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SAT31st

THE REAL MACGUFFINS AND GUESTS

Published by: Douglas McFarlane on Saturday 31st October 2009 09:10am

THE REAL MACGUFFINS AND GUESTS

Remember remember the 2nd of November

A personal message from The Real MacGuffins to all of you lovely people at UK Theatre: 

 "Hello, how are you?...Oh,we're glad to hear that...so what are you up to this Monday?...You're free? That's great, how about two hours of top sketch comedy from the UK's finest comedians to keep you happy and warm? ...Yes that's right...the next show looms large on the horizon and we at MacGuffin Towers are proud to say that it is looking mighty fine - and we would like you, yes YOU, to be part of that mighty fine-ness. You'll also get to see some scrumptious special guests - the Pros from Dover (HUGE CHEER), Colin Hoult, currently being brilliant on the BBC's "Russell Howard's Good News", (EQUALLY HUGE CHEER) and a special guest off the telly (A HUGE BUT NOT QUITE SURE WHO YOU'RE CHEERING CHEER) oh and us,of course, doing a whole load of sketches.

So looking forward to seeing you (and any friends who may be accompanying you) on Monday 2nd November at the Albany at 7.30pm.

LOCATION: Lowdown at the Albany,240 Great Portland St, right next to Great Portland St Tube.
TIME: 7.30pm
BOX OFFICE: 020 7387 5706

MacGuffin-out

WED28th

The Winter's Tale

Published by: Steve Burbridge on Wednesday 28th October 2009 08:10pm

The Winter’s Tale

The Royal Shakespeare Company at Theatre Royal, Newcastle.

Shakespeare’s play of love, paranoia, betrayal and reconciliation – The Winter’s Tale – is brought vividly and stunningly to life by the Royal Shakespeare Company at Newcastle’s Theatre Royal.

King Leontes of Sicilia (Greg Hicks) is the man with the perfect life. Powerful, wealthy and surrounded by a loving family he should be content, but instead he is ill at ease with the world around him. Isolated by a destructive jealousy, he lashes out at those closest to him.

After accusing his heavily pregnant wife, Hermione (Kelly Hunter), of infidelity with his best friend, King Polixenes of Bohemia (Darrel D’Silva), he imprisons her and arranges to have Polixenes poisoned. When Hermione gives birth to a daughter in prison, believing it to be illegitimate, he orders the child should be abandoned in the wilderness.

The Oracle of Apollo declares that Hermione is innocent of being unfaithful and brands Leontes a tyrant. His punishment is to die without an heir - unless the lost child is found. Shortly afterwards, the news arrives that their first-born son, Mamillius, has suddenly died, which causes Hermione to collapse. She, too, is later reported to have died.

Leontes is overcome with grief and remorse and vows to spend the rest of his life in atonement.

Sixteen years later his abandoned daughter, Perdita (Samantha Young), is alive and well, having been found as an infant by a kindly, eccentric shepherd. Unaware of her background, she is in love with Florizel (Tunji Kasim), son of Polixenes. When he discovers that his son plans to marry a common shepherd’s daughter, Polixenes forbids it. The young lovers elope to Sicilia, pursued by Polixenes.

Back at the court of Leontes, Perdita’s true identity is discovered and the unveiling of a commemorative statue of Hermione sets a chain of events in motion that could eventually reunite the scattered family.

The Winter’s Tale explores the human psyche when corrupted by jealousy and paranoia, whilst also examining its staggering ability to forgive even the most devastating betrayals and cruelties inflicted upon it, thus revealing the true meaning of love.

This production deserves all the acclaim that will, undoubtedly, be bestowed upon it. Consummate performances from the cast are technically backed up with an impressive set designed by Jon Bausor, atmospheric lighting and sound by Jon Clark and Martin Slavin, respectively and dynamic direction from David Farr. The result is a terrific piece of theatre that is as profound and poignant as it is funny and frivolous.

Steve Burbridge.

‘The Winter’s Tale’ runs until Saturday 31 October 2009.

MON26th

A Child Made Of Love – Tron Theatre, Glasgow – 20th-24th October 2009

Published by: Jon Cuthbertson on Monday 26th October 2009 11:10am

A return to the Glasgay Festival for playwright Matthew McVarish, after the success of last year’s “To Kill A Kelpie”, with another issue based theatrical piece.

 

Having reviewed To Kill A Kelpie last year, and being extremely impressed by this new author, I was intrigued to see a piece that was billed as not written by, but created by Matthew McVarish. On further reading it appears this production was as much of an experiment in writing styles as it was in creating a new piece of theatre. This did give me sense of trepidation; however I’m pleased to say that this was one experiment that was far removed from Frankenstein’s Monster!

 

What has been created, through a collaborative writing process from the actors and creator, is a touching piece of theatre which manages to sensitively portray the story of a couple who are unable to naturally have a child, and are going through the decisions and processes involved in adoption. The fact that the couple are both men is another layer to the story which adds both drama and humour in equal measure. The piece is sympathetically played to make the audience appreciate the ideals of the couple who wish to adopt, but also challenges the characters and forces them to give forth their reasons, showing that these are no different than the reasons of any childless couple with a desire to become a parent.

