Reviewed Wednesday 24 Feb 2010



This stage musical, based on Ian Fleming’s stories for his son and the 1968 film of the same name, hit the London Palladium in 2002 after years of planning and preparation. It became the longest running show there and enjoyed rave reviews, running for four years. It then toured the UK and is now back for another tour having undergone some changes.
The combination of a huge cast (including a large number of fluffy dogs), superb sets, outstanding special effects and a full orchestra brought together under the creative genius of director Adrian Noble and the production of Michael Rose Ltd all serve to make this a sensational show and wonderful evening of fun and feel-good family entertainment.

The original film was part of my childhood and it was great to take my six year old niece to this and watch her, mouth dropped open, enthralled at the sumptuous costumes, fantastic singing and dancing, and magical scenes with the quite incredible car – the most expensive stage prop ever. It was a joy to see her reaction. Oddly there were not that many children in the audience (perhaps as it was a school night) but this is a testament to the strength of this production. That all-adult parties feel they can go to a show that conjures up the nostalgia of childhood is a great recommendation.
The Sherman Brothers score including songs such as Toot Sweets, Truly Scrumptious, Hushabye Mountain, and the title song Chitty Chitty Bang Bang are all deeply memorable. I can testify to that because although I have not seen this film more than once or twice since childhood and I could singvalong to all of them (quietly I hope!).
David Morgan’s exciting and often quirky choreography and Anthony Ward’s imposing and imaginative sets and stunning special effects are a major part of making this a truly terrific show.
The cast were all fantastic and clearly are having great fun. There is the impression that the Potts family really have a genuine fondness for each other and this in turn makes the show all the more heartwarming. Darren Bennet (Caractacus Potts) is funny and affectionate. The children could easily be pretentious but are far from it. John Griffiths (Grandpa Potts) is entertaining as the eccentric explorer and Katy Ray (Truly Scrumptious) is sweet and will make a lovely stepmother! Nigel Garton and Richard Ashton, as spies Goran and Boris, are hilarious and do the Act English number with panache. Edward Peel (Baron Bomburst) and Kim Ismay (Baroness Bomburst) are brilliant. Ismay in particular has great comedic talent and her expressions are priceless. Their number Chu-Chi Face was hilarious. Dean Maynard is rather scary as the Child Catcher but is only on a couple of times and not for long.

This is an extraordinary production, magical and warming. I can’t recommend it highly enough. It doesn’t matter what your age, it will bring joy to your soul. I urge you to get tickets to this and if you have children who you want to introduce to musical theatre you won’t find a better show.

Chitty Chitty Bang Bang plays MK Theatre for an extended run until 13 March.  www.ambassadortickets.com/miltonkeynes 0844 871 7652 (bkg fee)

Then to

New Wimbledon Theatre Tue 16 Mar - Sat 3 Apr 2010
The Mayflower, Southampton Tue 6 Apr - Sat 24 Apr 2010

Palace Theatre, Manchester Tue 27 Apr - Sat 15 May 2010

Edinburgh Playhouse 18 May – 5 Jun

Dreamboats and Petticoats at Milton Keynes Theatre

Reviewed 15^th February 2010

Directed by Bob Tomson; Musical Supervision by Keith Strachan; Choreography by Carole Todd; Designed by Sean Cavanagh; Lighting Designed by Mark Howett; Sound Designed by Ben Harrison; Executive Producer Brian Berg.

 

Performances are strong, particularly Josh Capper as Bobby, who has only been out of theatre school for three years.

Awarded most promising graduate in 2006 he was definitely one of the stand out performances of the evening. He looks the part, has a great voice for the most part, although the Roy Orbison number did cause a couple of problems, and comedic talent. He is very endearing as an dreamy awkward teenager.

Matching Josh in the comedy stakes is Wayne Smith as Ray who looks like a young Danny Kay and is as funny in places!

Again, great voice, convincing and a charming way about him. Bound to see more of these two in the future.

 

Daniella Bowen (Laura)  and Carolynne Good (Sue, above) are both bright and chirpy as knowing, teenage girls with more experience than the boys. Strongest female performance is Bethany Compson-Bradford as the sweet fifteen year old with the songwriting talent and beautiful voice. She is rather wonderful.

