New Victoria Theatre, Woking – until 23 March 2019
Reviewed by Becky Doyle
4****
An absolutely fantastic show with colour, vibrancy and a great atmosphere. For someone who has only seen the film once way back when, I was instantly absorbed into the 60’s with the swing dancing and jazz. Simone Covele (Penny) had legs that went on for miles and her precision and dance skill was mesmerizing with your eyes always gravitating in her direction in group dances.
Kira Malou (Frances ‘Baby’) was most certainly not put in any corner through out the show. She had the perfect balance between a young 17-year-old girl from a privileged background and a hungry teenager who has their first experiences of love, lust and rebellion. The innocence of Baby and her kind, trust worthy nature were portrayed excellently and her chemistry with Michael O’Reilly (Jonny Castle) was by far the reason why this show was such a success.
Michael, had the audience transfixed. His tone, manner and body were all that was needed to keep the people around me glued to the stage. He had a presence that made you fall in love with him and made (on occasions) audience members heckle and cheer him on from their seats.
The set was spectacular and the space of the stage used to the fullest as well as costumes and props. The water scene in particular was imaginative and had the audience humouring the creativity behind it. I really cannot fault any aspect of the show, the music was with its times and Alex Wheeler (Billy Kostecki) had the most amazing voice, his solo performance in particular was a highlight of the show. The finishing scene and final dance was spectacular and one that was eagerly anticipated from the start and it didn’t disappoint. This is a feel good show that absorbs you from start to finish.
Esther and Julius Rosenberg were executed in 1953 for providing the Soviet Union with details of the US atomic bomb. Their story, and the photograph of them kissing after they were found guilty, is the inspiration for James Phillips’ play.
In a New York gallery in the 70s, Anna (Katie Eldred) and Matthew (Dario Coates) meet as they are both apparently admiring the photograph of the Rubenstein’s kissing. This photo is close to one of Marilyn Monroe, introducing lots of chat about Arthur Miller and Clark Gable. The two join forces in preparation for the Rubenstein Rally, a campaign seeking the couples’ pardon, but both have hidden motives that are revealed as the story unfolds.
Alongside this, we watch the Rubensteins in the 1940s and 50s, full of mysterious half sentences about meeting “friends” and making the right choices. Jakob (Henry Proffit) and Esther (Ruby Bentall) appear to lead innocuous lives, but their membership of the Communist party sees Jakob thrown out of the army. Ruby’s brother David (Sean Rigby) however, gets a military job out in the desert at Los Alamos. David’s girlfriend, and later wife, Rachel (Eva-Jane Willis) also goes to party meetings.
Matthew and Anna reveal that it was David’s testimony that sent the Rubensteins to the chair, but the play examines his motives and the shades of grey between right and wrong. The Rubensteins motives for not making a deal with the FBI are also highlighted.
The cast do a fine job, especially Katie Eldred as the conflicted Anna, but the traverse staging means that they are basically pacing up and down for most of the play, with the only truly intimate moment coming when Esther and Jacob are in the prison cell alone. Phillips wants this play to be a modern Crucible so much it hurts. The references to Miller and John Proctor’s noble choices overegg the pudding and it all gets overly melodramatic. There are some lovely moments of characterisation and revelation from the cast that really didn’t need to be as verbose. This is an extraordinary story, and the moral questions about whether ideas are more important than lives are important, but there are at least 30 minutes that can be shaved off this play.
A talented cast and a fascinating and relevant story, but this kiss lingers slightly too long.
Mark Farrelly’s play opens with Patrick Hamilton waiting to begin his Electroconvulsive Therapy in a futile attempt to stem his alcoholism and depression. As people enter the theatre, he appears broken and almost catatonic – until Hamilton realises he has an audience on which to sharpen his coruscating wit.
Hamilton’s early success writing Rope and Gaslight must have been a nightmare for his monstrous father, a failed novelist whose self-proclaimed genius was never recognised. Farrelly slips into caricatures of Hamilton’s parents to great comic effect, managing to portray the broken dynamics of the family and the childhood issues that contributed to his mental health problems with admittedly broad brushstrokes.
