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‘Surely you’re too young to remember Matt Monro?’ a lady asked me after the show. I explained that my parents had been fans of ‘The Man with the Golden Voice’ and played his music a lot, so how could I not have fallen in love with that silky smooth voice?
The Matt Monro Story is not just a tribute to Britain’s answer to Frank Sinatra, it’s a very personal journey which has taken his son, Matt Monro Junior, 30 years to put together. The show features him singing some of his father’s iconic songs ‘Born Free’, ‘Walk Away’, ‘Portrait of My Love’ to name but a few.
Matt Monro Junior opens the show singing with a 3 piece band and then introduces Danni Bentley, who narrates the life story of Matt Monro Senior, to a backdrop of pictures and video footage. Danni also has the chance to show off her beautiful voice singing ‘Yesterday’ and later duets with MMJunior.
It’s a very interesting life story, as Matt Senior was born in Shoreditch in London in 1930 and was first noticed while serving in the British army in Hong Kong. His singing career took a long time to really take off, as he worked his way around the clubs and his first few records failed to make a mark. Strangely enough it was a Camay soap commercial that got his gorgeous voice noticed and his partnership with George Martin and EMI eventually gave him his first huge hit with ‘Portrait of My Love’.
Matt’s signature tune, ‘Born Free’, almost got cut from the film, but thankfully it was kept in and went on to win an Oscar for best song. The first Bond film to feature a title song ‘From Russia With Love’ especially written for the film, was sung by Matt and set a trend which continues to this day.
Matt Monro achieved international fame, making albums in Spanish as well as English and in the Philippines he filled a stadium of 26,000 people and had to put on 4 more shows selling those out too.
Tragically, Matt Monro’s life and career were cut short as he developed liver cancer and he died in 1985 at the age of 54.
Frank Sinatra dubbed Matt ‘The singer’s singer’ and his rich, velvety voice is so effortless and full of emotion, I defy any singer not to be amazed at his natural, untrained skills with perfect breath control and phrasing. His son admits that it’s impossible for him to compete and emulate his father, but it doesn’t matter as this touching, very personal celebration of the great singer is very moving. The video footage of Matt Monro Senior singing ‘Softly as I Leave You’ had me welling up, as it brought back memories of my dearly departed parents. Whatever age you are, if you’ve never even heard of Matt Monro I urge you to listen to this track to hear something very extraordinary and special. The show is very emotional and it’s a gentle evening of nostalgia for music lovers everywhere.
Further dates can be found http://www.atgtickets.com/shows/the-matt-monro-story/
'A glorious, colour-drenched riot of joy' - Joseph and the Amazing Technicolour Dreamcoat at Malvern Festival TheatreBy G.D. Mills
There were a couple of ill omens prior to the start of this performance and I wondered if I had made a terrible mistake. First there was a long, rather cheesy musical prelude as we stared at the faux-ancient arras masking the stage, and second, the music itself was reproduced on a keyboard, albeit played live, by an almost manically enthusiastic figure, his head bopping along frenetically to the tinkety beat. When the arras lifted to reveal a ziggurat, populated by tiers of small children, a number of inflated sheep, and Jacob, the superannuated sire, being loaded with a growing number of stuffed dolls to denote his alarming fecundity, I wondered if perhaps now was the time to slip out quietly
the end of the first half I
was halfway convinced, and by the end I was as totally swept up
by this glorious, colour-drenched, riot of joy as the
audience were. Yes, there is a childish element to this
production– a talking camel, speech bubbles, a moveable feast
of primary colours
all feature, and yet they
are all of a piece with an explosively visual production that
delivers to audiences right across the age
Stripped almost entirely free of spoken dialogue this well known Biblical tale, of a favoured, prodigal son brutally dispossessed then reclaimed by his brothers, is presented entirely through music and movement. And what the backing track lacks in authenticity is more than made up for by the sugary, full bodied vocals. And those tunes, by now so familiar, are given their own stylised tweak so that we are taken on a musical journey to ancient Cairo by way of 1920s Paris, 1950s America and even 21st-century clubland.
Joe McElderry, much acclaimed winner of The X Factor in 2009, inhabits his role entirely and seduces with a face that is angelic and a voice that is rich and syrupy. His stage presence grows ever larger as the show hurtles towards the finale, by which time he is almost flouncing and shimmying across the stage. He clearly draws a large and vociferous following – never before have I seen this auditorium so prone to spontaneous outbursts of standing applause. Lucy Kay sings boldy and bodaciously as the narrator and Ben James-Ellis delivers an awesome, hip grinding version of a regal, rock n’roll king.