Anthony Clegg (Phil/Older Bobby) and Simon Nock (Frank/Slugger/Compere) are the very experienced and more mature cast members and their confidence and ease on stage shines through.
All members of the cast deserve a mention really, particularly as the majority of them play the music live on stage throughout. That certainly says something about todays wealth of talent.
An enjoyable singalong evening of a trawl through the hits of the sixties with the tiniest thread of a story to hold it all together is the sum of this productions parts.

22-27 Feb Opera House, Manchester
1-6 March, New Victoria Theatre, Woking
8-13 March, Liverpool Empire Theatre, Liverpool
15-20 March, Grand Theatre, Leeds
For full tour dates visit www.kenwright.com

Flying Music, Robert Jolley and Michael Boersma present The Les 7 Doigts de la Main production of

Traces

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 8^th February 2010.

The show features five young people occupying a makeshift shelter from an unspecified impending disaster that lurks outside. In the belief that creativity is the antidote to destruction, the characters aim to make the most of what little time is left by using various means of expression to leave behind some traces of themselves. They tell their stories through a variety of genres which includes speech, music, dancing and breath taking acrobatics.  As their stories unfold the audience gains an insight into the performers’ real lives.

The performers are five young French-Canadian artistes; Antoine Auger, Antoine Carabinier-Lepine, Genevieve Morin, Philip Rosenberg and Jonathan Causaubon, who were all students of Montreal’s National Circus School. They have a wide range of performing experience and skills honed in circus schools and companies worldwide.

Featuring a pulsating soundtrack throughout, which ranges from rock ‘n’ roll to blues to hip hop, this production mixes acrobatics with theatre, urban and contemporary dance styles, skateboarding and basketball.

The acrobatics are amazing, they balance on each other’s heads, leap up high poles without using their hands and fly through hoops. I particularly enjoyed the incredible performance of the acrobat using the large metal hoop.

Early in the show they introduce themselves individually by name, using a suspended microphone, together with three keywords which define them. This is followed by an amusing sketch where they swing the microphone calling out a name or keyword as it passes. Later in the first half of the show they take turns playing a piano which sounds remarkably good, particularly since it has been given the appearance of having been made from scraps of wood roughly cobbled together.  An old box serves as a piano stool. One of the group also plays guitar and performs a song. There is some basketball and skateboarding.

After the interval the pace of the show speeds up with the exhilarating acrobatics. Whilst I enjoyed the show I think the first half could be improved by being a little sharper in places. There were times I found myself more interested in the soundtrack than what was happening on stage. However the second half was brilliant. This is an innovative show that is worth seeing.

It is perhaps a sign of the times that world class acrobatics does not constitute a show in its own right. This show has clearly taken circus skills and made something more out of them but what really excites me is the show this is going to be in a few more years’ time because I believe it is still evolving.

Traces plays Milton Keynes Theatre from Monday 8^th February to Wednesday 10^th February 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Alhambra Theatre Bradford from Thursday 11th February to Saturday 13th February.

www.miltonkeynestheatre.com www.flyingmusic.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 8^th February 2010 on behalf of Catherine Brian.

Back Row Productions and Sadler’s Wells present A New Adventures Production

Mathew Bourne’s Swan Lake

Music by Pyotr Ilyich Tchaikovsky Director and Choreographer Matthew Bourne

Set and Costume Design Lez Brotherston Lighting Design Rick Fisher

Associate Directors Scott Ambler and Etta Murfitt

Resident Tour Directors Scott Ambler and Steve Kirkham

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 1^st February 2010.

This is not the classical ballet Swan Lake; it could be considered an interpretation of Tchaikovsky’s music via contemporary dance which has been influenced by ballet. Now fifteen years old it has seen several major re workings and is still constantly evolving. It contains comedy, pathos and positively drips sensuality although some interpret this as sexuality which fifteen years ago tended to be labelled homoerotic, you will have to make up your own mind about this. It stars a prince who is crying out for some kind of emotional contact beyond the dutiful Queen and her corgi dogs. It even laughs at itself when you get a ballet within a ballet set at the opera house and I am sure the abiding image that everyone will take away with them after seeing this is that of the flock of male swans, at once beautiful and dangerous, simultaneously exhibiting grace and menace.

Dominic North gives an excellent performance as the Prince displaying the vulnerability required for this part which is inevitably overshadowed by the swan when he eventually appears. The Queen taken by Nina Goldman maintains a regal air throughout; indeed one could say aloof, not an easy task particularly when one also has to appear sexy as in the dance with the stranger. The third major part which as usual steals the show is that of the swan/stranger admirably played by Richard Winsor, undoubtedly helped by the fact that he has a body to die for.  Maddy Brennan was extremely funny as the girlfriend, whilst Steve Kirkham demonstrated appropriate reserve as the private secretary. Although the stars may catch the limelight the strength of any dance production is down to the ensemble and these dancers are very very good.

