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Nov 27th

The Woman In Black – 26th Nov – 1st Dec 2012, Theatre Royal, Glasgow

By Jon Cuthbertson

Can a 25 year old, low budget two-hander play really live up to its description as the most terrifying live theatre experience in the world?

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Well, if the screams of the audience on opening night in Glasgow are to be believed, then the answer is a resounding YES! And if the applause at the close of the show are also to be believed, then this is also one of the best theatrical experiences in the world too.

 

With a recent film adaptation, this play will be presented to a whole new audience. So, have they updated the show with fantastic new sets and special effects? No, they have relied on the fact that this play has worked for 25 years relying on building these effects in the imagination of its audience. The clever device of using an actor as one of the characters and the entire play becoming a retelling of the events does nothing to remove the audience from the fear they feel on behalf of the characters. The gasps (and the odd swear word of exclamation) that burst from the audience when a previously locked door swings open highlights just how well the actors have built the tension within us.

 

Antony Eden has boundless energy as The Actor, creating a protagonist that the audience genuinely feel affection (and fear) for. Graeme Eton was covering the role of Arthur Kipps and did a marvellous job. His opening scene was so convincingly poor that I was panicking that he just wasn’t up to the job – but once his character gets more involved in the performing we got the chance to see so many different sides to many different characters that you couldn’t help but be impressed by the variety of emotions and accents on show.

 

This play would be nothing without the very clever yet simple design by Michael Holt, which enables Robin Herford to direct the actors into seemingly endless scenes and locations with the simplest of moves of a hamper and chair. The ethereal presence of Audrone Koc is vital to the production and her excellent timing makes sure that no effect is wasted.

 

Having seen this production before, I was pleased to confirm to myself that it is indeed a much better adaptation than the film. Watching a ghost appear from nowhere, a rocking chair rocking in an empty room and seeing all of this happen physically in front of your eyes instead of on the screen is a feeling that cannot be beaten.

 

There is nothing more thrilling than live theatre – and there is no live theatre more thrilling than The Woman In Black

 

 

Listings

 

Mon 26 Nov – Sat 1 Dec

Mon – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Tickets: £10.00 - £32.00

 

Box Office: 0844 871 7647 (Bkg fee)

 Book: http://uktheatrenet.ambassadortickets.com

Nov 20th

The Ladykillers – 19th – 24th November 2012, Theatre Royal, Glasgow

By Jon Cuthbertson

It seems modern comedy has had its day – revivals set in the past seem to be the way forward. With One Man Two Guvnors, Abigail’s Party, A Chorus of Disapproval, Talent, The 39 Steps and many more all recently doing great business The Ladykillers follows suit. Graham Linehan has created the very witty script, while retaining the rather black plot of the original 1955 Ealing Comedy film.

Ladykillers.jpg 

In a very strong cast, Michele Dotrice just about manages to steal the show as the lop-sided landlady who unwittingly becomes involved in her lodger’s robbery attempt. Her physicality belies her own sprightly nature, but this is evident in the amount of physical comedy that takes place throughout the show. William Troughton is the epitome of this physical comedy, with more than his fair share of pratfalls, door slams and blackboard wallops (a rather overused visual gag, but it was executed extremely well and did have a great payoff). Mr Troughton’s energy carried into his dialogue and his manic nature as the pill-popping “geezer” of the group was one of the highlights. As a folly to this high energy, Chris McCalphy turns in a very funny performance as the rather slow (in more than one sense) but threatening “One-round”. His confusion at having to take on a new name, and a new hobby, provides many of the laugh out loud moments.

 

Michael Taylor’s set is a character all on its own. With varying levels and angles, at first glance it looks quirky and interesting, but once it starts “working” (with the aid of Scott Penrose’s special effects) we see how clever it really is. The moving window to let action take place inside and outside, the moving furniture as trains pass by and the falling banisters are all beautifully well done and it is easy to see why this set has already won awards. That said, it did have its failings, and the “car chase” sequence – featuring remote control cars on the brickwork felt stilted and not fully worked out. This may have just been teething troubles in a new venue, but it did jar a little in this otherwise smooth production.

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With solid performances from all in the cast, this is a black comedy that is inoffensive and provides a very entertaining night out. Having never seen the original film, this play has encouraged me to seek it out, and having seen this with someone who has fond memories of the film, I’m assured it is equally as funny here on the stage.