Credit must also go to Henry Metcalfe (Jacob and Potiphar) whose patriarchal decrepedness stands in stark contrast to the fluid waves of youthful energy that flow around him.
Exaltant and exuberant, this high-octane production will fuel all your family’s musical needs for months to come. Go see Joseph and his Amazing Technicolour Dreamcoat now.
The Theatre Royal Bury St Edmunds’ production of Jane Austen’s late 18th century novel may only have three backlit panels and a couple of benches to set the scene, but it certainly doesn’t detract from the performances of a young and vibrant company.
I was completely enthralled by the story of the teenage Catherine, who thinks life is like one of the Gothic novels she so loves to read. But through her adventures while taking the waters in Bath and her subsequent visit to Northanger Abbey, we see her develop and grow into an admirable young lady who, of course, looks set to live happily ever after.
It’s a wonderful part for a young actress, for though Catherine and her friends are somewhat immature and vacuous, she goes through so many changes, and Eva Feiler plays her so well, beginning as an awkward child and becoming a loving and lovable companion.
Eva not only has Jane Austen to thank for her role, but also accomplished writer Tim Luscombe, who has already adapted two of Jane Austen’s novels and manages to condense a classic with 30 characters into a play with only eight actors.
While retaining the essence of the book, he presents it as a lively, theatrical and often funny entertainment which has intrigued me enough to want to read the original. The characters walk, talk and act as if in the 1700s but they appear fresh and can easily be identified with young people today.
Joe Parker gets my vote as the most obnoxious, swaggering, selfish youth John Thorpe who lies through his teeth to get what he wants. Annabelle Terry lights up the stage with her vitality as Isabella but this so-called friend of Catherine’s soon shows her true colours as manipulative and selfish and I loved her petulant outbursts.
In complete contrast, Henry Tilney, the object of Catherine’s affections, and his sister Eleanor, are blonde, beautiful and sweet-tempered, and Harry Livingstone and Emma Ballantine play them to perfection. Quite the opposite is their father General Tilney, and Jonathan Hansler’s portrayal as a gruff, mean and selfish man would make him at home in any story of monsters.
Talking of monsters, the play sometimes reverts to scenes from Catherine’s favourite book, The Mysteries of Udolpho, as her imagination runs away with her, and this gives director Karen Simpson carte blanche to have a bit of fun. Melodrama rules as thunder bellows, lightning flashes, and strange, bent, hooded figures scurry around the stage wielding daggers.
Credit must also go to Mark Dymock who is kept pretty busy as lighting designer, and though I feel there is a little too much dancing, movement director Julie Cave certainly puts the members of the cast through their paces with authentic-looking dances of the day.
Northanger Abbey continues at the Theatre Royal Windsor until March 25
Box Office: 01753 853888
The tour then continues:
April 3-6: Northcott Theatre, Exeter
April 1-13: Derby Theatre
May 2-6: New Wolsey Theatre, Ipswich
May 9-13: The Dukes, Lancaster
I'm supposed to be a doctor and all I've done today is hurt people and file paperwork.
Although junior doctors have not been in the news lately, their situation has remained unchanged whilst the NHS continues to be in crisis. Resuscitate Theatre have conducted interviews and collected anecdotes to tell the story of six junior doctors in a physical and theatrical way.
The performance begins with a news clip on the plight of junior doctors as one junior doctor has fallen asleep on her desk. As the others arrive, they are swiftly going through a variety of tasks - hurrying to cubicles, opening and closing curtains, writing reports. It is obvious that they are dealing with a workload that is hardly manageable.
Grace (Alex Hinson) learns that her mentor has resigned after the death of a patient which could have been prevented by timely treatment but the doctor simply could not find the time. Lucy (Penelope Rodie) has an introductory meeting with management and is thoroughly questioned about the gap in her CV. Meanwhile Tom (Adam Deane) deals with the workload by being careless but Tom knows how to work the system to stay on top of the game. Kal (Nicolas Pimpare), a brilliant doctor who keeps on studying throughout his spare time, sees his competency questioned by patients who demand to be treated by an English doctor. Dom (Iain Gibbons) tries to be hospitable but his colleagues are just too tired to care for dinner. Felicity (Christina Carty) keeps going on alcohol and cigarettes.
