Month: October 2017

MARK PUDDLE IN ASSOCIATION WITH PAUL TYRER & JAMIE CLARK FOR TBO PRODUCTIONS

PRESENT THE SALISBURY PLAYHOUSE PRODUCTION OF IRA LEVIN’S

DEATHTRAP

STARRING JESSIE WALLACE & PAUL BRADLEY

A brand new production of Ira Levin’s Tony-nominated classic thriller Deathtrap comes to Richmond in the final dates of its UK tour, from Tuesday 14^th – Saturday 18^th November.

Deathtrap is a truly satisfying spine-chiller that is guaranteed to keep you on the edge of your seat. One of the most successful plays in its genre, it promises an ingenious maze of twists and turns that will keep you guessing until the very end. The production will star Paul Bradley (Holby City and EastEnders) in the role of Sidney Bruhl and BAFTA nominee Jessie Wallace (EastEnders, Redwater and Fings Ain’t Wot They Used T’Be) as Myra Bruhl.

Sidney Bruhl (Bradley), a once- successful writer of stage thrillers, is in the grip of chronic writer’s block. Out of the blue, young playwright Clifford Anderson sends Bruhl one of the only two copies of his brilliant new whodunit, Deathtrap. Desperate to set Broadway alight once more, Sidney spies his chance to invite Clifford to his remote country home. Oh, and to bring the only other copy of Deathtrap with him! If Bruhl can kill the newcomer and pass the play off as his own, he could once again be the toast of Broadway.

Written by the award-winning playwright and author Ira Levin (Rosemary’s Baby, The Stepford Wives andCritics Choice), Deathtrap is directed by the newly appointed Artistic Director Designate of Nottingham Playhouse Adam Penford (The Boys in the Band, A Small Family Business and in June 2017, Committee at the Donmar Warehouse), and returns following a limited run at Salisbury Playhouse.

Deathtrap is a masterpiece of seat-gripping suspenseful writing, and continues to hold the record as the longest running thriller in Broadway history. It was subsequently made into a smash-hit film starring Michael Caine and Christopher Reeve.

Deathtrap is produced by Mark Puddle in association with Paul Tyrer and Jamie Clark for TBO Productions. Costume and set design is by Morgan Large, with lighting by James Whiteside, sound by Max Ringham, video design by Duncan McLean.  Presented by special arrangement with Samuel French Ltd.

Leed Grand Theatre – until 28 October 2017 and on tour around the UK

4****

The beautiful Grand theatre has been transformed into the Kit Kat club for the completely stunning but very dark new tour of Cabaret.

Deeply disturbing, the depravity and bleakness of Cabaret, is a snapshot of the dark underbelly of Berlin as the Nazis start their rise to power in the 1930s – before they stamped out the riotous anything-goes decadence portrayed at the Kit Kat Club.

Louise Redknapp is an attractive but wholesome Sally Bowles and puts over the big numbers with great assurance. But she never plumbs the emotional depths of the role. Whilst there is real desperate hope in Maybe This Time, and she seems to comes over as a plucky survivor, rather than someone teetering on the edge of despair.  In this, her first stage role, she can belt out the numbers with her amazing voice, but more time in the role will help her to gain confidence with her acting.  

Charles Hagerty’s Clifford Bradshaw, is the American bisexual writer who falls in love with Sally.  He is excellent in the role, capturing the character’s disgust at the rise of Nazism and his joy when he believes that he and Sally may have a child together. You never feel that this mismatched couple are head-over-heels in love however, the relationship between the old landlady, Fraulein Schneider (Susan Penhaligon), and her Jewish admirer Herr Schultz (Lionel Haft) proves far more touching thanks to lovely autumnal performances from them both.  The tender way in which Schultz, a greengrocer who sweetly courts her with bags of fresh fruit is both beautiful and gently romantic.  

