as the light so those who like to see facial expressions may wish to sit forward.  The stage is both high and very tall, inevitably causing sight problems for those viewing from the front stalls, together with the rear of any level.   I’m told that day seats are usually in the front row, perhaps best avoided if that indeed proves to be the case.

This recipe, mixing horror and humour as key ingredients, has resulted in musical theatre of a very appetising flavour and everyone should grab a slice.  I doubt you will leave with a bitter taste.

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REVIEWED: 19/03/12
By Gareth Richardson @BargainTheatre

Booking until 22nd Sep 2012
Adelphi Theatre, London, WC2. 

Tags: bargain theatre deals discounts reviews bargains london theatre west end fringe uk musical theatre plays comedy drama musicals sondheim stephen sondheim sweeney todd adelphi theatre chichester festival theatre jonathan kent imelda staunton michael ball lucy may barker nicholas skilbeck mark henderson

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February 07, 2012
2 notes

OUTWARD BOUND



Revived in London for the first time in fifty years as part of the Finborough’s rediscovery series, Outward Bound was first produced at the Everyman Theatre, Hampstead in 1923 and enjoyed subsequent West End success.  Perhaps Sutton Vane’s most prominent play concerning the tale of seven passengers who meet in the smokers’ bar of a ship as it sails from an English port to an undisclosed destination. Alex Marker’s set is mighty impressive and surely a contender for award nomination.  The intimate theatre space has been neatly transformed into an art deco saloon, complete with four brass portholes and twenties-style, walnut veneered, hexagonal bar tables.  Some of the on-stage seating is used by the audience, adding to the ‘friends at sea’ atmosphere.  David Brett plays the role of Scrubby the steward perfectly with a “Yes sir, no sir, three bags full sir”, tenderly patronising approach; nothing is too much trouble yet all the while you are aware that he knows something that the others don’t.  

Carmen Rodriguez gives a wonderfully nasal and snobbish air to Mrs Cliveden-Banks, a cut above the rest with an equally acerbic wit who takes an instant dislike to fellow passenger Reverend William Duke (Paul Westwood), declaring him ‘unlucky at sea’.  Little does she know that to navigate this voyage requires far more than good fortune. In total contrast, chair lady Mrs Midget, ably played by Ursula Mohan is far more introvert, down to earth and carries a secret.  Cliveden-Banks would have her in steerage, but this mysterious vessel only has one class so they are stuck with each other.  Rotund MP and boring old duffer Mr Lingley (Derek Howard), astute drunk Tom Prior (Nicholas Karmi) together with couple Henry (Tom Davey) and Ann (Natalie Walker) make up the other ship mates on this ill-fated trip.
 
Booze-loving Prior is the first to realise their fate and that excepting their barman, there is no captain or crew. Nicholas Karmi plays him convincingly, his announcement to the others being a highlight of the play.  After an unnecessary second interval, the group, chaired by Lingley, call an extraordinary meeting, one by one they all reach the same unhappy conclusion. Mrs Cliveden-Banks is appropriately dressed in black mourning as the ship sails into very strange waters.  Enter Martin Wimbush, very distinguished as the Reverend Frank Thomson, to determine their fate.  If you haven’t guessed the plot already, I’ll not spoil if for you.  
 
Yes, this is a play which is showing its age a little and is a relatively slow mover compared with most of today’s output but a talented cast has managed to keep this revival pleasing. There are some very comedic moments, most of which still work very well.  The enigmatic couple of ‘halfways’ add very little to the story until the end, but when secrets are opened and all is revealed, their presence makes perfect sense. 

A steady, entertaining and retro work that’s certainly deserving of an outing; overall however, it’s unlikely that this old sea dog will cause too much of a storm.

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REVIEWED: 01/02/2012
By Gareth Richardson @BargainTheatre

Runs until 25th February 2012
Finborough Theatre, London, SW10. 