The beginning of Anna Marshall's production feels a bit rushed as the cast use movement to reflect the hustle and bustle of a busy hospital, which is somewhat hard to follow. Yet after the fast-paced beginning, Rounds becomes more engaging and succeeds in making valid points on the stressful and frustrating situation junior doctors continue to find themselves in. The stress is taking its toll as relationships crumble, some doctors turn to alcohol and other stimulants, and others suffer from increasing anxiety attacks.
Apart from the huge number of patients, inequality and racism add to the stress. When the overwhelming workload leads to mistakes, two junior doctors face disciplinary consequences. The public school boy is let off with a slap on the wrist and is still transferred to the most popular ward whilst the female doctor is severely disciplined and consequently sent to a ward that is not even among the top 50 on her list. Another female doctor with a clean sheet is sent to the other end of the country. Although Kal is an excellent doctor, he is replaced with a "proper English doctor" when a racist patient demands it.
This highly relevant play reflects the situation of not only junior doctors but the health service in general as more and more tasks and responsibilities are shouldered by fewer and fewer doctors, nurses, and carers. The NHS is one sector that does not benefit from any more cuts.
By Carolin Kopplin
Until 25th March 2016
Running time: 60 minutes with no interval
Recommended for ages 12+
Post show discussion on Friday 24th March
Panel will include: Resuscitate Theatre, Doctors Support Network, Creative Dissent and Docs not Cops.
Images by Stephen Poole.
Rhoda (Rebecca Rayne)
People tell lies all the time.
OutFox Productions return to the Jack with a psychological thriller by Pulitzer Prize winner Maxwell Anderson. Written in 1954, The Bad Seed became one of Broadway's most outstanding hits and was shortlisted for the Pulitzer Prize for Drama.
The play is set in a small Southern town in the 1950s. Kenneth and Christine Penmark live an idyllic life with their seemingly perfect 8-year old daughter Rhoda. The girl is sweet, charming and full of old-fashioned graces, loved by her parents and admired by most of her elders. However, Rhoda is not liked by other children and Miss Fern, the school principal, does not consider Rhoda a good fit for her school. When one of Rhoda's schoolmates is mysteriously drowned at a school picnic, Rhoda's mother becomes alarmed by the growing number of fatal accidents that happen when her daughter is around.
A present from Daddy - Rhoda (Rebecca Rayne) and her mother Christine (Beth Eyre)
The performance begins as Kenneth Penmark (Andrew Futaishi) has to say goodbye to his family. He is going on a prolonged business trip. Landlady Monica Breedlove (Jessica Hawksley) and her brother Emory Wages (Daniel Osgerby) stop by for a chat and it is clear that everyone adores the little princess Rhoda (Rebecca Rayne) - except for Miss Fern (Jessica Gilhooley) who disapproves of Rhoda's reaction to not winning the penmanship medal, and handyman Leroy (Brian Merry).
This afternoon Christine and her neighbours expect a visit from famed criminologist Reginald Tasker (Aneirin George) whilst Rhoda is on a school trip. "Reggie" indulges in telling murder stories. Christine is becomes upset and Monica, an amateur psychologist, immediately tries to dig into Christine's psyche. The party is broken up by the news that a terrible accident has happened at Rhoda's school picnic. Rhoda returns unfazed, not showing the slightest bit of remorse for Claude Daigle, the drowned boy, who won the penmanship medal.
Leroy (Brian Merry) is suspicious
John Fricker's sensitive and exciting production of Maxwell Anderson's psychological thriller keeps the audience in suspense throughout the performance. There are delightful performances by the whole cast but Rebecca Rayne is exceptionally good as Rhoda, giving a convincing portrayal of an 8-year old girl, and Beth Eyre is very good as her tortured mother Christine. Jessica Hawksley adds some badly needed comic relief as the good-hearted amateur psychologist Monica Breedlove.
The entire play takes place in the living room of the Penmarks, designed in 1950s style by Mary Sankey, and features a rousing original score by Philip Matejtschuk.
Another hit for OutFox Productions and great entertainment for your evening out.
By Carolin Kopplin
Until 1st April 2017
Running time: 2 hours 10 minutes including one interval.
Images by David Monteith-Hodge.