Farrelly inserts some of Hamilton’s writing into the play so that the audience never forget the talent of this flawed man, but the story he tells of his life is sobering. Hamilton’s pursuit of pleasure and fun, his growing dependency on alcohol and the ever-present threat of the black dog returning mix together into a cocktail of scathing, cruel wit aimed inward as well as at those around him. Farrelly always manages to throw in a curveball just as Hamilton is becoming thoughtful and sympathetic to the audience, reminding them how erratic and frustrating being around a depressed alcoholic can be. But through it all, Farrelly ensures that Hamilton, even as he lurches, quite literally, from one physical or emotional disaster to the next, is never pitiable. At his cruellest – to his wives and brother – he is still burning with energy and wit, and his acceptance that he must seek help as he is, in his doctor’s words “committing suicide in instalments” brings hope, but there is no happy ending.
The Silence of Snow isn’t a comfortable play to watch, but Farrelly’s sharp, insightful and witty writing, and his magnificent acting linger long in the mind.
Grand Opera House York until Saturday 23rd March 2019.
Reviewed by Michelle Richardson
4.5****
Club Tropicana is a brand new musical by Michael Gyngell. Set in the 1980’s, with tunes by the artists of that decade, which is hugely popular at the moment. It is just my era, love the music and have been to quite a few concerts over the last couple of years, reminiscing to the good old days of my youth. It was one show that I had been looking forward to seeing.
After getting cold feet, Lorraine (Karina Hind) jilts her would be husband, Olly (Cellen Chugg Jones), on their wedding day. Lorraine is persuaded by her bridesmaids to turn the honeymoon into a girlie holiday instead. Meanwhile Olly and his mates also decide to fly out to Spain so that Olly can succumb to “Temptation” and get over Lorraine.
Meanwhile over in Spain, Club Tropicana, the hotel where everyone ends up, is in turmoil. The hotel is run jointly by Serena (Amelle Berrabah from the Sugababes) and Robert (Neil McDermott), with Garry (Joe McElderry) as their Entertainments Manager and Consuela (Kate Robbins) as their Spanish cleaner. They are in contention for best hotel of the year and are expecting an inspector imminently, but someone is trying to sabotage their chances.
The show is basically a celebration of the 80’s, back-combed hair, bright clothing, brick mobile phones and songs by Depeche Mode, Heaven 17, ABC, Cyndi Lauper, and even Dennis Waterman with “I Could Be So Good For You” (not your traditional iconic song from the era), plus many more. My biggest disappointment is that “Club Tropicana” does not appear in the musical, though there are enough references to it and where the drinks are free, but only the first one, but I the other tunes made up for that, still would have loved to heard it though.
McElderry, X Factor winner, is fab as Garry. Obviously, he can sing, I had seen him in a previous show and was impressed with his vocal performance then and he still didn’t disappoint, but this show proved he can act as well. He has great comedic timing in all his glorious campiness, in fact he was “camptastic”.
Robbins, most noted from Spitting Image, had us in stitches of laughter as Consuela, with her “sign”, and her appearance in the hotel’s version of Blind Date. Her rendition of “Don’t It Make My Brown Eyes Blue” was a highlight. She is a such a presence on stage with great physical comedy, acting, singing, impressions, she really has it all, what a star!
With a dynamic cast, who were wonderful, and colourful vibrant set, though a bit dodgy at times, which in my opinion only added to the experience, you really couldn’t help but be transported back in time, great memories. It certainly has a pantomime feel to it in places, very slapstick, camp, cheesy, but I love cheese and you couldn’t help but laugh out loud, it was very infectious. What more could you want for an entertaining evening?
Club Tropicana – fun and sunshine, there’s enough for everyone – so make sure you get your ticket now.
StoryHouse, Chester – until Saturday March 23rd 2019
Reviewed by Julie Noller
5*****
Wise Children; are any of us truly wise? Regardless of how old we are. We are continuously evolving and that’s what strikes me about Wise Children. This play hits the ground running it’s as confusing as it is brilliant. It is a simplistic story, in a nutshell it is all about family bonds and what exactly is the definition of family. But it’s just as equally a story of complex family needs and bonds, desires in no holds barred smack you in the face, warts and all behind the smiles, there’s tears and tantrums, twists and turns.