Tags: bargain theatre bargains bargain theatre musical theatre plays comedy drama london uk tour fringe outward bound finborough finborough theatre

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February 03, 2012

MIDNIGHT TANGO



On Tuesday I went to the opening of Midnight Tango, which after an extensive UK tour, and before a second leg, is hitting the West end courtesy of Vincent Simone and Flavia Cacace of Strictly Come Dancing fame.

Midnight Tango, is produced by Arlene Phillips and Adam Spiegel, and directed by Karen Bruce, so you know this is going to be an evening of choreographic delight, intense rhythms and breathtaking partnerships – you won’t be disappointed.

From the shadowy setting of a hot, smoky bar (exquisitely designed set by Morgan Large) we are introduced to an array of sizzling dancers, who form the company, including a beautifully told side story of a sweet older couple, who run the bar, providing many a comic moment throughout this dance fest.  Tango Siempre and Miguel Angel provide an authentic score to accompany the dancers and dazzle the audience.

The very loose story is one of rivalry.  Everyone in the bar is enjoying their evening and the company, the romance between Vincent and Flavia is flourishing, then in walks a sultry, dark figure vying for Flavia’s affection.  All the cast are named characters, but never actually addressed by said names.  The evening is played out with fierce Latin battles and group dances, each pairing getting their five minutes to shine.  Couples move incredibly quickly and accurately with brave footwork causing audible intake of breath from the audience on many occasions.

There are too many wonderful individual moments to point out, however if I had to choose, the finest point of the evening was the simply beautiful slow dance between Vincent and Flavia in act two.  This movement brings a tear to your eye with its pure elegance and grace; you can see the respect and care oozing from the pairing all the way through the show.  A special mention must also go to James Whiteside, for the most gorgeous and affective lighting design I have seen in the West End in a long time.

At 2 hours including Interval, this show simply zips by. Yes, at times it ventures towards being repetitive, but saying that, I would have happily watched it again straight away. If you go to Midnight Tango, and I wholly suggest you do, you will watch a mesmerising evening of dance and come away with a massive smile on your face. There is a reason this show has sold out across the country, and as it is going on another extensive UK tour straight after its west end run, I would catch it now before you regret it.

A sure fire hit.

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REVIEWED: 31/01/2012
By Christopher Owen @cobartlett

20th January - 31st March 2012
Aldwych Theatre, London, WC2B. 

Tags: bargain theatre bargain theatre reviews deals discounts bargains london west end theatreland fringe uk dance strictly come dancing arlene phillips bbc midnight tango Aldwych Theatre

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February 01, 2012
28 notes

MASTER CLASS

One piece of practical advice before I begin. Book tickets now!

This is immensely worth seeing and enjoyable on so many counts.  One only needs the vaguest notion of Maria Callas and opera to engage, it is a top of its class masterclass. In fact it’s ‘class’ in every sense of the word.  The fourth wall is broken immediately as the audience become part of the lesson too.  Cagney and Lacey’s Tyne Daly is simply enthralling as the world famous opera singer in the twilight of her career who wastes no time instructing not only her students but also the spectators, “Don’t applaud, we’re here to work” she barks.  The tone is set as Callas’ naturally acerbic wit fascinates and terrorises simultaneously.  “I don’t believe in mics, if you can’t hear me it’s your fault!” The story concerns three professional singers who seek guidance by attending her sessions.  Each is dealt with in turn, “Listen and feel,” she tells Sophie de Palma (Dianne Pilkington), “concentrate on diction, vowels and consonants”, as the pair form a tender duet without singing.  
 
Passing reference to other stars of the period, including Joan Sutherland, Callas injects caustic humour, “How can you have rivals when no one else can do what you do?” Her career was a tough one, lasting barely twenty years and ending in her early forties.  Where do you go when your voice declines and your heart is broken by Aristotle Onassis?  She died young at 53 but during 1970 and 1971 taught a series of remarkable, open classes at the Julliard School, Paris.  Terrence McNally’s play gives a revelatory portrait of the Diva by focussing on this period.  Tyne Daly’s performance is unmissable, touching, funny and spellbinding, she owns the Vaudeville stage just as Callas owned La Scala say, or Covent Garden.  “Bite into those words and spit them out” she commands the beautifully vocal Naomi O’Connell as timid Sharon Graham, galvanising her with fear and passion for their art, convincing her that performance is a struggle she has to win.  Instruction and inspiration go hand in hand and there is no room for sentiment or doubt.  