A comedy written in 405 BC by ARISTOPHANES freely adapted for today by BURT SHEVELOVE and even more freely adapted by NATHAN LANE. Music and lyrics by STEPHEN SONDHEIM. Original orchestration by Jonathan Tunick
Michael Matus (Dionysos) and George Rae (Xanthias)
Let me preface this piece by sharing with you that I am an absolute fan of Sondheim. So, it was with genuine excitement that I was given the opportunity to review Grace Wessel’s (House on the Hill) production of The Frogs and what a treat! Played with enthusiasm and energy by this company, The Frogs did not let me down.
Way back in 405 BC The Frogs (Artistophanes) played to audiences at the Leonaia Festival in Ancient Greece. Fast forward to 1974 when Burt Shevelove and Stephen Sondheim, the well known partnership behind A Funny Thing Happened on the Way to the Forum, combined forces and adapted this play. Fast forward once again to 2017 to Nathan Lane’s ‘even more freely adapted’ Broadway version of The Frogs, whose message in these times of political mayhem resonates profoundly in the intimate surround of the Jermyn Street Theatre.
Against the exciting accompaniment of the accomplished quartet, led by Musical Director, Tim Sutton, The Frogs opens with the excellent ‘Invocation and Instructions to the Audience’ – a sure fire hit with the gathering. This is a song that should be played at all productions, reminding us of the etiquette that should be adhered to, with lines like - So please, don't fart --There's very little air and this is art which certainly was true of the small basement space of this lovingly cared for fringe theatre.
So, the story! The Frogs, playfully explores the great challenges of human existence: confronting our fears, understanding life and death, and challenging the distractions that can prevent us from achieving our goals. We accompany Dionysos, Greek god of wine and drama (Michael Matus), and his slave Xanthias (George Rae) on a journey to Hades to collect renowned critic and playwright George Bernard Shaw so that he may enlighten the easily misled and misguided masses of Earth. Along the way there is mayhem and we are treated to the larger than life characters of Herakles (Chris McGuigan), Charon (Jonathan Wadey), Pluto (Emma Ralston) and, a chorus of giant frogs (Li-Tong Hsu, Martin Dickinson, Nigel Pilkington and Bernadette Bangura). There is the battle of words and wit with Shaw against Shakespeare in the challenge of receiving the honour of becoming reincarnated and bringing sense to the world. But will it be through prose or poetry?
(Nigel Pilkington) challenges Shaw (Martin
Supported by an excellent chorus, congratulations must be given to Michael Matus and George Rae who appeared to be having great fun in their roles. Songs were performed excitingly by all and, although there was restricted movement in the confined space, the production never felt static.
Michael Matus, George Rae and Chorus
This delightful show sold out on line before its press night but on the day I reviewed it, I noted that the Jermyn Street Theatre does offer stand-by tickets and on that occasion the five or six people waiting eagerly for the chance to see this adaptation were delighted to gain seats, so it is well worth a try.
Photography: David Ovenden
THE FROGS: Jermyn Street Theatre, 16b Jermyn Street, London SW1Y 6ST
Box Office: 020 7287 2875 www.jermynstreettheatre.co.uk
Tuesday March 14 - Saturday April 8
Performances: Tuesday - Saturday at 7.30pm,Saturday and Sunday Matinees at 3.00pm,
Additional matinees: Thursday March 23 at 3.00pm Thursday April 6 at 3.00pm
Cléante (Ryan Gage) and his father Harpagon (Griff Rhys Jones)
Money gives me everything I want and more.
Writer-director Sean Foley considers most productions of Molière's comedies "far too respectful". Therefore, Foley and Phil Porter have created an irreverent adaptation of The Miser to bring it up to 2017 standards. Does it work? In parts.
A variety of tunes played on a spinet takes the audience back in time before the cast enter in period costumes. The play is set in a stately home, now in a state of dilapidation (costumes and set design by Alice Power) - there are cracks in the walls, broken windows and the plasterwork keeps falling down. Candles line the front of the stage, adding to the period feel.
Valère (Matthew Horne), the steward of Harpagon’s house, is in love with his employer’s daughter, Élise (Katy Wix). Valère is sure that he is of a good family but he knows that Harpagon loves nothing but money and will never accept a poor stewart as his son-in-law. Instead he demands that Elise marry a rich man who is old enough to be her father. Harpagon’s son, Cléante (Ryan Gage), is in love with Marianne (Ellie White), a poor girl who lives with her widowed mother. Since Marianne has no money, Cléante keeps his love for the girl from his father. What he does not know is that his father has seen Mariane and wants her for himself. Cléante is to marry Marianne's mother. Harpagon has employed matchmaker Frosine (Andi Osho) to prepare Marianne for the desired marriage.