The action begins outside as the audience are gathered supping a pre-show drink, milling and chatting with each other, many stopping to look at the brightly decorated dressing table with 2 mirrors. All of a sudden 2 young girls race through pausing to giggle, full of high energy they bolt up and down stairs, stopping long enough for you to glimpse the embroidered N and D on their white dresses, joined in contrast by an old man dressed as if a caretaker with brush in hand he gently sweeps around us. We all move into the theatre to take our seats, the set is magnificently basic, pipes and lights as if backstage at a theatre, a caravan as if we might we might be witnessing a circus arriving into town. Dancers limbering up, costumes basic but shorts and tight fitting tops. With your eyes flitting back and forth you wonder what is about to be unleashed.
Emma Rice has not only chosen Angela Carters last novel to adapt and direct but taken it’s title Wise Children to be the name of her theatre company. It’s a tale that crosses time inter-warped with modern day, as if our older storyteller is looking back, at times I actually feel like I’m living in Dora’s mind. The constant presence on stage of Dora brilliantly brought to life with flare and a touch of campness by Gareth Snook in contrast to the somewhat calm and quiet Etta Murfitt as Nora helps to establish this is in fact their memories unfolding from beginning to end. A story covering years actually is only one day, from the arrival of an invitation to their fathers birthday what actually their own 75th birthday. Twins so close they have never lived apart and finish each others sentence. Theatre, music and dance is in their blood from the story of their Grandparents treading the boards, Shakespeare has a lot to answer for. Is it a case that for all actors to be taken seriously they must have brought his works to life? There is certainly lots of naughtiness, this adaption does not shy away from the matters at hand, nudity, sexual liaisons at a time that sexual promiscuity was frowned upon. Amazingly with such a complex deliciously chaotic scene being whizzed about on the stage in front of us, many of the actors manage to play various roles going from young to old even male to female. Nora and Dora are introduced as puppets, then as young girls (Bettrys Jones and Mirabelle Gremaud) playing and discovering life with Granny Chance wonderfully portrayed as a Catherine Tate-esque Nan by Katy Owen, owner of a boarding house and full of fun for life as well as a penchant for naturism.
They are first introduced to Perigrine Hazard to Uncle Peri, at first a somewhat fancy free, father figure encouraging the girls to dance and sing, sending cheques that pay for those dance lessons. Nothing wrong with an uncle helping out, enjoying his young nieces company is there? In contrast there is Melchior Hazard their father a man so selfish he seeks only fame and glory for himself, denying his girls a family. They wish only to be acknowledged and belong. Showgirls Dora and Nora, once again it’s a change on stage they are older and have even changed race and sexuality, Melissa James and Omari Douglas shine and oh my you can’t help but admire the muscles in those short burlesque style costumes. There’s dance numbers with songs. Don’t try to box Wise Children into a neat package it won’t work, it doesn’t fit any genres is it a musical? A dance show? Hard gritty tale of reality? Comedy and tragedy? Yes it actually ticks all boxes but just make sure you untick them all too. It may make you feel uncomfortable there’s sexual and physical abuse, unseen and just gently touched upon but the visual context is enough to catch your breath.
It’s an extremely brave show, that pushes through boundaries, it’s witty and entertaining. It’s typically British cross dressing pantomime dames, false moustache wearing lovers. If comedy is tragedy that happens to other people then look no further than Gorgeous George (Paul Hunter) a showman who bears an uncanny resemblance to Ken Dodd with his wild hair and catch phrase; hope for the best, expect the worst. He is a throwback to comedy players who graced many a music hall stage in a bygone era. The performance may have over run slightly this was due to the lights failing, amusingly most of the audience, myself included believed it part of the performance. Bravo to the all on stage for getting through, cracking ad libbed jokes that kept the performance polished. Well done on returning to the stage exactly where they had left off, experience and practice in this instance shining bright and clear, stars of stage indeed. The little nods throughout to the local area amused us greatly. Wise Children brings a moral story to life whilst showing little morals itself. I will continue today to dissect exactly what I’ve seen on stage
Northern Broadsides and New Vic Theatre bring to the stage the romantic Shakespeare comedy Much Ado About Nothing. Starting its UK tour in Scarborough on the 12th May the show will run at various venues until Saturday 25th May where it finishes at the Harrogate Theatre.