Lez Brotherston’s set and costume designs are outstanding, from the simplicity of the swan breeches and the genius of the painted beak to the lavishness of the Royal Ball costumes coupled with the ‘70s nostalgia of the club and the point where the whole of the female cast are Queen clones. I was also impressed by the butterfly costumes worn by the dancers in the spoof ballet. This scene allowed a touch of total glittering fantasy counterpointed by the drab yet still fantastic costumes of the wood demons. I particularly liked the Queen’s scarlet dress,  worn with black petticoats it created a dramatic contrast which was magnified by the fact that everyone else on the stage was wearing black, the effect was stunning. The Queen wore glittering diamante tiaras and some of the costumes were decorated with diamante or sequins.

 The scenery was excellent I loved the tree branches with the full moon shining behind them and there was an interesting effect which created the impression of water. The solidity of the side pillars gave depth to many scenes whilst not appearing out of place in sets as diverse as the park, the street and the palace gates.  Rick Fisher designed the lighting which was superb, from the previously mentioned full moon to spotlights strategically placed to cast the characters’ shadows on the wall, with the Queen’s towering over everyone else’s. This was not the only use of shadow play and there were times I was torn between watching the actors or watching the shadows. Full use was also made of back lighting to turn scenes of apparent solidity into windows onto other scenes.

This production is brilliant and received one of the most enthusiastic responses from an audience that I have seen in this theatre. I applauded till my hands hurt and many people felt the need to stand and applaud. This show is a must see.

Matthew Bourne’s Swan Lake plays Milton Keynes Theatre until Saturday 6^th February 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Birmingham Hippodrome from Monday 8^th February 2010 to Saturday 13^th February 2010.

www.miltonkeynestheatre.com www.swanlaketour.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 1^st February 2010 on behalf of Catherine Brian.

What a superb production this is! It makes murder, corruption, adultery and cheating look positively attractive!

Since its New York revival in 1996 Chicago has become the longest-running musical to play in the West End: a sure sign of its popularity. As a result there have been a number of touring productions, both good and not so good.
I suggest this particular cast makes this production one of the best of recent times. It must consist of some of the best looking actors currently on stage in the UK. Sure, the girls in this show have always been fabulous, long-legged, strong, sassy and sexy, but the boys this time – good heavens – they are clearly in the gym when not on stage – all abs, pecs and biceps, not to mention the lower halves! They certainly earned plenty of wolf-whistles of appreciation from the audience throughout the evening. Every member of the Company give their all throughout the evening and are completely convincing in their characterisations.

The choreography is sharp and tight (the original re-created by Gary Chryst) and the musical interpretation by Garth Hall exhilarating and performed impeccably and with great verve by the 10 piece orchestra, who are centre stage throughout and incidentally got the longest and loudest round of applause.

The billing has Marti Pellow as the main attraction. He has carved out a theatre career of late and his voice and stage presence are well suited to the part of Billy Flynn.



Whilst he is excellent, and taking nothing away from him, the outstanding performances are really from Emma Barton (ex-Eastender Honey) as Roxie Hart and Twinnie-Lee Moore as Velma Kelly.

Barton is a revelation but shouldn’t be. Looking at her experience she has plenty of theatre under her belt and was completely at home singing – what a gorgeous rich, full voice - and dancing. She is utterly hilarious as the conniving, flirtatious Roxie. Perfect!

Moore is one to watch. She does not have a great deal of experience being only 22 but you would never know this from her extraordinary performance. She is captivating, self assured and doubtlessly talented. I couldn’t take my eyes off her when she was on stage and her opening number ‘All That Jazz’ introduces her in fitting style. She is stylish and sophisticated, has superb comic timing and the stage presence of a real star. Someone to keep an eye on I have no doubt.

Matron (Wendy-Lee Purdy) it is fair to say suffers from comparison to Queen Latifah’s performance in the 2002 Rob Marshall film. It’s unfortunate but inevitable.

Amos (Adam Stafford), Roxie’s rather straight and trusting husband, was a clear favourite with the audience, particularly after Stafford’s superbly sensitive and touching performance of ‘Mister Cellophane’.