Maître Jacques (Lee Mack), Harpagon (Griff Rhys Jones) and Valère (Matthew Horne)
Sean Foley's production is broad farce and dispenses of the fourth wall almost immediately. There is plenty of slapstick and physical comedy, which often entails falling plasterwork or rickety furniture, and the cast has to act a breakneck speed to keep up with Molière's plot. The updated jokes do not work too well. Most of them are not terribly funny and distract from the story. Stand-up comedian Lee Mack, however, is having a ball as his Baldrick-like character Maître Jacques, quipping jokes whilst filling almost every position in the house because the stingy Harpagon keeps on firing his staff.
Matchmaker Frosine (Andi Osho) and the beautiful Marianne (Ellie White)
Griff Rhys Jones plays Harpagon somewhat straight as he stumbles around in tattered clothes to appear as poor as possible, convinced that everyone is after his treasure. Ryan Gage is hilarious as his son Cléante, a fashionista as colourful as a tropical bird, who spends his money as fast as gets it - and more. Matthew Horne is very good as the efficient Valère who believes that being as sycophantic as possible will help him obtain Harpagon's consent to marrying Élise, played by the lovely Katy Wix with a funny speech impediment.
Despite the failed updates, this show is still good entertainment value featuring a lovely cast.
By Carolin Kopplin
Until 3rd June 2016 at the Garrick Theatre
Running time: 2 hours 30 minutes including one interval
Images by Helen Maybanks.
It’s 30 years since Paul McGann made a name for himself in the classic cult film Withnail & I. Now he’s about to embark on his first UK theatre tour playing German Major Von Pfunz in Gabriel. Kate Gould catches up with him for a chat.
Paul McGann needs no introduction. He’s the man whose portrayal of the eponymous I in the cult classic Withnail & I propelled him to stardom. That was 30 years ago and in the years since his career has gone from strength to strength and he’s become a household name in the process. Indeed his CV is as impressive as it gets showing his versatility as an actor with performances on both stage and screen including in Hornblower and Luther and of course playing the eighth incarnation of the Doctor in Doctor Who.
But he’s never done a UK theatre tour - that is until now. For next month the 57-year-old actor is to pack his bags for an eight-week stint in Moira Buffini’s acclaimed play Gabriel which this year celebrates its 20th anniversary.
Set in 1943 German occupied Guernsey, it tells the story of widow and mother Jeanne who does whatever it takes to keep her adolescent daughter Estelle and daughter-in-law Lily safe on an island filled with danger and fear. However she meets her toughest test in the form of the terrifying Commander Von Pfunz whose romantic advances are dangerous to say the least but which may be the only way to keep her family alive. The tension racks up further when a mysterious young man is washed ashore with no memory of who he is. It transpires he’s fluent in German and English, so the question is, is he an RAF pilot, an SS interrogator, a local boy with amnesia or a saviour sent from heaven?
Kicking off in Richmond on March 28, the production will cross the country visiting theatres in Greenwich, Liverpool, Windsor, Guildford, Eastbourne and Clwyd, something Paul tells me he’s looking forward to.
We meet in a private members’ club in central London where Paul is spending the day chatting to various journalists about the production before he gets stuck into the rigours of rehearsals. And if he’s understandably growing a bit weary of all the attention and the barrage of questions by the time I arrive, he doesn’t show it. In fact he is as relaxed as they come with an easy going manner, affable charm and a warm sense of humour.
So keen is he about the production, and being part of it, that he wastes no time in telling me all about it and about the research he did into the occupation of the island.
“It’s a fascinating piece,” he says. “It’s dark and intense, although it’s not all doom and gloom of course, but it’s a real thriller, exciting and incredibly gripping.
“It’s set in Guernsey in the middle of the Second World War, and it’s a great place to set a story. It was a strange time for the islanders as in many respects, life continued as normal.
“On the face of it, it was a peaceful occupation. There was no armed resistance nor any uprisings. However food was scarce, there was a thriving black market, and plenty of wheeling and dealing going on. Indeed some people made a fortune. And while some worked the land, most of the men of fighting age were away so it was mainly women left on the island.
