UK Theatre Network

Buddy   The Buddy Holly Story

At Milton Keynes Theatre

This show is excellent it is a biography of Buddy Holly that starts before his rise to fame and follows his life musically and personally until his untimely death in a plane crash. It gives an insight into Buddy’s character that I hadn’t seen before, his determination to play the music he wanted and not what the record company required, even if it meant losing a recording contract.

 Buddy showed loyalty to his other band members, when his manager got a recording contract with Decca records that was for him alone; he at first declined but was persuaded to go for it. He hoped his band members could work in the studio as session musicians but this was not to be.  There is a conflict with the style of music Decca wants to record and what Buddy is prepared to play. The deal with Decca doesn’t work out and Buddy turns to an independent record producer, Norman Petty played by Gavin Barnes, who later becomes Buddy’s manager. It was whilst recording these tracks with Norman that Vi Petty (Katia Sartini) played piano and celeste with the band.

Buddy Holly was played by Glen Joseph in the performance I saw, with Roger Rowley on rhythm guitar in Holly’s band, but, according to the programme, these roles are reversed in certain performances.

Glen Joseph was excellent in the role of Buddy Holly; his vocals were superb, he was charismatic, vibrant, and believable in the role.

I thought all the musicians were excellent and produced a very vibrant exciting sound. In this performance Roger Rowley was on rhythm guitar and was very accomplished in this role.

I was also very impressed by Christopher Redmond who played the part of Joe B Mauldin the bass player, at times he climbed on the bass and did some good moves.

Although Buddy’s career only really spanned a couple of years before the tragic plane crash, he was very prolific during this time with numerous hit records in the US and UK charts. Songs such as That’ll be the day, Peggy Sue, Words of Love, True Love Ways and many more are performed throughout the show.

Those of us in the audience also became part of the performance in the sense that we became the American audiences that Buddy Holly was playing to. Mention must also be made of Melissa Keyes who took several parts but the one that stands out is as performer/presenter at the Apollo in Harlem, a role in which she is hilarious.

During a trip to New York Buddy visits the offices of a music publisher and is attracted to the receptionist, Maria Elena Santiago, played by Felicity Chilver and within a few hours of meeting her Buddy has proposed marriage to her and she has accepted. It’s almost as if he knows he only has a short time on this earth.

In January 1959 Buddy is on a winter tour as he needs to support his wife Maria and provide for their expected child. Also on this tour is Ritchie Valens, brilliantly played by Miguel Angel with an excellent performance of La Bamba and J P Richardson, the Big Bopper, who was portrayed superbly by Steve Dorsett.

Finding the freezing cold weather made travelling on the tour bus unbearably uncomfortable Buddy charters a plane to fly himself and two other band members to the next gig. However, the Big Bopper has a cold and Waylon Jennings lets him have his seat, Ritchie Valens gets Tommy Allsup’s seat after tossing a coin for it. Tragically the plane crashes in bad weather killing everyone on board.

Buddy Holly lost his life aged just 22 years old, but his musical legacy has lived on and has influenced many other performers. This show is a must see.

Buddy plays Milton Keynes Theatre until Saturday 1^st October 2011. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee)

The tour then continues playing Truro Hall For Cornwall from Monday 3^rd October to Saturday 8^th October 2011.

www.atgtickets.com/miltonkeynes http://uktheatre.tv www.buddythemusical.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 26^th September 2011.

Lee Menzies In association with Jeremy Meadow, Suzanna Rosenthal and the Shaftesbury Theatre present  R.C. Sherriff’s

Journey’s End

At Milton Keynes Theatre

This play is set in 1918 in the British front line trenches during the First World War. The set is a dug out used by the officers to eat and sleep between shifts in the trenches. It is dimly lit by candlelight and contains a table, seating, some rudimentary beds and some shelves.

Captain Hardy (Tim Chipping) is gathering his possessions and preparing to leave as he has been relieved by Lieutenant Osborne, an older man who was a public school master. As Hardy prepares to leave he jokes about Captain Stanhope turning to alcohol to cope with the stress of war, but Lt. Osborne defends Capt Stanhope saying he is the best commander they’ve got.

The meals are prepared and served by Private Mason (Tony Turner), a servant cook who has limited resources and often serves meals containing an unusual combination of ingredients. On one occasion the tea appears to taste of onions and someone says he must have thrown some tea leaves into the onion soup.

