UK Theatre Network

Sutton Vane’s witty and intelligent play Outward Bound is part of the Finborough’s Rediscoveries season. First produced at the Everyman Theatre Hampstead it instantly became the biggest hit of the 1923 season, running for many years in the West End. The play was also a huge hit on Broadway in 1924. It was then made into a 1930 film in Hollywood by Warner Bros. starring Leslie Howard and Douglas Fairbanks, Jr., and was filmed again as Between Two Worlds in 1944 with John Garfield and Sydney Greenstreet. This is the first London production in more than fifty years and returns the play to the same type of Off West End theatre where it began its life.

Seven passengers meet in the smoke room of a ship (impressive set design by Alex Marker) as it disembarks from an unidentified English port. We first see the Stewart preparing for the journey. He is soon joined by Tom Prior who intends to spend the entire trip in the saloon bar, drinking. Socialite Mrs Cliveden-Banks, a “Daughter of the Empire”, is on her way to join her husband, a Colonel in the army, to help him “rule a lot of black men”; MP Lingley, a successful businessman, has important affairs in Marseilles; charlady Mrs Midget is making her first passage by sea and seems quite lost; Reverend William Duke is looking forward to a holiday. Also on board are Henry and Ann, a young couple with a dark secret. Mrs Cliveden-Banks soon notices how few people there are on the boat, at least nobody who is anybody. “Of course the poor creatures can’t help that.” To Mrs Cliveden-Banks’ horror there seems to be only one class on this ship. The travellers eventually realize that they have more in common than they had initially suspected. Out at sea, an eerie calm settles over the ship as Tom is the first to discover that there is something queer going on. He sets out to investigate.   

This play depicts English society after the First World War criticizing the class system, colonialism  and ruthless business practices. Mrs Cliveden-Banks’ behaviour towards Mrs Midget exposes her typical upper class snobbery: “Peculiar, the people one must meet, mustn’t one, in public places.”  She quickly teams up with the pompous MP Lingley, a County Councillor and a ruthless businessman who has no empathy for the weak and poor: “Nobody has ever given me a second chance.” Mrs Midget, an honest soul, has a son who has become a gentleman due to her efforts: “Having become a gentleman he lost all his money, my money. I haven’t seen him since.” Tom Prior, although a gentleman, feels strangely drawn to her. He sees himself as a weak man which he admits to Reverend Duke but Duke points out that it takes a strong man to admit one’s weakness. The young couple, who are constantly worrying about being separated, don’t really seem to belong to the other passengers. They are not as clearly defined as the rest of the characters.

This is an excellent production, thoroughly enjoyable as well as thought-provoking. The cast is excellent, brilliantly directed by Louise Hill. Carmen Rodriguez is wonderful as the haughty Mrs Cliveden-Banks. David Brett plays the curt but philosophical stewart Scrubby with a subtle sense of humour. Martin Wimbush is jovial and laid-back as the Examiner. Nicholas Karimi conveys the quiet desperation of Tom Prior who doesn’t belong. Derek Howard is outstanding as the tough Mr Lingley. Ursula Mohan’s performance as Mrs Midget is honest and touching. Paul Westwood convinces as the kind-hearted, nervous Reverend Duke who is dedicated to his profession. Natalie Walter and Tom Davey are quite good as the young couple. 

By Carolin Kopplin

Finborough Theatre, 118 Finborough Road, London SW10 9ED
Box Office 0844 847 1652   Book online at www.finboroughtheatre.co.uk
Tuesday, 31 January – Saturday, 25 February 2012
Tuesday to Saturday Evenings at 7.30pm. Sunday Matinees at 3.00pm. Saturday matinees at 3.00pm (from the second week of the run).
Prices for Weeks One and Two (31 January–12 February 2012) – Tickets £13, £9 concessions, except Tuesday Evenings £9 all seats, and Saturday evenings £13 all seats. Previews (31 January and 1 February) £9 all seats.
£5 tickets for under 30’s for performances from Tuesday to Sunday of the first week when booked online only.
£10 tickets for residents of the Royal Borough of Kensington and Chelsea on the first Saturday of the run only.
Prices for Weeks Three and Four (14 February–25 February 2012) – Tickets £15, £11 concessions, except Tuesday Evenings £11 all seats, and Saturday evenings £15 all seats.
STAGETEXT captioned performance – Saturday, 18 February 2012 at 3.00pm
  

It is easy to be young and to believe in absolutes. 