This is a sexy, strong, superb production of Chicago and very well worth booking tickets for. If you have always fancied it and never got round to it this production is the one to see.

Chicago plays MK Theatre Monday 25 –Saturday 30 January. MK box office 0844 871 7652 (Booking Fee)

Then on tour

February 1 – 6, Charter Theatre, Preston

February 8 – 13, Theatre Royal, Newcastle

February 16 – 27, The Mayflower, Southampton

Louise Winter on behalf or Catherine Brian 

Cinderella
Milton Keynes Theatre
Reviewed on Monday 7th December 2009 by Catherine Brian

Having had to miss last year’s panto, we were determined to get there this year.  And we’re glad we did as we really enjoyed the whole evening.

I don’t think this year’s Cinderella will ever win Panto of the year, but it does its job admirally and the 6 yr old we took with us thoroughly enjoyed every minute, which is the whole point really.  We left the theatre happy and laughing and thinking about how funny and talented Bobby Davro is, and what a shame he is billed as being “star of Eastenders” as if he has never had any other career.  Bring back variety entertainment!

The set and the costumes were really impressive and pretty and did not disappoint throughout.  The Ugly Sisters costumes were, as they should be, fabulous,  each one making a statement being more outrageous as the evening progressed.

There is a bit of strange casting, but I guess First Family Entertainment know who puts bums on seats.  Really and truly, Mickey Rooney as Baron Hardup is past it. It’s a shame really, as he is a Hollywood and Vaudeville legend, and sometimes it’s better to leave it at that.  He looked like a bumbling dirty old man on the few occasions he managed to get himself on stage, and it was always a worry for the audience that he would remember what he was supposed to say.  He performs a number towards the beginning of act 1 – I say “performs a number”, as you couldn’t really call it singing by any stretch of the imagination.

We had an “alternate” Prince Charming – very odd on Press Night – Anthony Kavanagh.  The real Prince Charming was apparently otherwise engaged on our Press Night. (Why would you cast a ‘C’ list celebrity who can’t do the whole run??) Mr Kavanagh isn’t a very good alternate though.  He can’t sing in tune and can’t act. He kind of did the job to keep the kids happy, but really, I think an actor or musical theatre performer currently between jobs would have made a far better alternate and no doubt have been cheaper to hire.
 
On the plus side, Anthea Turner pulls it out of the bag.  I wasn’t expecting much, and clearly she is no actress, but what she is, is very clever, as she knows her strengths and plays to them.  Her wand is a feather duster and she wears impossibly high heels – which kind of says it all really.








Local girl Louise Dearman from Leighton Buzzard, plays Cinderella brilliantly.  Louise has worked in Musical Theatre all her life, both on tour and in the West End and it was nice, after the MK Theatre publicity machine building her up all year, including starring in her own celebrity evening of entertainment to celebrate the 10 year anniversary of MK Theatre, that she was able to spend Christmas at home and be a wonderful leading lady to boot.  She sings beautifully, as I’m sure I’ve said in many a review, if only Simon Cowell, Amanda Holden and Piers Morgan could hear Louise sing they’d realise that the wee Scottish lady can’t really sing that well at all.

Chris Nelson as Dandini was very good – he’s funny, he’s talented, he’s appealing and I’m sure he has a great future ahead of him - but I’m not so sure he looks the part of Dandini.  He’s not how I imagine your average Dandini looking.  He looked nothing like Prince Charming – surely part of the plot is that they exchange places and Dandini becomes the Prince – how believable that is in this instance is questionable.

Chris Dennis and David Langham played colourful Ugly Sisters.  I’m not sure I warmed totally to them.  I preferred the short one – Chris Dennis - purely because I thought David Langham’s portrayal was way too near the mark. David Langham is really very tall.






Bobby Davro was, as I expected he would be, was very funny indeed.  He knows his job and does it wonderfully.  There was a slow boring bit at the beginning when makes his first entrance with a shopping trolley, but I suspect it has to stay as it advertises the sponsors, Robinsons.  (Panto was much more fun when the sponsors were Cadbury’s!) There were a couple of bits that I thought were a bit near the mark and really should have been cut.  The kangaroo at the end of Act 2 was hilarious.  Worth going to see this pantomime for that one 10 minute set if nothing else.

When I say things are too near the mark, I totally take on board that they will go over the heads of the 4, 5 and 6 year olds, but I doubt once today’s children get to 7 or so, that these jokes will go unnoticed.  Maybe I’m too traditional, but a couple of times I felt uncomfortable, and I know some grandparents who went who also felt uncomfortable.  I think it’s unnecessary for this smut to be in family entertainment.