 

Listings

Mon 19 – Sat 24 Nov

Mon – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Tickets: £12 - £27

 

Box Office: 0844 871 7647 (Bkg fee)

 Book: http://uktheatrenet.ambassadortickets.com 

 

Nov 20th

Chicago (King’s Theatre, Glasgow, 19– 24 November 2012)

By Cameron Lowe

A slice of American 20s style overlaid with 60s chic has taken up residence at Glasgow’s King’s Theatre this week.  Chicago is back in town and it’s just as fabulous as you remember!

 

Chicago

Chicago is the very essence of musical theatre cool.  You only have to experience ‘All That Jazz’ in the opening minutes to be in awe of the talent that has been distilled into that moment.  Flawless dancers, impeccable choreography, atmospheric music, tight direction, moody lighting, note-perfect voices and … (whisper it) jazz hands.  The opening 5 minutes of this show must be the inspiration for more performers taking to the stage than any other musical.

 

The story (for those who haven’t caught the numerous UK tours or the long run in the West End which ended in September) centers on Roxie Hart and Velma Kelly – two ‘celebrity criminals’ who hope that smooth talking lawyer, Billy Flynn, can secure their release from prison.  The women will stop at nothing to gain release but realise that freedom is not enough as they have come to crave celebrity.  The musical score is one of the best known in modern theatre featuring hits such as Cell Block Tango, When You’re Good To Mama, All I Care About, Roxie, Mister Cellophane and Razzle Dazzle.  When a score of this caliber is joined with effortlessly cool choreography inspired by Bob Fosse you have a recipe for success that spans the decades.

 

Roxie ChicagoThe show has attracted literally hundreds of celebrity cast members over many years of international productions.  This latest tour is no exception with Bernie Nolan, Stefan Booth and Ali Bastian playing the roles of Mama Morton, Billy Flynn and Roxie Hart.  All three suited their roles well and delivered solid performances.  In particular, Stefan Booth’s portrayal delivered just the right mix of suave sophistication and sleazy, self-serving seduction of the public, the jury and the popular press.  As with every production of Chicago, however, I found the ensemble cast to be the star attraction.  Tight and disciplined delivery of the choreography was combined with excellent character portrayal to ensure that the audience were transported to prohibition era Chicago within the first moments of the show.

 

If you haven’t seen this show, see it now.  If you have had the pleasure of seeing Chicago in the past … see it again!

 

CHICAGO

Mon 19 – Sat 24 Nov

Mon – Thu eves 7.30pm

Fri & Sat 5pm & 8.30pm

Tickets: £12 – £35

Box Office 0844 871 7648 (Bkg fee)

http://uktheatrenet.ambassadorselect.com//(bkg fee)

Nov 15th

One Man, Two Guvnors – 13th – 17th November 2012, Theatre Royal, Glasgow

By Jon Cuthbertson

Bringing 18th Century farce up to date (well up to 1963 actually) and making it appeal to a mass audience is a skill - and One Man Two Guvnors has this (and many more skills) in abundance!

Rufus Hound leads the touring cast of this production and makes a great job as the 'One Man' of the title, Francis Henshall. His wit with one-liners is indeed what he is known for from his stints on TV, but it was his remarkable timing in the physical comedy that impressed me even more. From tumbling over chairs to catch peanuts via madcap chase scenes to full on slapstick, Mr Hound shows great versatility and control in portraying the manic leading role. He is ably supported by a cast who have perfected the very difficult art of comedy, both verbal and physical, required of this play which is based very heavily on the commedia dell'arte roots of its original text. Amy Booth-Steel is fantastic as Dolly, frivolous, fun and sexy. Her comic timing was immaculate and delivery was pitched perfectly for laughs. Rosie Wyatt and Edward Bennett as the “Guvnors” were great foils for Mr Hound too and as with many of the other members of the cast, showed a great deal of versatility with musical abilities on display too. Talking of music, the soundtrack was mostly provided by live band “The Craze” – a suited up skiffle band with a great 60s vibe. Their opening set before curtain up certainly helped to build the audience into a frenzy, very much forgetting they had just stepped in from a cold and wet Tuesday evening in Glasgow.

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The only criticism ever levelled at this play, has been the use of plants to enable some rather elaborate “ad-libs” and extended slapstick scenes. The fact is however that this play is based on the text of Gondoli, who was also given the same criticism for being the first person to “script” Commedia Dell’Arte, therefore it makes sense that this updated translation of his The Servant of Two Masters text would follow the same “set-ups”. And in all fairness this has to be the best use of this device I have seen for a long time!