Writer-director Rick Limentani has selected an interesting theme for his first stage play – what would you do if you had to choose between your own freedom and the freedom of others? Benham (Rian Perle), once a proud farmer, is now forced by “the Keepers” to grow poppies on his land in Tajikistan. The Keepers, cruel and dangerous men, refuse to pay for his harvest so Benham has told them a lie to protect his farm and his family. He is desperate because the Keepers now demand proof that he really is a relative of an infamous warlord. Benham has to come up with a plan. He decides to send his son Fariad (Indranyl Sigharay) to London to find a western woman willing to come back to Tajikistan with him. By marrying off his youngest daughter to the local official Benham manages to obtain a scholarship for Fariad. Fariad does not want to leave but he is an obedient son who wants to save his family. This attitude miraculously changes almost immediately once he arrives in England. After working in a fast food restaurant for a few weeks and dating a few western girls Fariad turns into a hip musician playing in a rock band who chooses to completely ignore his father’s wishes and the threat to his family. His Spanish co-worker Jennifer (Rebeca Cobos), a student of mathematics, is amused by Fariad’s dating marathon but finally succumbs to his awkward charm. Fariad manages to persuade Jennifer to come to Tajikistan with him for a visit. 

There are some very funny and poignant moments in the play but the production lacks drive and energy. A dramaturg or a more experienced stage director would have been required to help with character and story development. Several of the scenes seem redundant and slow down the pace. The clash between the traditions Fariad grew up with and his new life in England makes for an intriguing situation and provides plenty of conflict but his change is too sudden and not believable. And would Fariad really risk the death of his family just to enjoy his personal freedom? Furthermore, he sends his girlfriend Jennifer to Tajikistan by herself although he is well aware what might happen to her. Benham’s character is problematic, too. I got the impression that even Rian Perle was not convinced by his character which was why Benham did not feel quite real. The acting was too subdued at times but this might not be due to the actors. The set was quite elaborate and expertly designed (Roberto & Pablo Vidiella) displaying the dual worlds of Tajikistan – Benham’s house complete with  poppies - and England – represented by the Burger joint. 

By Carolin Kopplin

Ticket Information and Times

Performance Times: 8.00pm (matinees 3.00pm)

Tickets: £16 (£12 concessions)

Matinees: 11, 18 February 3.00pm

£10 Opening Performances: 25, 26, 27, 28 January; 1, 2 February

Students £8: Mondays 6, 13 February

Pay What You Can Tuesdays (tickets in person from 6.30pm - limited and subject to availability)

Running time - 2 hours including a 15 minute interval

 Murder on the Nile, the latest production by the Agatha Christie Theatre Company, was written in the 1930s, first as a novel, then a short story. The play was ready for production in 1942 and, although it  is set in the early 1930s, this quote is as relevant today as it was when the play was written. Money or the lack thereof is a major theme in this drama. We encounter Simon Mostyn who had been unemployed for many years before eventually marrying a spoiled, rich girl named Kay. He is happy to abandon his French girlfriend who is now out for revenge stalking the newlyweds during their honeymoon. Then there is Christina Grant, a young woman who was forced to leave school when her father lost all his money and is now treated like a slave by her snobbish aunt Miss ffoliot-ffoulkes. Psychologist Dr. Bessner left his newly-created country after watching foreign investors destroy his illusions for a better future. Canon Pennefather asks Kay for funding of his working communities, and young William Smith has turned to Communism as a means to improve conditions for the working man and woman in England. However, the foremost mission of this play is entertainment and for the most part, it is rather entertaining. 