2^nd Lieutenant Raleigh (Graham Butler) is a young inexperienced officer who arrives to join the company. Raleigh tells Osborne that he knew and admired Stanhope when he was at school and admits that he requested to join his Company. Osborne mentions that Stanhope will not be the same person he knew at school as the ravages of war had changed him. When Captain Stanhope (Nick Hendrix) enters the dug out and sees Raleigh he is angry that the boy has been allowed to join his Company saying the boy is a hero worshipper. Stanhope is in a relationship with Raleigh’s sister and is concerned that news of his heavy drinking may be relayed to her via her brother.

Captain Stanhope has a strong sense of duty and has not taken leave he was entitled to.  He strongly disapproves of Lieutenant Hibbert (Simon Harrison) who he believes is faking neuralgia so he can be sent home thus avoiding more fighting. Stanhope repeatedly denies Hibbert’s request to be sent down the line to see a doctor.

The men all hate the war and the conditions they find themselves in and they all find different ways to suppress their fear and loathing. 2nd Lieutenant Trotter ( Christian Patterson) is a corpulent soldier who is fond of his food, he detests the war and counts down the hours he serves on the front line by drawing circles on a piece of paper and then colouring them in.

A German attack is expected later in the week and the men are all trying to hide their trepidation   and keep their spirits up. I will not reveal more of the plot or the outcome of the play as I do not wish to spoil it for those who haven’t seen it. I thought the actors were all very good at portraying the soldiers in this situation. I particularly liked Simon Dutton in his role of Lieutenant Osborne and I thought he was particularly kind to the young Raleigh when he first arrived. I thought Nick Hendrix was excellent as Captain Stanhope showing the emotions one would expect from someone who had turned to alcohol to numb the emotional pain his war experiences had brought him.

The sound effects during this play were excellent, they realistically reproduced the sound of shelling and gunfire and other noises of battle on the front line, the volume was incredible.

This play not only demonstrates the dreadful conditions these soldiers had to endure, but it also shows the futility of war and reminds us of the devastating loss of life that is still happening today. This play is well worth seeing, but I suggest taking some tissues with you as you may need them before the curtain falls.

Journey’s End plays Milton Keynes Theatre until Saturday 24^th September 2011. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee)

The tour then continues playing New Victoria Theatre Woking from Mon 26^th September until Saturday 1^st October 2011.

www.atgtickets.com/miltonkeynes http://uktheatre.tv www.journeysendtheplay.com

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 20^th September 2011.

The Syndicate

By Eduardo De Filippo
In a new version by Mike Poulton
Director Sean Mathias
With Ian McKellen and Michael Pennington

While writer De Filippo may be familiar through one of his other plays, Saturday, Sunday, Monday or Napoli Milionairia for example, he is not generally well known in this country and this is the first time The Syndicate has been performed on stage in the UK. De Filippo’s work is very specific in its sense of time, place and people and is a depiction of 1960’s Neapolitan life and characters as perhaps only he knew it. Whilst the overarching sentimentality and optimism of the play is not convincing and the storyline not particularly gripping, in places the acting and characterisation are superb.
Aging Don Antonio (McKellen), a Napoli godfather commands and demands loyalty and respect from all. Whilst his relationship with his family is warm and happy and he is gentle and loving to them, he is intended to be a complicated character for everyone else. It appears that he has bullied and threatened his long serving doctor and right hand man Doctor Fabio (the excellent Michael Pennington) for over thirty years and only finally gives the doctor his permission and blessing to depart Naples and spend his final years in New York right at the end of the play.



Housekeeper Immacolata (Jane Bertish), ministers to his every whim but often gives the impression she is indulging him rather than petrified of him.

As a youth Don Antonio committed murder and ran to New York, under the protection of a local godfather, to escape justice. Having built up money and a fearsome reputation he returns to his hometown in Naples with the desire to help settle disputes among the locals. So, wherever Don Antonio is, there appears a string of villagers needing help with often bitter civil or family matters. Rather than go through the courts they attend Don Antonio for his very personal dispensation of rough justice.
Among those seeking help are Rafiluccio (Gavin Fowler) with the pregnant Rita (Annie Hemingway). Both Fowler and Hemingway are superb; passionate and energetic in their roles and convincing as the excitable and desperate couple.  Rafiluccio informs Don Antonio that he plans to kill his father in the morning. Don Antonio sees himself as a young man in Rafiluccio and feels a paternal need to help him, often calling him ‘my boy’. In his desire to resolve Rafiluccio’s problems with his estranged father, Arturo (Oliver Cotton is excellent as the suave looking, arrogant and cold-hearted baker businessman), Don Antonio plays the ultimate price.  This central story of this rather episodic play seems forced and oversentimental.