Don’t expect Daly to sing, she can’t and doesn’t much.  This aspect is left to Callas’ pupils.  Garrett Sorenson, as tenor Anthony Candolino, is particularly strong and treats the audience to a wonderfully fluid aria from Tosca.  Soprano Naomi O’Connell pleases greatly too, but remarkably the musical aspect is ancillary in this play.  This is much more.  It’s about making an impactive entrance, maintaining full stage presence and exerting full control over the theatre environment.  That’s what Callas teaches everyone in the auditorium, not just those who have come for the lesson.  Attention is demanded by, and given to her, in equal amount.  Jeremy Cohen as pianist Emmanuel ‘Manny’ Weinstock and Gerard Carey as the unnamed stagehand feel her commanding influence too; like iron-filings to a magnet, there can be no resistance.  

The heartache, bitterness and tears Callas suffered are forged by Daly into a focussed energy, engulfing all around.  Such is the power of her performance; channelled and converging through the audience.

Personally, I’ve not seen a female lead as thrilling on a West End stage since Tracie Bennett’s Judy Garland in End of the Rainbow.
 
Don’t hesitate, book now!

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REVIEWED: 25th January 2012
By Gareth Richardson @BargainTheatre

Runs until 28th April 2012 
Vaudeville Theatre, London, WC2.

Tags: bargain theatre theatre musical opera masterclass lesson london covent garden west end fringe uk tour play drama comedy deals discounts reviews

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January 28, 2012

THE BOY JAMES



The Goldsmith is a gastro pub nakedly cornered on a Borough backstreet. It is cold at this time of the year and standing outside afterwards I couldn’t find a way to keep out of the chill. At that point I didn’t know whether The Boy James was over. Half the audience walked off past me within a minute giving the impression that it was. So, it’s not giving too much away to say this is the first proper play I have been to where there is no curtain call and no obvious reason why it ended.

Perhaps that says it all - did I ‘get’ it anyway? Stephen Fry could not stop crying when he saw this “dark, beautiful tale of one boy’s awakening to the harsh realities of childhood” and I know I am not as clever as him. For my money, this could perhaps possibly be one of those 5 star shows that nobody wants to quite admit they didn’t really like too much, but as I say, Stephen doesn’t think so.

So we have a room above the pub, competently decorated like a Victorian lodging; the kind of room that would house an old rocking horse, except there wasn’t one, instead a decanter of whisky.  A boyish teen in pyjamas beckoned us in to take a seat around the room (I picked uncomfortably, bag a sofa). And so the play began, with games led by said boy, then the games stopped and an unpleasant witch-like character arrived to harass the lad. His childishness was well developed and the atmosphere was credible though sadly not a great deal of fun. Not a lot truly happened thereafter. There were flashes of booze and sex to crack the kaleidoscope of childhood that had been created, but nothing really punched too much of a hole. He cried, they tustled, it dragged.

There is no doubt that Jethro Compton (who must have been born to act) was brilliantly fine at maintaining his persona as the boy. He led well with the crowd and has a wonderful range of expression, his presence engaging. Unfortunately neither the girl or James (‘the man’?) were of much interest, both having bit-parts to achieve the result of spoiling the honeycombed atmosphere. Neither had very satisfying lines to be fair.