 

Previous reviews have billed this show ‘The Funniest Show on The Planet’ and I don’t think this is too far from the truth. Peter Caulfield, as 87 year old, hard of hearing waiter Alfie gave one of the most dynamic pieces of physical theatre and it is easy to see why he has been snapped up by one of the county’s leading motion capture studios. And kudos must also be given to Alicia Davies who gave the most convincing performance of the night.

 

I cannot recommend this show highly enough – there is so much to tell, but it would spoil it all – so grab a ticket and then grab on to your sides as you belly laugh for 2 and a half hours. If they say laughter is the best medicine, this show should be on prescription!

 

 

Listings

 

Tue 13 – Sat 17 Nov

Tue – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Tickets: £12 - £29.50

 

Box Office: 0844 871 7647 (Bkg fee)

 Book: http://uktheatrenet.ambassadortickets.com

Nov 13th

9 to 5: The Musical (King’s Theatre, Glasgow, 12– 17 November 2012)

By Cameron Lowe

Ambassador Theatre Group present the Scottish premier of Dolly Parton’s comedy musical 9 to 5 at the King’s Theatre Glasgow this week.

 

9 to 5: The MusicalA large crowd gathered outside a theatre on the opening night of a new touring production is rarely a good thing.  “But why?”, I hear you ask.  “Surely, crowds at theatres are a good thing?”.  I would be forced to point out that “good crowds” are normally allowed INSIDE the theatre!  This phenomenon has happened to me twice before … the first was when an angry (yet religious) mob gathered outside the Scottish premier of the somewhat irreverent “Jerry Springer: The Musical” and the second was more like this occasion; when there was a ‘technical problem’ with the first national tour of Jekyll & Hyde.  Like 9 to 5, the audience could not be allowed into the auditorium until the problems could be fixed.  Jekyll & Hyde turned out to be a disaster – half-way through the show, the click track broke down and the audience had a nervous (and distractingly lengthy) wait before the show could be resumed.  I’m glad to say, however, that, after a 30 minute wait, 9 to 5 burst onto the stage with (almost) every technical trick intact – possibly the best 30 minutes work that a crew have ever worked in their lives!  The show was a technical masterpiece and worth every minute of the wait.

 

Now, you may be wondering how technical a musical about a 1979 office workplace can be.  We are talking about an environment where a stapler was a cutting edge gadget.  Well, for starters, Dolly Parton herself plays the role of Narrator; via a beautifully presented projected image which interacts with action on the stage at several points.  The show also involves some ‘flying’ for the cast and scene changes involve literally dozens of items of stage set and furniture being wheeled and twirled in complex choreography.  In fact, some of these scene changes were breathtaking with Kenneth Foy’s scenic design whirled into place as part of ongoing dance sequences under Jeff Calhoun’s expert direction to become a seamless part of the action.

 

9 to 5: The Musical Tour
To compliment this presentation master class for the modern musical theatre audience there were first class onstage performances.  The ensemble were full of individual characters delivering high energy choreography and vocal harmonies with flair.  Here I am in danger of simply listing the names of the principal cast who were nothing short of excellent.  I must force myself to limit mention to just an astonishing few: Bonnie Langford was mind blowing in the role of Roz, the sycophantic ‘eyes and ears’ of CEO Franklyn J Hart (arrogantly portrayed by Ben Richards).  The fact that she sang her most challenging notes while hanging upside down from the frame of her boss tells something of the physical challenges of this role!  Jackie Clune and Amy Lennox produced believable and strong character performances as Violet and Doralee while backing this up with outstanding vocals.  Natalie Casey won my heart playing the lead role in a previous tour of “The Wedding Singer” so it is all the more amazing that I found her portrayal of Judy to be breathtaking, particularly her heart-wrenching performance of “Get Out and Stay Out”.

 

And that leads me to the score with music and lyrics by Dolly Parton.  The show features the title number but is otherwise packed to the brim with 18 fresh and fun original songs.  The music, is diverse and instantly likable with catchy tunes, plenty of comedy and some genuinely emotional moments.  This is no ‘one-song wonder’ … but Dolly fans will especially enjoy the 9 to 5 finale.  Get to the box office now to book your seat for some 9 to 5 escapism!