McKellen’s character gives him plenty to get his teeth into. Don Antonio enters the play in his silk dressing gown, shadow boxing around the room and imagining he cuts a dynamic figure when in fact his frailty and vanity are highlighted – and the audience laughs. Our opening impression of Don Antonio is of this slightly ridiculous man and this image remains paramount even as the depths and contradictions of the character unfold. As Immaculata helps Don Antonio dress for business he takes on the instinctive behaviour of a godfather: strutting and gesticulating. It’s as if Don Antonio physically wears his dominance, power and status and in the final act, when he is back down to his underwear and dressing gown, he is again reduced to the frail, flesh and bone man we see at the start. McKellen veers between aggressive menace and whimiscal humour. It's a complicated and uneven character to portray as is the play as a whole.
The final scene of the gathering together of characters, to dish up some sort of justice  seemed strangely overdone. With the fully laid dinner table, rotating stage and Don Antonio's personal tabletop microphone, which ironically made his speech incredibly difficult to decipher, it all seemed highly contrived, too much of a contrast and did not sit comfortably with the rest of the play.

The acting is superb, the story is less convincing.

This short tour finishes this week at Milton Keynes. There are still tickets available until 17 September 0844 0871 7652

http://www.ambassadortickets.com/milton-keynes-theatre

Top Hat

Music & Lyrics by Irving Berlin Based on RKO’s motion picture

At Milton Keynes Theatre

I have been looking forward to this production all season, often a recipe for disappointment but in this case my expectations were surpassed. All aspects of this show were not just good they were excellent. The plot comes over as Noel Coward meets Gilbert & Sullivan with a liberal sprinkling of Jeeves & Wooster. This is not just a vehicle to support a set of song and dance routines but is a valid and hilariously funny play in its own right. The dancing, particularly the tap, was superb and could have carried the show on its own but the singing was just as good as was the live   orchestra. The superlatives do not stop there because the sets were lush dripping with Art Deco and that wonderful thirties elegance.  If it is possible the costumes were even better than the sets with frocks to die for, white tie and tails, black tie and dinner jacket even authentic thirties swimwear. The support services were also particularly good the hair, wigs and make up were faultless not only for the major roles but for everyone.

Tom Chambers excelled in the role of Jerry Travers; not only was his tap dancing superb but his singing was excellent and he brought the role alive, being totally believable as the Broadway star in Europe. It’s surprising that a tap dancer of this calibre also has such a good voice.

Summer Strallen is stunningly beautiful, which she needs to be in order to successfully pull off the role of Dale Tremont, attractive just would not be good enough; this is a woman that men instantly fall in love with. Her figure is superb and set off to good effect by the thirties clothes. The golden hair above flawless skin demonstrates the kind of beauty that made Monroe an icon. Her melodic voice was powerful enough to carry this major role and her dancing was faultless. She can also act and I’m thinking particularly of the subtle expressions employed when she is dancing with Travers whilst believing him to be the husband of her friend Madge.

Martin Ball gave an accomplished performance as Horace Hardwick who was the producer of the London show which starred Jerry Travers. Vivien Parry was equally good portraying his wife Madge, a woman whose major occupation was spending his money. Ricardo Afonso played Alberto Beddini a dress designer, a character who alternated between being amusing, and ingratiating to the point of sleaziness.  There was also a show stealer, Stephen Boswell who played Bates who was butler to Horace Hardwick. Through a clever manipulation of the plot Bates masqueraded as several other characters throughout the show. Not only was he hilarious in his role as butler, a portrayal which had shades of Dobbie   the house elf in Harry Potter, but he was also equally amusing when incognito. The powerful support cast took the remaining roles such as promenaders, hotel staff and guests as well as performing some excellent dance routines.

There was also excellent lighting and special effects I particularly liked the thunderstorm. I liked the way moving wheels were used to give the impression of a hansom cab ride.

When this show finished I had the unusual feeling that I could quite happily have watched a repeat performance there and then. Overall this is a stunning production that is not to be missed.