The pantomime also has the totally unnecessary appearances by the winners of the MK’s Got Talent shows – Holly Brewer is the Fairy Assistant  - have you ever heard of the fairy having an assistant before? Adam Gates is MC Domo – he does a 16 bar rap at the beginning of the ball scene in Act 2.  I had to have it explained to me why he was there and who he was.
 
There is a capable chorus of 8 dancers but why is it that these days the male pantomime dancers always seem to be the campest male dancers from the audition?  I want to see manly macho male dancers, so that when they dance with the girls they look like couples.  It’s not their physical strength, more how they hold themselves and look.

Finally, there is an able juvenile chorus of babes – but they are so under-utilised it’s hard to know why they weren’t just dispensed with – or maybe it’s just tradition.

The Shetland Ponies are nice but again, totally wasted.  Why weren’t they walked around the stage? Why did they enter upstage, only to be walked prompt side of centre stage and then walked off as the curtain fell?  What a waste.  I’m not sure half the children would have noticed them if their relevant adults hadn’t pointed them out.

As I said at the beginning, this is a very funny enjoyable evening – surely the proper Prince Charming will be able to sing so make sure you go when he’s on – I think he’s on all the time from around 20th December. 

As a pantomime, it ticks all the boxes - it looks good, it’s funny, it’s professional and we left feeling happier than before we went.  At 2 and a half hours, it’s a tad on the long side for the little ones, and our 6 year old was ready for her bed by the time it finished.

Cinderella plays Milton Keynes Theatre from Friday 4th December 2009 until Sunday 17th January 2010.  Tickets range from £17 to £26 with family, school and group discounts available.  Milton Keynes Theatre Box Office: 0844 871 7652 (bkg fee)or go to the website http://www.ambassadortickets.com/Milton-Keynes-Theatre

Reviewed by Catherine Brian at Milton Keynes Theatre on Monday 7th December 2009

Jenůfa

An Opera in Two Acts performed by the Glyndebourne’s Touring Opera

Composed by Leoš Janáček

Directed by Nikolaus Lehnhoff

Jenůfa is an opera based on a story by Gabriela Preissová, sung in Czech with English subtitles. Tension started as soon as the curtain opened and didn’t cease until the very end.

An extremely dramatic opera which betrays well the deep love a mother has for her child, and the lengths she will go to protect that child.

As always the cast was superb, both in the singing and also the dramatic atmosphere they created. Giselle Allen in the title role was magnificent and her beautiful voice was shown to its best in the aria sung in the second act. But praise must go indeed to Anne Mason who played her mother, a vocal and acting performance of extraordinary ability which clearly moved the whole audience.

The sets and lighting contributed well to the atmosphere, especially in the last scene when the shutters were opened and light poured in to portray a happier scene.

Robin Ticciati conducted the beautiful and stirring music with sensitivity, portraying well the silent pauses that added to the tension.  The audience was clearly appreciative and one came away with a lot to think about.

The Glyndebourne Touring Opera is at Milton Keynes Theatre until Saturday 28^th November.  Milton Keynes Box Office 0870 060 6652 (bkg fee)