 

Review by Cameron Lowe

 

9-5: The Musical

Mon 12 – sat 17 Nov

Mon – Sat eves 7.30pm

Wed, Thu & Sat mats 2.30pm

Tickets: £15 - £42

Box Office: 0844 871 7648 (Bkg fee)

Online tickets: http://uktheatrenet.ambassadorselect.com (bkg fee)

Due to demand, an extra week has been added at The King's, Glasgow:

9-5: The Musical

Tue 8 – sat 12 Jan 2013

Mon – Sat eves 7.30pm

Wed & Sat mats 2.30pm

Tickets: £15 - £42

Oct 3rd

I Dreamed A Dream – King’s Theatre, Glasgow – 1st – 13th October 2012

By Jon Cuthbertson
idreamedadream.jpg
Susan Boyle became a household name overnight after her audition for Britain’s Got Talent in 2009. She said she wanted to be as famous as “maybe Elaine Paige”. Well, 500 million YouTube hits later, the fastest selling global debut album of all time, holder of 3 Guiness World Records and 3 consecutive UK number one albums later, it looks like she has more than exceeded that goal. Elaine Paige may have had musicals written for her, but, unlike Susan Boyle, has never had one written about her!

Alan McHugh and Elaine C. Smith have come up with a script that perfectly captures the highs and lows of a life less ordinary. Using Elaine C. Smith as Susan herself, narrating us through her life while also interacting in the scenes, is a device that works on many levels. We are given a chance to hear the words that Susan herself would find too difficult to tell us, we are shown how certain events impact on her even now and we are also able to see the relationships that meant so much to her.

Act 1 covers a lot of ground – from complications at birth, bullying at school (with a cleverly choreographed routine of lights and movement) a touching romance at 17, her first forays into Karaoke and the deaths of her parents. The rather touching trio combining How Great Thou Art, The Prayer and Scarlet Ribbons, was beautifully performed by Karen Mann and James Paterson as Mr & Mrs Boyle alongside Ms Smith as Susan. Act 2 takes us into more familiar territory, as we get to Susan auditioning for Britain’s Got Talent. Using Stuck In The Middle With You as an ensemble number about the “Freaks, Weirdos and Oddballs” auditioning for the show was very clever. However the most dramatic moments came in the silence. As the winning name was announced (not Susan – she was only the runner up), we see Susan’s world crumple. The acapella version of End Of The World portrayed a wealth of emotion in a few simple notes and brought me close to tears. The movement from here into Susan’s period in a recovery clinic was handled extremely well and really did help with understanding the reason why she so very rarely performs live.

I have to admit I was sceptical prior to seeing this show, however I think Alan McHugh and Elaine C Smith have pitched it just right – there is enough sentiment to wring out emotion, but it is always cut off by great Scottish wit and humour – something of which we know Susan is very fond! The cast carry out their multiple roles extremely well, however Elaine C Smith rightly deserved her standing ovations – barely leaving the stage she emotes, jokes and sings to create a version of Susan that is not an “impression” but is instead a homage. And if we were wondering if Susan herself would be happy with the performance, we soon found out as she graced the stage after the curtain call to sing the title song (and treated us to another one too!) before hugging Ms Smith and bowing with the cast. And that moment was where I found myself wiping a tear from my eye and throwing cynicism aside and whooping and hollering as Susan gave us her famous wiggle.

Listings Info:
Mon 1 – 13 Oct
Mon – Sat eves 7.30pm
Wed & Sat mats 2.30pm
Tickets: £12 - £34
Box Office 0844 871 7648 (Bkg fee) 
http://uktheatrenet.ambassadortickets.com/whatson.aspx

Sep 21st

Oscar Winning Hollywood Writer Offers Message of Support to Glasgow AMDRAM Society

By Cameron Lowe
Footloose - The Dance MusicalOscar and Golden Globe winner, Dean Pitchford, who wrote the book and lyrics for the movie and musical versions of Footloose, has taken time out to wish the cast of a Glasgow amateur production well as they prepare to take to the stage from 2-6 October.

Pitchford, who also wrote the lyrics for the movie and TV versions of FAME, sent an email of support to the cast when heard of their production.

He said, "When I first read the newspaper item in 1979 about a little town in the state of Oklahoma that had lifted an eighty-eight year ban on dancing, I felt that there was a story there. So I flew off to Elmore City, Oklahoma, spent a week doing research, and returned to Hollywood to write “Footloose,” both the motion picture and the lyrics to all those original songs. I had no idea at the time that my trip to Oklahoma was just the start of a journey that would take me to Provo, Utah (where the film was made by Paramount Pictures); to New York City (where the stage musical ran for almost two years on Broadway); and beyond – to Cardiff, Tokyo, Sydney, Paris, Johannesburg, and on and on and on.