Will Young was born to play Emcee, with wonderfully over the top mannerisms, switching from fey and funny to threatening, to lovelorn and bereft with consummate ease. You can’t take your eyes off him when he is onstage.  Young hits every queasy level of the oily and sardonic charm in a man who, as the still-shocking final moment makes clear, doesn’t see that he’s about to be steamrolled by some of the darkest forces in European history.  His voice is gorgeous. His belligerent shouting of “To me!” of the faux-Nazi anthem Tomorrow Belongs to Me rings out with defiance but also self-delusion and his vocals are sublime as he manipulates the Kit Kat ensemble as if they were puppets on strings, dancing to his tune. The parallel with Hitler and the German population becomes unmistakable.

The ensemble are very good performing Javier De Frutos’s choreography with athletic beauty.   The onstage band are terrific playing Kander and Ebb’s glorious musical numbers.  Rufus Norris’s production never shies away from the growing menace as the people of Berlin enjoy their final year of freedom and decadence before the Nazis take power.  

This is not a happy ending, the whole cast are damaged and the final 20 minutes of the show are shocking. The camp glamour of the pre-war Kit-Kat Club is gradually stripped away. The bare brick wall of the theatre is revealed. The fantasy is over.  Young’s Emcee flits through the detritus, singing the ghostly I Don’t Care Much which will give you goose-bumps, the chorus are lined up against the back wall, their shivering nakedness a sharp contrast with the strutting, vampish displays of their bodies in earlier scenes.  The symbolism obvious and thought provoking.

This production is just the complete musical package- a rare piece of musical theatre, challenging as well as entertaining.  On tour around the UK, you must get a ticket

 

Salisbury Playhouse – until 28 October 2017.  Reviewed by Sharon McDonald Armitage

4.5****

Ian Hislop and Nick Newman’s theatre adaptation of their successful television drama The Wipers Times is based on a true story of British soldiers who during WWI published a newspaper in conditions that have been well documented as being ghastly. Using typical British trench humour; as would be expected from Hislop, whose humour is well established as a captain on BBC’s quiz show Have I Got News For You and as editor of the satirical Private Eye magazine, we are shown how despite adversity the British Army never fails to keep its sense of humour.

The unlikely coming together, in Ypres, of two young officers: Captain Roberts (James Dutton) and Lieutenant Pearson (George Kemp) over an abandoned printing press and the luck of Sergeant Tyler (Dan Mersh) an ex-printer when in Civvy Street, surely doesn’t seem possible, but indeed it was. Based on a true story of soldiers from the 24^th Division of the Sherwood Foresters The Wipers Times (named after the mispronunciation by the soldiers of the town of Ypres) was a journal that poked fun at the war and those involved in it. When Captain Dutton announced he wanted the journal to be “something like Punch but with jokes” the audience quickly picked up on the satirical tone of not only the production but of what the journal was trying to achieve. As such The Wipers Times became extremely popular with not only front line troops but even those back home in England.

The serious nature of life in the trenches is lightened by interjections of Vaudeville moments. Designer Dora Schweitzer’s atmospheric set depicts not only the claustrophobic nature of life in the trenches but accompanied by James Smith’s lighting makes the switch to Vaudeville punchy and funny and highlights the satirical nature of what The Wipers Times was all about. The neon lights hanging over the barbed wire of the trench juxtaposes the humour and tragedy in equal measure and provides an opportunity to visually represent the spoof adverts that The Wipers Times was renowned for.

This cast is full of talent, with Dutton and Kemp epitomising what appears to be on the surface a jolly hockey sticks humorous approach to the war. There is superb timing from Dutton in delivering both comic and poignant lines with an equal and natural skill, which makes his performance all the more believable.  Kemp too gives a strong performance as the foil to Dutton and the two men play off against each other with consummate ease.

A question that needs asking is how can the impact of a few flimsy pieces of paper mean so much not only to those responsible for creating it, but to those that read and enjoy it? Surely it is immeasurable? However, the use of such satire and gallows humour was clearly just what was needed to uplift the spirits in such dreadful conditions. The same can be said for this show; humour at its best which lifts the soul and with Armistice Day fast approaching The Wipers Times is a show everyone should experience.

Great show, great cast, great production!