Top Hat plays Milton Keynes Theatre until Saturday 27^th August 2011. Milton Keynes Theatre Box Office 08448717852 (bkg fee).

The tour continues playing Birmingham Hippodrome from 30^th August to Saturday 10^th September 2011. 0844 338 5000

www.atgtickets.com/miltonkeynes http://uktheatre.tv www.tophatonstage.com

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 23d August 2011  

Michael Frayn’s

Alarms & Excursions (more plays than one)

At Milton Keynes Theatre

Alarms & Excursions consists of eight plays with the same four actors playing various roles. The actors are; Robert Daws, Belinda Lang, Aden Gillett and Serena Evans and they were all very good at portraying the different characters. Some of the plays are only a few minutes duration whilst others are longer. Alarms & Excursions was first produced in 1998, but since then Michael Frayn has continued to think about its themes and as a result has put some new pieces into the collection for this latest production.

There is a theme running through the plays which looks at technology and its impact on our lives, particularly when it goes wrong. Is it always the fault of the technology or is it sometimes our inability to use it correctly? One of the plays deviates from this tech theme and instead focuses on the similarity between hotel rooms all over the world. It features two couples in identical rooms next to each other. Whilst these couples are different; in many ways they are also very similar.

The plays also explore peoples’ relationships with others and how they sometimes fail to communicate effectively with each other. This is particularly apparent in the final play, Immobiles, which is set in a time prior to widespread mobile phone use, where several characters are trying to meet up and are using public phones and leave messages on the home answer machine. There is an element of farce here and the increasing frustration of the characters, whilst amusing, also leads me to wonder how we coped before the invention of mobile phones. Once again I found myself appreciating my mobile phone and being glad I have one.

The scenery was easily moved around to create the different settings for the plays and the changes were quickly executed between plays. The actors were able to switch to different characters convincingly.

I really enjoyed Alarms & Excursions, not only was it amusing, but it was thought provoking too. I think most people could relate to the situations and the dialogue between the characters. Of course there are times when technology malfunctions, but there are clearly also times when problems with technology are down to our inability to use it properly. A little knowledge is a dangerous thing! I think there is usually someone in a household who knows how to use appliances better than everyone else. This was illustrated in the first play when the wife was telling the husband which buttons to press to answer a call and which room it would be in. I suspect most of us when we get a new appliance only learn basic instructions to enable us to perform the functions we need, I expect most products would perform more complex tasks if we took the trouble to find out.

I would strongly recommend this production as I found it very enjoyable and I think it would appeal to a wide audience.

Alarms & Excursions plays Milton Keynes Theatre until Saturday 16^th July 2011. Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee).

The tour continues playing Richmond Theatre Richmond –upon – Thames from July 29^th to 30^th July

Playhouse Oxford from August 15^th to August 20^th 2011.

www.miltonkeynestheatre.com http://uktheatre.tv

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 11^th July 2011

Bill Kenwright presents

Jekyll & Hyde

At Milton Keynes Theatre

Marti Pellow is superb in this musical adaptation of Robert Louis Stevenson’s Victorian Gothic tale. Further elements have been introduced such as the opening scene where Jekyll’s father is suffering from such madness that he must be restrained by being strapped to his bed, offering the possibility that the whole story is one of inherited schizophrenia. Other additions include Emma the fiancée and Lucy the prostitute befriended by Jekyll and abused by Hyde. I particularly liked the fact that Hyde’s psychotic nature was used for a series of revenge killings upon the board of St. Jude’s.  

Virtually all dialogue is sung in this production so much of its success depends on the calibre of the singers. Fortunately these are all excellent, with Sarah Earnshaw (Emma) and Sabrina Carter (Lucy) supporting Marti Pellow’s dual roles. Whilst these three stand out as excellent individual singers the numbers sung by the ensemble are equally good in their own way. There was a band which provided excellent music throughout.

Given his previous background it’s no surprise Marti Pellow can sing, he is however a consummate actor, effectively delivering the two characters of Jekyll and Hyde, seamlessly moving from one to the other yet always making the audience aware which of the characters is being portrayed.

The costumes were lavish and appropriate to the period with great attention to detail such as the second outfit for the Bishop of Basingstoke when one would have sufficed or the gaiters worn by the chimney sweep.