“So to have the central character in this play a woman is entirely fitting. Jeanne is widowed and has a daughter with whom she lives and a son who is in the forces. Her house is requisitioned by the German so she has to be careful. There are hints that she had a relationship with a German officer who has now been sent away and by all accounts they got on well - and again if you read the history books, this was what happened in many cases.”
Into her life comes Von Pfunz, played by Paul, an army officer who has served in Poland but has now been sent to Guernsey and finds himself captivated by Jeanne. “He’s not a nice man, in fact he’s horrible, and he comes on to Jeanne much to her disgust,” he grimaces.
“She is repulsed by him and is quite fearful of him, but there is a courage about her that he finds thrilling and intoxicating. It throws her completely.
“Her dilemma is how to get on with the Germans, keep her family safe and survive without submitting to something she doesn’t want, where a mistake could be fatal.
“The tension is ratcheted up even further when a young man appears, washed up on a nearby beach. The girls save him and bring him to Jeanne’s house where he’s hidden. He claims not to know who he is, and when Von Pfunz later discovers him there the boy is able to speak with him in perfect German.”
It was, Paul says, a play he was instantly drawn to not least by the writing which he describes as “superb”. “The writing is key and is what really attracted me to playing this role,” he says.
“Von Pfunz is like nobody I’ve played before but it’s the way Moira beautifully weaves these situations and tensions together that is so good. It’s brilliantly told and when you get a really good story as an actor you can’t wait to tell it.”
However, keen not to give away any spoilers Paul simply says the audience will be on the edge of their seats to find out what happens.
“Jeanne is constantly in danger, the tension builds to a crescendo and she ends up in a really tight corner,” he says eyes twinkling.
It’s clear throughout our chat that Paul still gets a buzz out of being on stage and he says he's excited to be making his debut theatre tour in such a “fantastic play”.
“I’ve found over the years that the old actor clichè is true that live is best,” he smiles.
“Doing TV and film is great, and I’ve been jammy enough over the years to do a lot of it, but when you go out on stage and feel the atmosphere and get that instant feedback from the audience, you just can’t beat it.
“It is also a way of working that teaches you the most.”
So why has it taken so long to get out on the road? It seems it’s mainly down to logistics and finding the right vehicle for his talents. This particular role and the fact his two sons are grown up has allowed him the flexibility to take on the challenge of a tour.
“Many touring shows are musicals and there are few straight dramatic plays. I’ve been offered tours in the past, some of which were tempting, but they tended to last for months so were difficult to commit to.”
“This one stood out though as it’s so thrilling so I was really up for it. Also I’ll get a chance to discover and visit all these theatres that I’ve never performed in before as well as the different characters of the audiences, which I’m really looking forward to. It’s a new experience for me.
“It’ll be a bit like running away to the circus!”
Paul is endearingly modest about his career and the word “jammy” to describe it crops up often. Indeed it is a surprise when he insists he never wanted to be an actor, instead harboured dreams of being a track and field sportsman. He was eventually persuaded to give acting a shot when he was 17 by one of his teachers. Somewhat alarmingly he also tells me he very nearly didn’t go to the RADA audition that had been organised for him as he was so unsure about whether it was the right thing to do. Fortunately for his legions of fans he didn’t walk past the door but went through it and got in on his first audition. He spent the next few years there “very happy” alongside such notables as Kenneth Branagh and Mark Rylance and says he has no regrets.
“I was a 70s kid growing up in Liverpool, left school at 17, not qualified in anything and never thought about being an actor,” he remembers smiling.
“However, my teacher saw something in me and helped me prepare my audition to RADA. It was pretty embarrassing and I felt it went terribly. But I got in, and I loved it.
“I remember there were plenty of working class kids at RADA then. I think most of us had just fancied being movie stars. Of course that was all pie in the sky as there was no guarantee you’d even get into Equity. I was pretty jammy to get Withnail & I after just five years out. I loved working on it. We were pretty innocent and, in truth, didn’t really know what we were doing. We certainly had no idea how cool it would become.”
“Theatre has always been my favourite though - it’s what many actors will tell you - and the older I get the more I prefer it although I still get very nervous.
“I’ve been lucky enough to play some incredible roles over the years and I'm proud to add Commander Von Pfunz to that list.”