 

 

ANDREW LLOYD WEBBER’S OLIVIER AWARD-WINNING

S C H O O L   O F   R O C K  –  T H E   M U S I C A L

WELCOMES NEW ADULT CAST

WWW.SCHOOLOFROCKTHEMUSICAL.COM

Today, 23 October 2017, rehearsals begin for the new West End cast of Andrew Lloyd Webber’sOlivier award-winning production of School of Rock – The Musical.  Stephen Leask, having played the role of alternate Dewey since May this year, will now lead the cast as Dewey Finn from 15 November 2017, as the show enters its second year in the West End.  Joining Leask at the New London Theatre will be Alan Pearson as Ned Schneebly, Michelle Francis as Patty Di Marco, currently a member of the ensemble, and Craig Gallivan as the alternate Dewey Finn.  Florence Andrews will continue as Rosalie Mullins alongside the three teams of thirteen kids who make up Dewey’s band.  The ‘grown up’ cast is completed by ensemble members Nick Butcher, Cassandra McCowan, Jessica Louise Parkinson, Andy Rees, Cameron Sharp, Jake Sharp, James Smoker, Wendy Somerville, Andrew Spillett, Hannah Stratton and Alex Tomkins with swings, Paul Kemble, Laura Medforth, Billy Mitchell, Tasha Sheridan and Joshua St. Clair.

 

To vote for School of Rock – The Musical which has been nominated for the 2017 Evening Standard Radio 2 Audience Award for Best Musical visit bbc.co.uk/radio 2.  Voting closes on 29 October 2017 at 11.59pm and the winner will be announced at the Evening Standard Awards on 3 December 2017.

 

On 6 November 2017 School of Rock – The Musical will host this year’s BBC Radio 2’s BBC Children in Need Gala. Hosted by Ken Bruce with the charity’s mascot Pudsey, at least 50% of the proceeds from the Gala will go to BBC Children in Need’s 2017 Appeal going on to make a difference to the lives of disadvantaged children and young people across the UK.  Tickets range from £50 – £140 and are available from schoolofrockthemusical.com.

Continuing the countrywide search for kids to ‘join the band’, further open auditions will take place in London on 8, 10, 20 and 22 November 2017. If you’re between 8 – 12 years old and play the drums, keys or the electric or bass guitar, registration and further details can be found at www.schoolofrockthemusical.co.uk/opencall or by contacting Jessica Ronane Casting at[email protected]

Now booking to 13 January 2019, School of Rock – The Musical opened in November last year and is one of four Lloyd Webber shows – with Phantom of the Opera, Evita and Jesus ChristSuperstar – which have played concurrently in the West End this year.  The West End production of School of Rock – The Musical is the recipient of the Olivier Award for Outstanding Achievement in Music, and in August this year the production welcomed a new group of kids who play live music on stage at each performance.

Before joining the School of Rock company Stephen Leask’s previous theatre credits include Robin Hood at The Egg, Theatre Royal Bath, One Man, Two Guvnors at the Theatre Royal Haymarket, A Little Hotel on the Side for Theatre Royal Bath, Potted Panto at the Vaudeville Theatre, The Secret Garden for Birmingham Rep and Troilus and Cressida for the Royal Shakespeare Company.  Leask is a member of the Merely Players, a theatre company dedicated to producing accessible productions of Shakespeare.  His television appearances include Nightmares, Doctors, Our World War, The Intern and EastEnders.

 

Florence Andrews’ West End theatre credits include the role of Glinda in the Really Useful Group’s production of The Wizard of Oz at The London Palladium, Wicked at the Apollo Victoria Theatre andOnce The Musical at the Phoenix Theatre.  She played the leading role of Candy in Miss Atomic Bomb at the former St. James Theatre as well as A Midsummer Night’s Dream and The Mikado, both at the Stephen Joseph Theatre in Scarborough.

 

Alan Pearson has recently completed a run in Alice’s Adventures Underground at the Waterloo Vaults. His other theatre credits include One Man, Two Guvnors for the National Theatre, The Mitford Girls at Chichester Festival Theatre, Avenue Q at the Gielgud and Wyndham’s Theatres,Hamlet at the Donmar Warehouse and Jack and the Beanstalk  at the Palace Theatre, Watford.