The set worked particularly well, composed mainly of grey brick providing a generally Gothic feel with small iconic touches such as the Georgian front door, the East End brick arch and the huge Victorian Gothic window which provided the background to Jekyll’s Harley Street laboratory. Behind this was a view of the top quarter of St. Paul’s Cathedral and the sky, the time of day being indicated by the nature of the sky. Further props included chandeliers, stained glass windows, laboratory benches, beds and furniture. Set changes were carried out smoothly and unobtrusively. Lighting was used to good effect and lack of it helped to create the mood for the darker moments in the plot.

I really enjoyed this and from their reaction so did the rest of the audience. I would suggest that if you are one of the many people who enjoyed “Phantom” then you will enjoy this also.  If you’re a fan of Marti Pellow then this is a must see.

Jekyll & Hyde plays Milton Keynes Theatre until Saturday 2^nd July 2011. Milton Keynes Theatre Box Office 0844 871 7862 (bkg fee).

The tour continues playing Cardiff Millennium Centre from 4^th July to 9^th July 2011

New Victoria Theatre Woking from 11^th July to 16^th July 2011-06-28

Theatre Royal Plymouth from 18^th July to 21^st July 2011

Grand Theatre Leeds from 25^th July to 30^th July 2011.

www.miltonkeynestheatre.com www.kennwright.com http://uktheatre.tv

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 27^th June 2011.         

Bill Kenwright by special arrangement with Agatha Christie Ltd presents

The Agatha Christie Theatre Company

Agatha Christie’s

Verdict

At Milton Keynes Theatre

This play has a star studded cast; Susan Penhaligon (A Bouquet of Barbed Wire), Robert Duncan (Drop the Dead Donkey), Peter Byrne (Dixon of Dock Green), Matthew Lewis (Neville Longbottom in the Harry Potter films), Elizabeth Power (Eastenders) and 1960s pop star Mark Wynter. An impressive line up and one in which each individual fulfilled my expectations.

Written in 1958, this was Agatha Christie’s last original play and was different from her previous works in that the audience witnessed the murder and therefore knew “who done it”. The suspense centred on the issue of justice and someone wrongly accused. Written during a time of personal emotional turmoil this play focuses upon the interplay of human relationships and the ethical considerations this engenders.

Robert Duncan plays Professor Karl Hendryk a brilliant scholar who is well respected in the Academic world. He left his home country in Europe claiming to have been persecuted for helping someone. Hendryk came to England with his invalid wife Anya, played by Cassie Raine and her cousin Lisa Koletzky (Susan Penhaligon) who became her carer and companion.

The play is set in the living room of Professor Hendryk’s flat in Bloomsbury in 1958. Lighting is used to set different times of day and darkness is used to move props around. A folding window screen is also used.

 Prof. Hendryk also privately tutors a couple of young men, one of whom is Lester Cole, played by Matthew Lewis who is very convincing in the role. Elizabeth Power (who played Arthur Fowler’s mistress in Eastenders) takes the role of Mrs Roper, a domestic who is not only inquisitive, but also pilfers tea and cigarettes from the household. Doctor Stoner (Mark Wynter) is a frequent visitor to the house to tend to the needs of Anya Hendryk. Lisa and Prof. Hendryk are devoted to Anya and are happy to care for her, but they are also very fond of each other.

One of Prof. Hendryk’s students, Helen Rollander, played by Holly Goss, calls at the house and requests private tuition.  Prof. Hendryk refuses saying he doesn’t have the time and he doesn’t find her a suitable candidate.  Helen’s wealthy father, Sir William Rollander (Peter Byrne) visits Prof. Hendryk and offers to pay for some new treatment which could possibly cure his invalid wife and Hendryk agrees to tutor his daughter.

Helen begins her studies but it is soon apparent that she is not really interested in working but is attracted to Prof. Hendryk who does not reciprocate her feelings. Personally, I couldn’t see what the attraction was! Would someone young, attractive and wealthy really be interested in someone like the Professor?

A murder is committed in front of the audience and is made to look like suicide or an accident. The police investigation determines that it is murder. The culprit has confessed to another character who has not told anyone. The police arrest an innocent person who is tried for the murder. At this time the death penalty was still in force so knowing an innocent person may lose their life added to the suspense. I will not reveal the outcome, if you want to know you must go and see the play. I found the end of the play ambiguous, which is deliberately thought provoking as is the play in general.

Verdict plays Milton Keynes Theatre until Saturday 11^th June 2011. Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee).