Learning that Theatre Guild is now bringing this story to Glasgow puts a big, fat smile on my face.  The journey continues!  As each of you plays your part in bringing the town of Bomont to life, I want to thank you for your hard work, your dedication and your spirit, and to wish you an amazing run of the show.   I’ve had many, many people the world over tell me that doing “Footloose” resulted in some of the most cherished memories of their lives.  I hope that you all have a similar experience.
"

The cast of the local amateur production were delighted to recieve this message.  Theatre Guild Chairman, David Brown, said "It is amazing to think that a Hollywood Legend has taken time to think about our production of his show, half-way around the world.  The cast have been working hard on this production for almost 6 months and to get this level or recognition and support is fantastic.  It's taken our high-energy show to whole new heights - now we really want to 'cut-loose'!"

David continued, "We are particularly keen to promote sales on our Opening Night (2 October).  This performance is in support of the 'Common Wheel' charity in memory of a former club member who was a supporter of their work (through music and cycling) with people impacted by mental illness."

For more information on Common Wheel, please visit their web site at www.commonwheel.org.uk

 

Listings Information

“Footloose”

Eastwood Park Theatre, Rouken Glen Road, Giffnock, Glasgow, G46 6UG

2nd – 6th October 2012

Evenings:  7.30pm

Sat Matinee:  2.30pm

Tickets: £13.50 - £15.50

Box Office: 0141 577 4970

Web site: www.theatreguild.uktheatre.net

Sep 20th

The Mousetrap – 17th – 22nd September 2012, Theatre Royal, Glasgow

By Jon Cuthbertson
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It’s the diamond jubilee year – time to celebrate 60 years of achievement for a great lady. And that great lady is one Agatha Christie, and the 60 year celebration is for The Mousetrap, the longest running play in history. And to celebrate 60 years in London’s West End, it has embarked on its first ever UK tour – lasting a rather clever 60 weeks.

 

The Mousetrap is a play of many surprises. Agatha Christie was told not to expect it to last longer than a few months – even she couldn’t have seen the huge twist that followed! It also bucks many of the trends of the genre. Before the first actor even comes on stage, we are told of the murder (via a radio news bulletin), and many would be forgiven for thinking that perhaps they had come to a farce rather than a murder mystery, due to the wit and humour in the opening scenes. The premise however is very fitting of the genre. A young couple, married only a year are receiving their first guests in their new guest house venture. A retired Army Major, a stern talking matriarchal character, a young effeminate male, a rather less effeminite female traveller are then joined by a police man – the perfect set-up for many twists turns and reveals.

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There have been many reviews of the west end production, calling it tired and pedestrian, however that definitely cannot be said of this touring cast. Bruno Langley and Jemma Walker are streets away from their former soap roles and provide a steady foundation for the rest of the cast. Jan Waters, who has already appeared in the west end production a number of times, provides great barbed wit in a role that would compete with Maggie Smith’s Dowager Countess of Downton for the wittiest put downs! It would be nice for the character of Karl Howman’s Mr Paravicini to be explored a little more, so that we knew whether the poor accent was a deliberate red herring, or just a poor attempt by the actor. Clare Wilkie seemed a rather bland Miss Casewell compared to some of the previous inhabitants of the role, however she did kick this up a gear in the second act to match the other lead performers.

 

In line with the many millions of audience members who have seen the show, I will certainly not spoil the ending for you – the only way to do that, is to enjoy the whole experience in a theatre near you (or you could cheat and look on Wikipedia, but you really would miss out on the chance to see one of this country’s national treasures).

 

 Listings

 

Mon 17 – Sat 22 Sep

Mon – Sat eves 7.30pm

Thu & Sat mats 2.30pm

EXTRA MATINEE ADDED Wed 19th Sep @ 2.30pm

Tickets: £12 - £27

Box Office 0844 871 7647 (Bkg fee)

Book: http://uktheatrenet.ambassadortickets.com

Sep 13th

Sister Act, King’s Theatre, Glasgow (11-22 September 2012)

By Cameron Lowe

Sister Act

Whoopi Goldberg and Stage Entertainment (producers) presented the divine musical comedy, Sister Act at the King’s Theatre last night and the Glasgow audience raised the roof to the Heavens!