The war is now over will the returning soldiers find their true love, or will there be destruction? This brilliant stage adaption brings together music, song and comedy to play out the storyline.
Sarah Kameela Impey made for a very beautiful ‘Hero’. Her innocence shone through and she portrayed very realistic emotions making her role very believable. Her voice is beautiful although, as the show is microphone free, her voice was quiet at times.
The star of the show for me was Benedick (Robin Simpson). His comedy timing is genius and his acting skills first class. His love/hate scenes with Beatrice (Isobel Middelton) were my favourite parts of the show and the chemistry between them is very realistic. A special mention for Linford Johnson (Claudio) who I think is one to watch for the future; a rising star.
I loved how the cast were also the musicians and I really enjoyed seeing the instruments being played on stage. The cast all had great singing voices and I would have liked to have heard more of them.
I have to work hard to find any negatives for this production. If I was to be picky I would say the staging and props were very basic; the backdrop didn’t change throughout making it difficult to keep up with where the scene was being played out. Additionally, at almost three hours, the production was perhaps 30 minutes too long.
For those, like me, who might think they wouldn’t enjoy something by Shakespeare I urge them to give this production a go. It’s a great introduction to the works of Shakespeare and I won’t be put off going seeing anything of this nature in future.
York Theatre Royal – 19th and 20th March and National Tour
Reviewed by Sara Garner
4****
David Judge’s 1st production as a playwright inspired by autobiographical events and exploration of his own upbringing.
Meet Dave. Dave spends his time driving around Manchester in his beloved Capri in the early 1980’s picking up his younger sister and falling for her friend Joanne. He wants a new start after doing the stereotypical lad things and getting into lots of fights. Joanne is about to have someone else’s baby. Is Dave ready to become a Dad even though he’s not the father? SparkPlug is the story of a white man who becomes the adoptive father, mother and best friend of a mixed-race child, David.
SparkPlug is an intense, expressive and physical monologue that examines what family meant in today’s society in the early 1980’s. Its tangible and evocative with its soundtrack throughout. You get raw emotion from the actor. David Judge holds and enthrals the audience for 70 minutes, you become totally immersed in his experiences and empathise with the highs and lows of this period in his life.
He explores prejudice and the affect that this has within his own family and society’s reaction to the fact that he as a white man married to a white woman that is raising a mixed-race son. Does this affect his ability to be a good Dad? We see the trials and tribulations that he faces during the first 8 years of Dave’s upbringing.
Overall the narrative was easy to follow, with set staging. At one stage we weren’t sure if we were watching a flashback and this upset the otherwise natural flow of the monologue. Like many single actor plays’ its emotional and exhausting to watch. The audience left reflecting on their own experiences, prejudices and multi-cultural society in which we live in.
Damsel Productions today announces the casting for the world première of Tabitha Mortiboy’s The Amber Trap.Hannah Hauer-King directs Fanta Barrie (Hope), Misha Butler (Michael) and Olivia Rose Smith (Katie) with the role of Jo to be announced at a later date. The production opens on 29 Aprilat Theatre503, with previews from 24 April and runs until 18 May.
“Some bones are like ice. They’re weaker than you’d think.”
Katie and her girlfriend Hope work at their local corner shop, where the days pass in quiet, comfortable rhythms. For Katie, the little shop is a sanctuary. A place where she can hold onto Hope without anybody watching. But when new employee Michael arrives, the sands start to shift and the air begins to thicken.
Producing their fifth UK première, female led theatre company Damsel Productions presents The Amber Trap, a chilling portrait of craving and control.
Tabitha Mortiboy began her writing career at Bristol Old Vic’s Open Sessions scheme. Her writing credits include Billy Through the Window (The Wardrobe Theatre/Edinburgh Fringe, Udderbelly), Beacons (Park Theatre) and Bare Skin on Briny Waters (Edinburgh Fringe).
Fanta Barrie plays Hope. Her theatre credits include The Cereal Café (The Other Palace) and Songlines(Assembly, Roxy).