The tour continues playing Pavillion Theatre Rhyl from Monday 20^th June to Saturday 25^th June 2011.

Aylesbury Waterside Theatre from Monday 11^th July to Saturday 16^th July 2011.

www.miltonkeynestheatre.com www.kenwright.com http://uktheatre.tv

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 6^th June 2011.

Thriller Live

At Milton Keynes Theatre

In a career that spanned 40 years Michael Jackson sold 750 million records worldwide and Thriller is the world’s best selling recording of all time. Presented by Flying Music in association with Adrian Grant, this show is a homage to Michael Jackson’s music, dance and fashion style, with a cast of singers, dancers and musicians performing songs from the Jackson 5 years, up to his solo performances. It demonstrates how Jackson’s music traversed different musical genres which started with Tamla Motown and the Jackson 5 and ventured into pop, rock and R&B during his solo years. It also illustrates how he has influenced other performers.

The set was designed by Jonathan Park with lighting by Nigel Catmur. At first glance it appeared quite rudimentary, just a mezzanine with a rail and two sets of steps. However when the show started the stage came alive, lit up by LED panels which were used to create various different effects.   The main screen effectively formed a pair of sliding doors beneath the mezzanine. On towers around the mezzanine were four smaller sets of double panels. Another octagonal panel was suspended and lowered to allow images when needed, which included a projection of a large disco mirror ball in red. Pyrotechnics were also used, some in an understated manner which was very effective.

Gary Lloyd’s choreography was superb and the dancers were very energetic and gave it their all, I found Becky Hicks particularly charismatic.  The acrobatics performed by some of the male dancers was also very good.

The costumes were excellent and were appropriate to the fashions of the different eras. A particularly nice touch was the outfits for the Smooth Criminal track which featured gangsters’ molls from the ‘30s forwards.  There were numerous costume changes that had to be executed quickly and this was brilliantly achieved.

There were several lead vocalists who didn’t look like Michael Jackson but this was intentional as it was a celebration of his music not a tribute act, although there were clear vocal similarities. It was good to remember how many great songs he recorded during his career.

There was an excellent band of accomplished musicians, with the guitarists being particularly good. The band was on stage at the rear and were obscured most of the time, hidden from view by LED panels in front of them. At other times these panels were opened to reveal the band.

This show was fast moving and energetic from start to finish and the audience loved it. This is a show not to be missed and involves some excellent audience participation, which always increases the feel good factor.

Thriller live plays Milton Keynes Theatre until Saturday 14^th May 2011.  Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee).

The tour then continues to His Majesty’s Theatre Aberdeen from Monday 16^th to Saturday 21^st May 2011.

www.miltonkeynestheatre.com www.thrillerlive.com http://uktheatre.tv

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 9^th May 2011.

Theatre Royal Bath Productions presents by arrangement with Primavera Productions

Robert Powell in

Jeffrey Bernard   IS UNWELL

By Keith Waterhouse

At Milton Keynes Theatre

This play is set in the bar of the Coach and Horses pub in Soho, in the wee small hours, in 1989.  It is a favourite haunt of journalist Jeffrey Bernard, who emerges from the toilets, where he has fallen asleep (or passed out) to find the pub is closed and he is locked in.  He helps himself to some vodka from the optic while he considers his position.

Bernard is a chronic alcoholic, womaniser and gambler who spent most of his life frequenting pubs and clubs in Soho, having been mesmerised since his early teens by its culture, colourful characters and Bohemian atmosphere. He was married four times, none of which lasted and his relationships are estimated at 500. Both his parents had died by the time he was 18 years old so he was free to run wild. He is a loveable rogue who existed for many years largely on the generosity of his friends. He worked for and was fired from several Fleet Street publications before he started his Low Life column for The Spectator in 1978. He also wrote the Colonel Mad column in Private Eye.

As he drinks his vodka Bernard reminisces.  Robert Powell is excellent in this role and talks comfortably to the audience, who immediately warm to him. From time to time people from his past come in and hilarious anecdotes are recalled. Some 55 roles are played by four other cast members who are; Mark Hadfield, Peter Bramhill, Amy Hall and Rebecca Lacey who all do a brilliant job in creating so many diverse characters.

Occasionally Bernard refills his glass, opening a fresh bottle of vodka when the one on the optic is empty and assures the audience he will put it on the slate, after all he is not a freeloader. He also phones Norman the pub landlord a few times but is unable to contact him.