Paul McGann plays Commander Von Pfunz in Moira Buffini’s Gabriel, directed by Kate McGregor. Visit www.gabrieltheplay.co.uk for full listings.
Review will follow.
When Nell Gwynn, legs akimbo and fan swinging in lieu of a certain appendage, melodiously invites us to stroke her ‘cock...cock...cockerspaniel’ , we know what kind of night we are in for.
Brimfull of bawdiness, and peopled with figures from 17th century theatrical London, Jessica Swale’s metaplay takes for its material the bare details of Nell Gwynn’s life, a Cheapside prostitute and orange seller who ended up, via King Charles II’s bed, one of the most celebrated comedy actresses of her age. Most of the action occurs in and around the theatre as Nell, closely watched by her kingly suitor, prepares for performance.
A whole range of 21st century themes (feminism, celebrity, European politics) gatecrash our attention under the guise of Restoration comedy. For starters, we are presented with one of the first women to grace the English stage, and one who manages, for a while at least, to subjugate the most powerful man in Britain, while the exchanges between Charles II and his advisor drip with dramatic irony: Charles cavalierly suggests England detach itself from the politics of Europe, in response to which his advisor as good as calls him an idiot.
The stage and costume is ablaze with gold, and the occasional musical numbers, replete with comic choreography, further dynamize an already bustling stage.
Ben Righton presents us with a charming if roguish king, one more dedicated to the pleasures of the bedchamber than to the pedantry of politics, while Michael Cochrane’s Arlington, Charles II’s right hand man, is both lordly and lecturing, offering a rare note of moral censure in a world otherwise dripping with licentiousness.
Edward Kynaston (Esh Alladi) is outrageously catty as the company’s ousted player of female parts while Laura Pitt-Pulford handles a challenging lead role with wit, charm and precision: she is a hard bargaining, yet likeable, sexual provocateur who shrewdly negotiates the terrain between backstreet bordello and regal bedchamber.
This high-energy, swiftly moving play has so much comedy and caricature in it that there is little room left over for character depth or development, a small minus perhaps in an otherwise masterful production. Acclaimed in London when A-lister Gemma Arterton played Nell, this slightly revamped version is now touring the provinces.
Catch it now, visit
The new season at the Finborough features six premieres and another rediscovery from Scottish dramatist James Bridie, with the first London production since 1950 of Mr Gillie. Already well known for presenting Canadian work in the UK, the Finborough celebrates Canada’s 150th birthday with the UK premiere of Late Company by Jordan Tannahill; a rediscovery of Footprints On the Moon by Maureen Hunter; and a late night cabaret of the songs of Cree-Canadian Tomson Highway in Songs in the Key of Cree. Other premieres include Everything Between Us which won playwright David Ireland the Stewart Parker Trust Award, BBC Radio Drama Award and the Meyer Whitworth Award for Best New Play; Jam, the world premiere of a first full length play from new writer Matt Parvin; and the new Australian play Food by Steve Rodgers.
The season opens with the European premiere of Late Company by Jordan Tannahill, playing for a four week season from 25 April-20 May 2017. It runs concurrently with the English premiere of David Ireland’s Everything Between Us, playing Sunday and Monday evenings and Tuesday matinees between 30 April-16 May 2017.
The world premiere of first play Jam by Matt Parvin, plays from 23 May-17 June 2017, alongside the rediscovery of Footprints On the Moon by Maureen Hunter, playing Sunday and Monday evenings and Tuesday matinees between 28 May-13 June 2017. Multi-award-winning Cree-Canadian writer, composer and musician Tomson Highway appears in a one-off late night performance of his music – Songs in the Key of Cree– on Saturday, 6 May.
The season ends with the first production outside Australia of Food by Australian playwright Steve Rodgers, playing for a four week limited season from 20 June-15 July 2017, running alongside the first London production in over 60 years of James Bridie’s Mr Gillie on Sunday and Monday evenings and Tuesday matinees between 25 June-11 July 2017.
The hard-hitting production My Eyes Went Dark which received its world premiere at the Finborough Theatre in 2015 will transfer Off-Broadway this summer, while Neil McPherson’s impressive play It Is Easy To Be Dead – presented at the Finborough Theatre in June 2016 prior to its transfer to Trafalgar Studios – has just been nominated for an Olivier Award.
More info: Finborough Theatre
Image by Charlie Round-Turner.