Misha Butler plays Michael. His theatre credits include Jess and Joe Forever (Stephen Joseph Theatre) and The Winslow Boy (UK tour).
Olivia Rose Smith plays Katie. Her theatre credits include Conditionally (Soho Theatre) and Tiger Country (Hampstead Theatre).
Hannah Hauer-King is a London based theatre director; her work lies primarily in new writing, adaptation and narratives with female-drive and/or LGBTQ themes. Her theatre credits include The Funeral Director (Southwark Playhouse and UK tour 2019), Fabric. Fury (Soho Theatre), Grotty, Breathe (Bunker Theatre), Revolt. She Said. Revolt Again (RCSSD), Clay (Pleasance Theatre), Witt ‘n Camp (Edinburgh Fringe, Assembly Rooms), Dry Land (Jermyn Street Theatre), Hypernormal (Vaults Festival),and Dead Playwright (ORL Theatre). Associate credits include Romeo and Juliet (Shakespeare’s Globe), Radiant Vermin (Soho Theatre) and Daytona (Theatre Royal Haymarket).
Hannah Hauer-King and Kitty Wordsworth co-founded Damsel Productions in 2015 to place women’s voices centre stage. Damsel Productions hopes to be one cog in a larger and crucial movement addressing both the misrepresentation and under-representation of women in theatre. The idea is simple: to bring together women directors, producers, designers and all other creatives to breathe life into scripts exclusively written by women. Damsel Productions aim to provoke, inspire and entertain with true and honest representations of the female experience. Critically successful productions include the UK première of Ruby Rae Spiegel’s Dry Land (Jermyn Street Theatre), Izzy Tennyson’s Brute (Soho Theatre), Phoebe Eclair-Powell’s Fury (Soho Theatre), Izzy Tennyson’s Grotty (The Bunker) and Abi Zakarian’s Fabric (Soho Theatre & London community centre Tour). Damsel also recently produced London’s first ever all women directing festival Damsel Develops at The Bunker.
Theatre503 is the award-winning home of new writers and a launchpad for the artists who bring their words to life. They stage the work of more debut and emerging writers than any other venue in the country, 161 in the last year alone. They passionately believe the most important element in a writer’s development is to see their work developed through to a full production on stage, performed to the highest professional standard in front of an audience. Since 2006 Theatre503 has an astonishing record of launching the next generation of exceptional playwrights. These include Katori Hall, Vinay Patel, Jon Brittain, Anna Jordan, Milly Thomas, Alice Birch, Andrew Thompson, Brad Birch, Tearrance Arvelle Chisholm and Tom Morton-Smith.
The inevitable hype surrounding this remake of the 1950 film of the same name starring Bette Davis and Anne Baxter as well as Mary Orr’s original play The Wisdom of Eve, with the added attraction of Gillian Anderson and Lily James meant that expectations were running high for this eagerly anticipated play.
All About Eve is the story of Broadway star, Margo Channing (Gillian Anderson) whose fame is starting to diminish as she reaches her 40th birthday. She hires a super fan, a young and very beautiful girl, Eve (Lily James), as her assistant. Eve inserts herself into Margo’s life, first becoming indispensable, then her understudy and ultimately usurping her completely. This is a tale of ambition and desire for fame as Eve inveigles herself into the life of an increasingly insecure Margo. Gillian Anderson portrays testy vulnerability in a similar and equally convincing style as she did as Blanche Dubois in Tennessee Williams’s A Streetcar named Desire at the Young Vic. Combining fragility with a haughty sang-froid, Anderson plays Margo’s impending demise with great nuance although it is perhaps hard to really imagine her as a fading star. Lily James, as Eve, does a fine effort in combining sweet innocence and sly ambition, with more innocence and slightly less convincing ruthlessness.