The set is a realistic representation of a London pub, displaying that overall look and feel only found in the capital’s pubs.

Eventually the landlord arrives to unlock the door and Bernard can leave the pub.

This is a very amusing and enjoyable play providing a successful biopic of one of the more colourful characters in an area replete with unusual and interesting people. I found it well worth seeing and judging by the laughter from the audience I was not alone.

Jeffrey Bernard is Unwell plays Milton Keynes Theatre until Saturday 30^th April 2011. Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee)

The tour continues playing Malvern Theatres, Malvern from Monday 9^th to Saturday 14^th May 2011.

www.miltonkeynestheatre.com www.ambassadortickets.com http://uktheatre.tv

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 25^th April 2011.

Theatre Royal Bath Productions by arrangement with Kevin McCollum Robyn Goodman Jeffrey Seller Vineyard Theatre The New Group and Cameron Mackintosh present

Avenue Q

At Milton Keynes Theatre

This show is a musical featuring the inhabitants of Avenue Q played by a mixture of actors and actors with puppets.  Avenue Q is an affordable area of New York City to the east of Brooklyn and Queens.  The actors working the puppets are visible on stage as they carry the puppets and can be seen speaking. This looks a little odd at first and I found it hard to focus on the puppets but after a while I got used to it. The actors  interact with their own and other puppets, with some of the actors playing characters without puppets. Those actors controlling puppets sometimes work with more than one puppet and are not always supplying the voice for the puppet they are holding which is very cleverly done. The puppets remind me of Sesame Street and the Muppets but the adult humour in Avenue Q is not suitable for children.

The everyday lives and aspirations of the residents of Avenue Q, are portrayed with dialogue and songs. Whilst it is very amusing it is also poignant in places too. The puppets are excellent and the actors handling them do a good job in bringing them to life.  Issues such as graduate unemployment, racism, homophobia and internet porn are topics for songs and discussion amongst the characters. There is a strong sense of camaraderie amongst those living on Avenue Q. Most of the residents have dreams and ambitions and some have encountered disappointments.

The landlord is a representation of Gary Coleman (played by Matthew J Henry) from the TV series Different Strokes, a child star whose money was usurped by his parents and whose career did not progress with him to adulthood. He seems cheerful but clearly found it hard to deal with his career being over at 15years of age when most people haven’t even started theirs.

The newest resident is Princeton (Adam Pettigrew) a recent graduate with a degree in English whose new job falls through before his first day. Having been focused on graduation as a student there is often a sense of anti climax post graduation and if it is difficult to find employment the value of the degree can be doubted. Princeton is aware he needs to find a new purpose in life. Two nasty bears (Catherine Moraz Chris Thatcher) put in their first appearance and encourage him to spend what little money he has on beer.

Kate Monster (Rachel Jerram) has a dream to open a school for monsters. Kate and Princeton become friends, but there’s a romantic attraction too. During a night out they are led astray by the nasty bears who encourage them to binge drink. Kate and Princeton end up in bed which leads to Princeton cooling the relationship to pursue his purpose. Kate Monster is upset particularly when Lucy the Slut (Rachel Jerram) appears on the scene.

Then there’s the Trekkie Monster (Chris Thatcher) who’s quite obsessed with internet porn and sings a song on the topic.

Rod (Adam Pettigrew) is gay but lacks the courage to admit it although his friends are supportive and accept him for who he is.

A non puppet couple Brian (Edward Judge) and his Japanese wife Christmas Eve  (Jacqueline Tate)  are major characters in the Avenue.

The set is excellent with windows that open and shut and a clever use of lighting which enabled us to see both inside and outdoors of the building. Lighting was also used to good effect to transform Avenue Q to the bar. There were also special effects including pyrotechnics which added to the overall experience.

Avenue Q is a musical with a difference and I for one am glad I did not miss it. Given its interaction between actors and puppets and its use of humour to explore sensitive issues, it is not only funny but also makes you think. If this appeals to you then this is a show worth seeing.

Avenue Q plays Milton Keynes theatre until Saturday 23^rd April 2011. Milton Keynes Theatre Box Office 0844 871 7852 (bkg fee).

The tour continues playing Theatre Royal Nottingham from 26^th April to 30^th April 2011.

www.miltonkeynestheatre.com www.avenueqthemusical.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 18^th April 2011.

http://uktheatre.tv