 

Michelle Francis’ theatre credits include Mack & Mabel and Oklahoma! for Chichester Festival Theatre, Jersey Boys at the Piccadilly Theatre and Prince Edward Theatre, The Importance of Being Earnest at the former St James’ Theatre, Finding Neverland at Leicester Curve and Shrek The Musical at the Theatre Royal, Drury Lane. 

Craig Gallivan is best known on television for playing Luke in the British comedy drama Stella, a role he has played for over 50 episodes.  His theatre credits include Billy Elliot The Musical at the Victoria Palace Theatre, Crime and Punishment for the National Theatre, Days of Significance for the Royal Shakespeare Company, The Long, The Short and the Tall for Sheffield Theatres and the UK Tour of Joseph and the Amazing Technicolor Dreamcoat.  His other television work includes Torchwood II, Footballers Wives and Footballers Wives: Extra Time.

Based on the iconic hit movie and with a rocking new score by Andrew Lloyd Webber, School of Rock – The Musical follows slacker and wannabe rock star Dewey Finn turn a class of straight-A 10 year old students into an ear popping, riff scorching, all conquering rock band!  Dewey poses as a substitute teacher at a prestigious prep school to make ends meet, and when he discovers his fifth graders’ musical talents, he enlists his class to form a rock group and conquer the Battle of the Bands. As Dewey falls for the beautiful headmistress, can he and his students keep this special assignment secret as they learn to fully embrace the power of rock?

Based on the smash hit 2003 film of the same title, School of Rock features music from the movie, as well as new music written by Andrew Lloyd Webber with lyrics by Glenn Slater and a book by Julian Fellowes.  School of Rock – The Musical is directed by Laurence Connor with choreography by JoAnn M. Hunter, set and costume designs by Anna Louizos, lighting design by Natasha Katz, sound design by Mick Potter, music supervision by John Rigby with Matt Smith as musical director.

 

Produced by Paramount Pictures, the 2003 hit film School of Rock was directed by Richard Linklater and starred Jack Black in a career-defining performance.

School of Rock — The Musical is produced in the West End by Andrew Lloyd Webber for The Really Useful Group and Warner Music Group & Access Industries with Madeleine Lloyd Webber as Executive Producer.

LISTINGS INFORMATION

Theatre:                  New London Theatre, 166 Drury Lane, London WC2B 5PW

Dates:                    now booking to 13 January 2019

Running time:          approximately 2 hours 30 minutes including interval

Box Office:                0844 811 0052

Performances:          Monday, Wednesday, Thursday, Friday and Saturday at 7.30pm, Thursday and Saturday 2.30pm, Sundays at 3pm, Please check website for Christmas schedule

Prices:                    from £15.00, Student rush tickets for £10 on Wednesday evening, Rolling On Line Weekly Lottery £15, All ticket prices include a £1.50 restoration levy.  No booking fee via official box office channels

Website:                 www.SchoolOfRockTheMusical.co.uk

Twitter & Instagram: @SchoolofRockuk

Facebook:               facebook.com/schoolofrockmusical

FURTHER TOURING DATES ANNOUNCED FOR

CAMERON MACKINTOSH’S

EPIC PRODUCTION OF

BOUBLIL AND SCHÖNBERG’S LEGENDARY MUSICAL

BRADFORD ALHAMBRA 19 SEPTEMBER – 20 OCTOBER 2018

SUNDERLAND EMPIRE 24 OCTOBER – 17 NOVEMBER 2018

THEATRE 11, ZURICH 28 NOVEMBER 2018 – 13 JANUARY 2019

Cameron Mackintosh is delighted to announce further touring dates for his acclaimed production of Boublil and Schönberg’s legendary musical MISS SAIGON. Further to the previously announced dates, MISS SAIGON will now also play Bradford Alhambra (19 September – 20 October 2018), Sunderland Empire (24 October – 17 November 2018) and Theatre 11, Zurich (28 November 2018 – 13 January 2019). Full tour schedule below.