However, this production is taken to the level that it achieves through the skilled performances of some of the other actors. Monica Dolan as Margo’s friend Karen who introduces her to Eve and then colludes in a joke that results in her sabotaging Margo’s career is striking. Then there is the manipulative and power-hungry theatre critic, Addison DeWitt, played with steely smoothness by Stanley Townsend who helps finesse Eve into Margo’s part. His caramel tones belie the almost psychopathic ambitions of perhaps a failed actor. Rashan Stone as Karen’s husband, Lloyd Richards, does a great hapless yet malleable writer underscoring how the power of a star (or celebrity in current parlance) can wield and control. Julian Ovenden is equally splendid as neurotic director and Margo’s younger lover, Bill Sampson, trying to convince her in an increasingly unconvincing way that her star is not waning.
The play was adapted and is directed by Ivo van Hove. Van Hove brought the concept of using live filming to our stages in his award-winning adaptation of Network. Using the same sophisticated technology, there are scenes in closed boxes upstage streamed onto a huge TV while actors sit at tables in a restaurant at the front of the stage. This gives both a sense of claustrophobia and discombobulation. Margo’s fear of aging is masterfully managed as she looks at herself in a mirror on an empty stage while she ages on the giant TV screen above her head. Occasionally, one has to remember to focus on the actors and not what is going on the TV but the feeling of menace and angst is unavoidable. PJ Harvey provides a sound track that adds to the melancholy.
Overall, this production pretty much meets the hype: fine performances and the use of multi-media make it definitely worth a visit and its themes resonate in our celebrity obsessed culture. Well worth a visit.
Lyceum Theatre, Sheffield – until Saturday 23 March 2019
Reviewed by Dawn Smallwood
5*****
Two hundred years ago this year Queen Victoria was born and Northern Ballet is paying a tribute to the legendary Queen and an incredible woman. A co-production with The National Ballet of Canada, Cathy Marston is commissioned to develop this exciting new production which is currently world premiering.
Marston, supported by a talented creative team, brings to life stories of one of the longest serving monarchs. The production is set to Queen Victoria’s diaries about her life and unlike some adaptations it doesn’t focus on a specific period during her reign. There is so much content from her life that could be used creatively for many interpretations. Marston however chooses the option for the story to be told through the eyes of Beatrice, her youngest daughter, and also the exploration of the complex relationship between her and the Queen.
An older Beatrice (Pippa Moore) narrates from selected diary entries and delves into the past of her mother and Queen (Abigail Prudames) which begin with her secluded latter years and her close friendship with John Brown (Mlindi Kulashe). She also learns that the grief stricken Queen forbade her to marry. A pained Beatrice turns to pages to more bittersweet memories when she permissively marries Liko (Sean Bates) albeit the conditions set by the Queen but it ends in tragic circumstances. At the end of Act One bitterness and anger reigns over Beatrice on the how strong her mother’s influences and similarities are and the impact it has on her.
In the Second Act Beatrice looks at an earlier diary and learns of a younger Victoria (Mariana Rodrigues) who has a lonely upbringing until she becomes Queen. Beatrice then reads about the intimate and passionate relationship between her mother and father, Prince Albert (Joseph Taylor), and alongside their ambitious rule and visionary ideals. The demands and stresses of the Prince’s workload ultimately leads to his death and the Queen grieves and takes her youngest daughter, younger herself (Miki Akuta), into widowhood. The story concludes with Beatrice coming to terms and making peace with her mother’s memory. On recollection there are similar parallels between herself and her mother.
Northern Ballet is very passionate about storytelling and it’s evident with their strong interpretation of Victoria through dance and movements. Set to Philip Feeney’s incredible musical score, under the baton of Daniel Parkinson, the company emotively interpret the story with their silhouette and intricate moves. Prudames and Taylor’s portrayals of Victoria and Albert are excellent and they accurately express their deep passionate love they have for one another. Moore as the Older Princess Beatrice movingly narrates the emotions and circumstances of Queen Victoria, ranging from her unrequited love to her deep mourning. She interprets coherently the love, the pain and the respect she has for her mother and her determination to understand.
Steffen Aarfings’s dark and sombre staging reflects the complexity of Queen Victoria’s life and its bright colourful interpretations of the power she has over the world. This is all set to Alastair West’s lighting which bodes well with the moods of the story. Uzma Hameed’s enriching input to the drama and relevant themes don’t go unnoticed. Victoria is definitely a ballet for a Queen and one can’t imagine a better way to pay this tribute to a legend.