 

It is always great to see a new musical on tour and it’s a special delight to see a new musical of this calibre.  Sister Act has it all, a fabulous and soulful original score, laugh out loud comedy, varied characters and nuns … lots of nuns! Based on the 1992 movie starring Whoopi Goldberg and set in 1978, the story follows lounge room singer Deloris Van Cartier (Cynthia Erivo) who is on the run from gangster boyfriend Curtis Jackson (Gavin Cornwall) as she witnessed him commit a murder. Deloris is given police protection and placed undercover in a convent.  Once there, though, Delores can’t keep her showbiz roots suppressed and she takes the convent choir under her wing.  Quickly, they become a singing sensation, putting the choir on TV and Deloris in danger of being found by her murderous boyfriend.

 Cynthia Erivo and Denise Black

The hilarious book by Cheri and Bill Steinkellner was brought to life by the exceptionally talented cast.  Accents were (almost) without exception, flawless and full of character.  While the audience might have been disappointed by the absence of songs from the movie, any qualms were lost in the rich and varied original score from Alan Menken, which balanced character and drama with outlandish comedy.  The audience were quickly swept away on a wave of exuberance from the stage.  I must tell you that there are few things more uplifting than a stage full of nuns singing soul music at the top of their lungs.

 

The cast were led by an outstanding performance by Cynthia Erivo in the leading role.  Ms Erivo possessed a devilish combination of talents including the character and energy of Whoopi Goldberg and the voice of Rihanna!  Highlights among the strong supporting performances were from Jacqueline Clarke (as an incredibly sprightly Sister Mary Lazarus) and Edward Baruwa (as devoted cop, Eddie Souther).

 

This is a cracking new musical and you should really try to catch it on this limited tour.

 

Listings details

SISTER ACT

King’s Theatre, Bath Street, Glasgow, G2 4JN

11– 22 September 2012

Tickets £18.50 - £48.50

Box Office: 0844 871 7648

Aug 30th

Rough Justice, 29th August – 1st September 2012, Theatre Royal, Glasgow

By Jon Cuthbertson

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Rough Justice is the kind of play that deserves a packed auditorium – and it definitely got this on opening night in Glasgow.

 

Tom Conti is oddly likable as James Highwood, representing himself in court while standing trial for smothering his own 9 month old baby. His warmth and charm come through to his character and his delivery is so natural and plausible you could easily believe it was Tom Conti on trial, all the while wrestling with your own conscience about whether you should like someone who has committed such a crime. Mr Conti is given a verbal sparring partner in Elizabeth Payne as Margaret Casely, Queens Counsel for the prosecution. Her sharp delivery and excellent timing made for some brilliantly executed exchanges between these leading performers. Unfortunately at times these exchanges were interrupted by poor timing from Royce Mills as the Judge. Although many of the characters were “referring to notes” as part of their legal characterisation, it was unfortunately extremely obvious that Mr Mills was referring to the script – and when I say referring, I mean “reading from”. His ad-libs to cover his own mistakes also seemed to leave a few of the cast looking a little bemused. This was very disappointing on a few levels – firstly the rest of cast really were exceptional and they were at times left floundering due to Mr Mills losing the place. Secondly, in a professional production of this standard, there is no excuse at not rectifying this before it reaches a paying audience.

 

Luckily, Mr Mills had more of a diminished role in act 2, where Carol Starks as Mr Highwood’s wife Jean, came to the fore. She perfectly captured the anguish of her character as she supported her husband, while struggling with her own feelings about the incident.

 

Terence Frisby has created a clever script with a dark plot, which is peppered with wit and humour throughout. This helps to keep this simply staged story full of life, and the witty exchanges between many of the characters is what makes this one of the strongest play scripts I’ve seen for a long time. Janet Bird’s clever design makes the scene changes seamless, especially when combined with clever sound and lighting that help evoke the feelings required in each scene.

 

Even with the rather obvious negative point to this production, I am still pleased that I have seen it, and would certainly recommend it to you. Tom Conti, Elizabeth Payne and Carol Starks do exceptional work here, ably supported by David Michaels and Mary Lincoln - and hopefully the later you catch this, the more chance Mr Mills may have learned his lines!

 

Listings

 

Wed 29th Aug – Sat 1 Sept

Wed – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Tickets: £12 - £27

Box Office 0844 871 7647 (Bkg fee)

Book: http://uktheatrenet.ambassadortickets.com