As an hour passed I had learned or cared little. But then as well as not getting it, perhaps, maybe it wasn’t for me. I have no children nor any plans, I don’t like Peter Pan and rousing sympathy with worlds of fairies and forgotten lands is annoying, not enchanting. I did like that by using Scottish accents the boy looked a little like a smack addict when he reared up on top of the table, cheekbones fixed and eyes flashing with excitement about the mysteries of undiscovered utopias; but I doubt they meant that. Murmurings I heard leaving were mixed.  For a certain type of person like Stephen Fry, I am sure this unconventional number would work well. You shouldn’t think it’s that bad, either. It’s just not particularly interesting.


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REVIEWED: 26th January 2012
By Piero McCarthy

Runs until 11th February 2012
The Goldsmith, London, SE1.

Tags: bargain theatre bargains discounts deals reviews theatre plays musicals musical theatre southwark london west end fringe uk tour

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January 19, 2012
23 notes

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.

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REVIEWED: 17/01/12
By Chris Simms

 Runs until 4th February 2012
Southwark Playhouse SE1. 

Tags: bargain theatre london city musical theatre play theatre southwark playhouse touring uk

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January 18, 2012
4 notes

AND NO MORE SHALL WE PART


Mention euthansia and I’ll start to yawn.  I put the subject into the ‘Not interested until I need to be’ category and there it stays.  And No More Shall We Part gives the matter powerful consideration, in a tense, emotional and developed fashion.  This double-hander delicately journeys down a road that everybody hopes they will never have to travel and I don’t even care to contemplate.
 
Set on a revolve, we watch as the effect of the tablets takes its stride together with the pain and anguish of the period leading up to the precious final moments.  Except the end doesn’t come in an instant as the couple expected, but rather over the course of a few hours.  Imagine the endurance, anguish and self-struggle required to assist a partner in ending their life, only to find that having taken the pills, nothing much seems to happen.  The excruciating wait that must be sustained, tormented by the question: What will happen next?
 
Pam is in her fifties suffering with a terminal illness, months to live and resigned to her fate.  Dearbhla Molloy plays a sensitively refined Pam, with a matter of fact air that is spot-on.  Pam has thought the matter through and is determined that her last days will be as peaceful as they can be.  She doesn’t want to depend on anyone to help fulfil her basic functions.  This resolve has forced her to be strongest of the couple.  Having made the decision, she needs to convince husband Don to assist in a crime for which he has no appetite.  Bill Paterson copes admirably with the demanding role.  The torment shows on his face as he strives to bear the strain both in the lead-up and subsequently.  The opening scene is particularly poignant, Paterson clearly demonstrating a husband in turmoil, expecting his wife to die within the next few minutes, battling to comprehend exactly what she is saying to him as his brain swirls with the grief and emotion that the situation dictates.
 
The play begins a short while after taking the pills and travels both backward and forward in time in a gritty and emotional portrayal of love, death and determination.  Tom Holloway’s writing fuses joy with pain and despair with humour as the pair recall some of the happiness they have shared, refreshingly serving as relief from the intensity of other scenes.  They recollect camping trips with the children in the tender time as she waits to die.  The contrast between Pam’s quiescent calmness and Dan’s stress is striking.  Their arguments are powerful; she resolute, he at the end of his tether, but love for her forces him to listen. There are moments of amusement, they both confess to having had affairs twenty years ago but neither care, their love is far stronger and they are happy together. 

A shared last meal is very well executed; no need for words here, body language is allowed to say so much more.  Hannah Clark’s design triumphs, although the story jolts back and forth in time, there is never any doubt to precisely where you are.  Distractingly though, two of the creative team sit at computers placed on tables either side of the set.  In full view of the audience, they play no part in the story but variously boil a kettle, make pots of tea when the script calls for it and hand assorted props to the cast as required.  All a little awkward-looking, however the actors cope admirably with this needless handicap. 
 
An easy to swallow, thought-provoking production.

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REVIEWED: 16/01/12
By Gareth Richardson @BargainTheatre

Runs until 11th Feb
Hampstead Theatre, NW3.
 

Tags: bargain theatre bargain theatre musical theatre musicals plays reviews deals discounts london west end fringe uk hannah clark and no more shall we part tom holloway gareth richardson benjamin vivian-jones