 

This tour of MISS SAIGON opened at Leicester Curve to sell-out business in July this year and has continued this success with rave reviews and nightly standing ovations in Birmingham and currently Dublin.

This new production was first seen in the West End in March 2014 where it opened to record-breaking advance sales and critical acclaim with Dominic Cavendish in The Daily Telegraph writing “This thrilling new production spills out beyond the theatre and speaks directly to the times we live in”. The show swept the board at the 2015 Whatsonstage.com awards winning a record breaking nine awards, the most awards ever won by a single show in the 15-year history of the awards including: Best West End Show and Best Revival of a Musical. In March this year, it opened on Broadway where it plays to nightly ovations and was nominated for the Tony Award for Best Revival of a Musical. The New Yorker recently called it a “Dynamite Broadway revival”.

 

MISS SAIGON tells the story of the last days of the Vietnam War, 17 year-old Kim is forced to work in a Saigon bar run by a notorious character known as the Engineer. There she meets and falls in love with an American GI named Chris but they are torn apart by the fall of Saigon. For 3 years Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he’s fathered a son.

MISS SAIGON has music by Claude-Michel Schönberg with lyrics by Richard Maltby Jr. and Alain Boublil, adapted from original French lyrics by Alain Boublil, with additional lyrics by Michael Mahler. The new production is directed by Laurence Connor with musical staging by Bob Avian and additional choreography by Geoffrey Garratt.  Production design is by Totie Driver and Matt Kinley based on an original concept by Adrian Vaux; costume design by Andreane Neofitou; lighting design by Bruno Poet; projections by Luke Halls; sound design by Mick Potter; and orchestrations by William David Brohn.

Since its London premiere in 1989, Cameron Mackintosh’s production of Alain Boublil and Claude-Michel Schönberg’s legendary musical MISS SAIGON has become one of the most successful musicals in history.  The original Broadway production of MISS SAIGON opened on April 11, 1991 with what was the largest advance sale in Broadway history ($37 million).  The show went on to play for nearly ten years and 4,063 performances seen by more than 5.9 million people. MISS SAIGON has been performed in 28 countries, over 300 cities in 15 different languages, has won over 40 awards including 2 Olivier Awards, 3 Tony Awards, and 4 Drama Desk Awards and been seen by over 35 million people worldwide. 