www.miltonkynestheatre.com For future dates please see www.glyndebourne.com

Cosi Fan Tutte

Reviewed Tuesday 24^th November 2009

Nicholas Hytner's production of Così Fan Tutte has been reworked since its 2006 debut and this revivial is most definitely a Glyndebourne crowd pleaser. The loyal audience at Milton Keynes signalled their approval long and loud at the end of last night's performance.
This opera about deception, self-deception, morals and fidelity, labelled 'immoral' by Beethoven and considered misogynistic by others is now considered to be one of Mozart's finest works. Although the title translates as 'Typical women' neither sex comes out of this narrative particularly well!
This production has received very favourable reviews elsewhere and Hytner’s revivial is an elegant one aided by Ashley Dean’s sophisticated staging. Outstanding as ever is the orchestra, this time under Patrick Lange’s perfect control; this is the highlight.
The strongest performances come from Riccardo Novaro (Alfonso) and Simona Mihai (Despina). These two, and their dark plottings, pin the production together. Novaro plays Alfonso with an air of menace and does not overplay the humour; he clearly enjoys causing disharmony and distress. Nevertheless, he is charismatic and that coupled with his rich and powerful voice makes Alfonso an attractive character.
Mihai, as Despina, has a pure, fresh quality to her voice, and is a perfect match for her co-conspirator. She is superb in portraying the cynical, no nonsense side of her character and contrasts well with the two sisters, played by Gillian Ramm (Fiodiligi) and Lucia Cirillo (Dorabella).
These two are also excellent, both in voice and as performers, and play their parts with a mix of naivete and gentle sexiness at the beginning. Their character development as the story progresses is well managed and they are faultless in their vocals.Cirillo expresses herself very well in the comedic role, with Ramm taking the role of the seemingly more 'sensible' sister. They both are superb in their scenes with their lovers, Andrew Tortise (Ferrando) and Jacques Imbralio (Guglielmo).
First to Tortise who is not as strong as the others on stage. His voice does not seem quite a match and his acting is so awkward at times that his character is not consistently believeable, upsetting the balance and force of the drama on stage. I found my eye drawn to him in the scenes with Guglielmo and their lovers but not for the right reasons. As he is not convincing as the lovestruck Ferrando, the scene in which his lover’s infidielity is exposed – a scene which should be painful to watch as his anguish, despair and anguish is revealed – is rather weak when it should be a pivotal point.
Imbralio, on the other hand, is utterly convincing throughout. Beautiful in voice, perfect in his performance, convicing as both a bit of a cad
and a persuasive lover.
Overall this a solid and strong revival; superb orchestra as ever, elegant staging, and overall perfomances which are convincing and engaging.

Playing MK Theatre Friday 27th Nov then Plymouth, THeatre Royal on Tuesday 1st and Friday 4th Dec

Reviewed by Louise Winter on behalf of Catherine Brian

Rain Man

Adapted for the stage by Dan Gordon.

Based on the MGM motion picture story by Barry Morrow.

Directed by Robin Herford

 Reviewed by Sue Marks at Milton Keynes Theatre on Monday 14^th September 2009.

A flier for this play quoted the Sunday Telegraph as saying “guaranteed tears as well as laughter”. I did not find this was the case, true there were some poignant moments but I found this the most “feel good” play I have seen in a long time. The play opens with a brash Charlie Babbitt wheeling and dealing in his office and barely breaking stride when told of his father’s death. He then attends the funeral of his estranged father and is shocked and angry to learn that the multi millionaire has left his fortune to someone else. There is another shock in store when he discovers the beneficiary is his elder brother, Raymond, an autistic savant who has lived in an institution for many years. Charlie was unaware he had a brother but in an attempt to recover his lost inheritance checks his brother out of the home he has lived in for the past twenty six years. The play illustrates the interaction between the brothers which forges a bond between them. Eventually Charlie, who was initially motivated by financial gain, finds a relationship with his brother more rewarding.

Charlie Babbitt is played by Oliver Chris who is excellent in the role, allowing his character to gradually change during the course of the play. Initially he is brash but with a reasonable smattering of charisma. However, one’s opinion of him deteriorates as he goes through the episode of pulling his brother out of his home for financial reasons, reaching a low at about the same point that his girlfriend leaves because he’s a user. Having assassinated his character in the first half of the play it is rebuilt in the second half when his more human side is displayed starting with the events from his childhood. Revelations about his past explain some of his apparent lack of feeling. Oliver was also very amusing and interacted well with the other characters.

Raymond Babbitt is played by Neil Morrissey and I found his performance stunning. His portrayal of an autistic savant was not only realistic but displayed a sensitivity which added something to the role. He illustrated the reliance autistic people have upon their rituals and routines to cope with even minor changes in the world around them.  Although Neil is one of our best known actors he was still able to be believable in this part, immersing himself entirely in the character. The gestures with his arms were particularly convincing and effectively maintained throughout the performance.

The scenery was minimalist but effective.  It seemed appropriate not to distract the audience from the powerful interaction between the actors. However, whilst not intrusive it held greater complexity than would appear at first sight and effects ranged from photographic backdrops through offices, palatial portals, airport lounges to Vegas hotels.

I thought this was a particularly enjoyable play and judging by the applause at the end the rest of the audience agreed.

Rain Man plays Milton Keynes Theatre until Saturday 19^th September 2009. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee). The tour then continues playing His Majesty’s Theatre Aberdeen from Tuesday 22^nd to Saturday 26^th September 2009.

www.miltonkeynestheatre.com www.rainmanonstage.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 14^th September 2009 on behalf of Catherine Brian.