As we enter the auditorium Egyptian music is played to set the correct mood for the play. Funnily enough, there is a commercial break before the show begins, just like in a cinema. We are supposed to purchase Gin and Tonic. As the curtain rises we see the deck of a cruise ship. The vendor Musa is annoying the passengers by offering fake antiques to them. The formidable Miss ffoliot-ffoulkes will have none of that, whipping Musa out of the way whilst complaining about everything and everybody, including her cabin. Harun, the Steward, quickly offers her an alternative. Her niece Christina is more gullible, she has already purchased one of Musa’s antiques. Her aunt has no patience with her naiveté and her enthusiasm for rich Kay Mostyn who married a commoner: “Christina, try to have a little savoir-faire.” As the other passengers arrive we learn that Canon Pennefather is Kay’s guardian and wonder whether Simon really married Kay for her money and how the Canon feels about it. And what about Louise de Vallois, the French maid, who intensely dislikes her mistress? The first scene is a bit slow going. Actually I saw a few elderly members of the audience nod off. However, the story picks up in the second scene ending in a shooting and a murder. Now it is up to Canon Pennefather to prove his investigative skills. 

The cast is very good. Denis Lill is a charismatic investigator as Canon Pennefather as he tries to solve the mystery. Kate O’Mara is hilarious as Miss ffoliot-ffoulkes who is as posh and snobbish as her name implies constantly tyrannizing her poor niece played by the lovely Jennifer Bryden. Vanessa Morlet is very convincing as the French maid and Chloe Newsome was suitably vengeful as the scorned lover Jaqueline. Max Hutchinson is witty and amusing, at times touching, as the cocky and rebellious William Smith who falls in love. Susie  Amy convinces as the spoiled girl who’d always got everything she wanted including Simon who does not live up to her expectations yet: “Come on, darling, you cramp my style.” Sydney Smith is charming as Harun.

By Carolin Kopplin

Until 4 February 2011

Richmond Theatre, The Green, Richmond, Surrey, TW9 1QJ

http://www.atgtickets.com/Murder-on-the-Nile-Tickets/45/673/

Further tour dates:

The Dashwood family live at Norland Park, an estate in Sussex, which has been in their family for many years. When Mr. Dashwood dies, the estate goes to his son, casting his daughters in a dire situation. He cannot leave his estate to his daughters because women are not legally entitled to receive or own property, and they cannot earn a living either. The Dashwood sisters are forced out of their home by their own brother and his equally unpleasant wife and are left with no choice but to move into their aunt’s cabin in Devon. The free spirited, rebellious Marianne refuses to go but her sister Elinor is more accepting of their fate: “A fine opportunity to begin again.” The conflict of the title is introduced through the characters of Marianne and Elinor. Elinor is sensible and prudent. She controls her emotions with good sense and careful judgement. Although Elinor is loathe to leave, having just met the pleasant and charming Edward Ferrars who seems to reciprocate her feelings: “He had fine eyes and they looked at you,” she accepts the inevitable. Marianne does not restrain herself at all, she lacks Elinor’s ability to act cautiously and lets her emotions direct her actions.  

Alevtina Lapshina was fantastic as Clara – playful, sweet and very much like a child. Daniil Orlov played Drosselmeier with charming self-confidence, his Santa Claus was funny and cuddly. Talgat Kozhabayev was endearing and romantic as the Nutcracker Prince. He formed a lovely couple with Clara, and their elegant dances together were incredibly beautiful to watch. I was also very impressed by Darya Vankova’s Doll. The Mouse King Doll (Yareslav Alekhnovich)looked truly frightening with his three heads and red, gleaming eyes. He made a formidable opponent.

This production of The Nutcracker guarantees a delightful evening.

The Nutcracker runs until 22 January 2011 at the Richmond Theatre.

Richmond Theatre, The Green, Richmond, Surrey, TW9 1QJ
http://www.atgtickets.com/MCB-Nutcracker-Tickets/45/431/#overview_tab