MISS SAIGON UK TOUR 2017/2018

www.miss-saigon.com

WEDNESDAY 4 OCTOBER – SATURDAY 18 NOVEMBER 2017

BORD GAIS ENERGY THEATRE, DUBLIN

www.bordgaisenergytheatre.ie – +353 (1) 677 7999

WEDNESDAY 29 NOVEMBER 2017 – SATURDAY 6 JANUARY 2018

WALES MILLENNIUM CENTRE, CARDIFF

www.wmc.org.uk – 029 2063 6464

WEDNESDAY 17 JANUARY – SATURDAY 17 FEBRUARY 2018

FESTIVAL THEATRE EDINBURGH

www.edtheatres.com – 01315296000

WEDNESDAY 21 FEBRUARY – SATURDAY 17 MARCH 2018

MAYFLOWER THEATRE, SOUTHAMPTON

www.mayflower.org.uk – 02380 711811

WEDNESDAY 21 MARCH – SATURDAY 12 MAY 2018

MANCHESTER PALACE THEATRE

www.atgtickets.com/venues/palace-theatre-manchester – 0844 871 3019

WEDNESDAY 16 MAY – SATURDAY 23 JUNE 2018

THE BRISTOL HIPPODROME

www.atgtickets.com/venues/bristol-hippodrome – 0844 871 3012

WEDNESDAY 4 JULY – SATURDAY 4 AUGUST 2018

THEATRE ROYAL PLYMOUTH

www.theatreroyal.com – 01752 267222 

WEDNESDAY 15 AUGUST – SATURDAY 15 SEPTEMBER 2018

NORWICH THEATRE ROYAL

www.theatreroyalnorwich.co.uk    01603 63 00 00

WEDNESDAY 19 SEPTEMBER – SATURDAY 20 OCTOBER 2018

BRADFORD ALHAMBRA

www.bradford-theatres.co.uk 01274 432 000

ON SALE 31 OCTOBER 2017

WEDNESDAY 24 OCTOBER – SATURDAY 17 NOVEMBER

SUNDERLAND EMPIRE

www.atgtickets.com/venues/sunderland-empire  0844 871 3022

ON SALE 27 OCTOBER 2017

WEDNESDAY 28 NOVEMBER 2018 – SUNDAY 13 JANUARY 2019

THEATRE 11, ZURICH

www.musical.ch/de/theater11zuerich

ON SALE SOON

Cockpit Theatre 12 October – 4 November.  Reviewed by Claire Roderick

4****

Shakespeare’s magnificent hatchet job on Richard III is given a full blooded and energetic airing by Front Foot Theatre. The story of Richard of York’s Machiavellian plotting to wrest the throne from his brother Edward IV, dispatching his other brother Clarence and his two young nephews along the way before being defeated by the righteous Richmond – the future Henry VII – is a labyrinth of betrayal and revenge where the audience knows exactly what is going to happen to the antihero, but enjoys the ride as he hurtles towards his comeuppance.

Director Lawrence Carmichael is a movement specialist and fight director, and boy does it show in this production, from the moment the cast clash swords in the initial battle to the final battle and Shakespeare’s brown-nosing final speech by Henry Tudor, the momentum of the piece never lets up. The only sources of a kind of stillness are the older female characters Queen Margaret (Angela Harvey) and the Duchess of York (Fiona Tong) whose powerful speeches are delivered with a prowling menace and inner fury in stunning performances. Most of the cast play multiple roles, but minor costume tweaks make it clear who is who, and Carmichaels fluid direction creates the illusion of a much larger company. Using puppets as children seems to be in fashion at the moment, but it works well here, giving the characters an otherworldly innocence that makes their uncle’s crime more heinous.

Amongst all the evil, greed and misogyny, there is also plenty of room for humour. Shakespeare’s comedy characters are always uneven, but the two murderers and the gossiping citizens are played skilfully. Even in the more serious scenes, the reactions of characters in the background are not to be missed, drawing giggles and belly laughs in equal measure. Luke MacLeod in particular has a wonderfully droll demeanour, with his Bishop of Ely bringing the house down with his bowl of strawberries.

Kim Hardy is a charismatic Richard, with subtle nods to his deformities that become more pronounced the more depraved or cornered he gets. His relationship with Buckingham (Guy Faith) is played beautifully, with both men wavering between acting like evil megalomaniacs and naughty schoolboys in their relationship.

There are no nods to modern events and politicians in this production. Instead Carmichaels has clarified the flow of the play and kept his characters rooted firmly in the past, creating a thrilling, dynamic and stylish Richard III that makes its almost 3 hour running time fly by.

Wild Cabaret, Glasgow – 22 October 2107.  Reviewed by Alice Sharp

5*****

In a cosy wee venue, tucked into a street in the Merchant Square area of Glasgow you will find the Wild Cabaret. On entering the venue tonight there was an immediate buzz. It is a while since I have been in such an intimate venue where I often think the artist performing must be brave and full of confidence and tonight Keith Jack was exactly that.

 

The whole show was a whistle top tour of movies from different eras, in a variety of styles and incredibly engaging. Jack was immediate, he opened the show with a fabulous rendition of Viva Las Vegas that brought the house down, gently moved on to a beautiful heartfelt version of Love me Tender and rocked into a fabulous rendition of Jailhouse Rock.

 

The whole evening was given a narrative by Jack, who was easy going and humorous, it felt as if you were in his sitting room, among friends until he began his next number. Then you were transported to the film set or location of whatever movie the song was from. His banter was warm and friendly and highlighted his love of sharing his superb voice.

 

His ease as he introduced Darren, Ben and Scott his band and his two backing singers, Alice and Danielle before they all launched into Staying Alive with much whooping and clapping was ace and then his Love is All Around  was just as good as Pellow, if not better.

 

Its been ten years since Jack was runner up in Any Dream Will Do, he was reflective of this during the show as he suggested that he was now able to grow a beard, had lost the need for straight hair and got curly and may have put on a few pounds. I would suggest that Keith has grown into himself. His Lullaby version of I Just Called to Say I Love You was like a tender caress. The powerful use of his voice and tones of each word brought an emotional connection to the surface of every member of the audience. Just before the interval he introduced Vivace Theatre School choir finishing with I Believe I Can Fly. What a thrill for each of the children to be involved in such an experience, adding their voices to that of Jacks. I am left wondering why we have not heard more of Jack in the last ten years?

Act two began a spine tingling Beauty and the Beast, without any video animation you just had to close your eyes and listen to his amazing voice to believe you were in the ballroom as the characters danced to his tune. Ramping things up we then were treated to Dirty Dancing’s She’s Like the Wind followed by Eye of the Tiger with us all being invited to ‘Rock Out.’

Jacks Musical Director Scott and Jack then offered an enchanting medley of Bright Eyes, Somewhere Out There from An American Tail and There Can be Miracles from Prince of Egypt. Batman Forever was our next stop on the tour with Kiss for a Rose it was beautiful and almost haunting. We then went thundering into Born to be Wild from Easy Rider and the show was brought to a close in a gradual crescendo with Run to You from the Bodyguard and Everything I do, I do it For You from Robin Hood.

The whole evening was energetic, and personal. Keith Jack deserves to be listened to . It was not a magical mystery tour but a look back on songs that mean something to the artist and tonight to me the listener. I will look out for Keith Jack and would recommend his show to one and all.

Park Theatre 17 October – 11 November.  Reviewed by Claire Roderick

4****

The idea of time as an expanding balloon, where events never disappear, just expand with spaces growing between them for new events to occur, is explained in gloriously geeky terms by one of the characters in Elizabeth Kuti’s Fishskin Trousers. The legend of the wild man of Orford, along with the cold war research station on Orford Ness are gifts for a talented writer, and Kuti plays with this theory of time and space to weave a spellbinding tale of three people linked by the Suffolk village of Orford.

Three people sit around a circle of beach debris, never interacting or even acknowledging each other’s existence. Mab (Jessica Carroll) tells her tale of the strange creature caught in the fishermen’s nets in the waters off Orford Ness in the twelfth century, and how she felt a connection with the creature and volunteered to feed him. In 1973, scientist Ben (Brett Brown) relates information about his work on a secret radar system with a wide-eyed grin before admitting his confusion about aural interference that sounds like a scream. In 2003, local girl Mog (Eva Traynor) returns to Orford on the eve of her 30th birthday with a huge decision weighing her down after the end of her affair with a married man.

This production reunites the play’s original cast, and these actors know their characters inside out. The three interwoven monologues, staring slowly with Mab, soon build to a lyrical rhythm as the characters’ fates merge and their connections are revealed. All three are outsiders – Mab, unmarried and wild, with some beautifully nuanced pointers to her own ASD; Ben eager to project capability and confidence, but haunted by the death of his Stanford roommate; and Mog, suffering from depression, chasing unhealthy relationships but only really connecting with the children she teaches. Carroll makes the most of the showiest role with the most poetic language – full of twitches and a lilting old Suffolk accent that sweeps you along on her wave of words. Brown’s light comedic touches as Ben will make you fall a little bit in love with the character (like an Australian Raj Kuthrapali) and choke up in his final scene. Traynor is measured and convincing as Mog, racking up the growing despair in each monologue with consummate skill.

Kuti excels in giving each character a different voice and rhythm, and switching between characters at just the right moments, dropping hints and echoed words into the next monologue. Director Robert Price Keeps the feel of a tale told at a fireside – there is little movement, just wonderfully expressive acting, and for a story about strange noises, there is a very effective lack of sound after the wind and gulls as the audience take their seats. Instead there is simply a picture of a sonar reading dominating the stage, and the eerie descriptions of sound by the characters.

This is storytelling at its best, leaving you feeling as if you’ve been curled up with a wonderful book for the past 90 minutes when the lights come up. It is like Jackanory (in its glory days) for adults – a magical story told with passion and charm by talented performers.