 

The continual thread of “children’s stories” that runs through the play is a nice way to allow comedy into some very serious moments. The moment of genius that is the courtroom cross examination, interjected with readings from the story of Pinocchio highlights this beautifully. As co-authors to the piece, actors Andrew Agnew and Ed Corrie have obviously had some input into the development of their characters, and this has helped create extremely believable performances on the stage. Mr Agnew as Joe, a frustrated children’s author, shows a gentle maternal human being, whose need to become a parent bubbles under the surface as a frustration that could combust in tears at any moment. Mr Corrie, as Mike, brings his frustration to the fore. His intense portrayal of the family lawyer torn apart by his circumstances in both his work and home life brought another real layer of humanity to the piece. The relationship between both these actors was so natural and believable, that at times it did feel as if the audience were intruding in a family home.

 

The third actor in the piece was Kai Ross, who at 8 years old has a level of maturity that will carry him well in this business. His ethereal appearances throughout the story were another excellent use of imagery, and his interactions with the adult actors, and the audience were perfectly pitched on the right side of “cute”. The play does have moments that are a little “saccharine”, however this does lend itself well to the “Children’s Story” theme and director Lauren Graham does not allow this to take the play into tacky sentimentality.

 

Although this is “issue based theatre”, the issue at hand is sensitively depicted without forcing any messages to the audience. This is a moving, humorous play, which draws laughter and tears from its audience but ultimately, and most importantly, entertains.

 

Listings

Tron Theatre, Glasgow – 20^th-24^th October 7.45pm

 

SAT24th

The Nolans: I'm In The Mood Again

Published by: Steve Burbridge on Saturday 24th October 2009 01:10pm

The Nolans: I’m In The Mood Again

The Metro Radio Arena, Newcastle upon Tyne

The most talked-about tour of the year took Newcastle by storm as Bernie, Linda, Coleen and Maureen – collectively known as The Nolans – proved that sisters are doing it for themselves with a concert that captured the girl group’s energy and spirit perfectly.

It’s incredible to think it’s now thirty years since their smash-hit single, ‘I’m In The Mood For Dancing’ stormed the pop charts and became a cult classic. It’s even more incredible that the quartet look and sound even better than ever.

The show is spectacular - their greatest hits, disco diva anthems and songs from their new album – and right from the beginning it kickstarts an evening that quickly develops into an enormous party.

Many of the girls’ original hits have been subtly updated and each number is choreographed carefully and performed with seven hunky male dancers - enough to raise the blood pressure of many a middle-aged woman in the arena.

Having slung the spandex, banished the boob-tubes and parted with the platforms, the costumes now are sophisticated, stylish and yet equally as sexy. And, for those who appreciate a bit of glitzy glamour, there are still sequins and stiletto heels to keep you happy.

As well as belting out their own back catalogue, the group bestowed the Nolan magic on Girls Aloud’s ‘The Promise’, Ernie K. Doe’s ‘Here Come The Girls’ and ‘Eternal Flame’ by The Bangles. Each of the siblings was also allowed to shine individually with a solo performance: Coleen kicked off with a playful cover of Alesha Dixon’s ‘The Boy Does Nothing’; Linda gave a true rock-chick rendition of Duffy’s ‘Mercy’; Maureen showed off her impressive vocals with ‘Valerie’ by The Zutons and Bernie completed with Pink’s ‘So What?’

It was a cracking comeback concert from the group who were giving us ‘girl-power’ long before The Spice Girls were even thought of.

Steve Burbridge. 

 

theatre, Glasgow,Milton Keynes Reviews, Musical,Theatre, Play, fringe,Kings, Comedy,uktheatre, London theatre review,comedy, Milton Keynes Theatre, Manchester,glasgow, review,Musical Play, new writing, Edinburgh Fringe Review, King's,Concert, uk theatre, ,Musical Comedy, west end

THE REAL MACGUFFINS AND GUESTS

Remember remember the 2nd of November

A personal message from The Real MacGuffins to all of you lovely people at UK Theatre: 

 "Hello, how are you?...Oh,we're glad to hear that...so what are you up to this Monday?...You're free? That's great, how about two hours of top sketch comedy from the UK's finest comedians to keep you happy and warm? ...Yes that's right...the next show looms large on the horizon and we at MacGuffin Towers are proud to say that it is looking mighty fine - and we would like you, yes YOU, to be part of that mighty fine-ness. You'll also get to see some scrumptious special guests - the Pros from Dover (HUGE CHEER), Colin Hoult, currently being brilliant on the BBC's "Russell Howard's Good News", (EQUALLY HUGE CHEER) and a special guest off the telly (A HUGE BUT NOT QUITE SURE WHO YOU'RE CHEERING CHEER) oh and us,of course, doing a whole load of sketches.

So looking forward to seeing you (and any friends who may be accompanying you) on Monday 2nd November at the Albany at 7.30pm.

LOCATION: Lowdown at the Albany,240 Great Portland St, right next to Great Portland St Tube.
TIME: 7.30pm
BOX OFFICE: 020 7387 5706

MacGuffin-out

The Caucasian Chalk Circle at Richmond Theatre on Tuesday 20^th October 2009

 

Published by: Tremayne (Potter)

 

‘Set in an imaginary “Caucasus”, the work has dominating male and female leads.  One is Grusha, a maid in the royal palace.  When the governor of Grusinia is killed by revolutionaries, and the royal son and heir, Michael, is abandoned by his luxury-loving mother, Grusha gathers the royal child in her arms and flees with it as her own’.  *(445:2002)

 

‘In The Caucasian Chalk Circle there is a scene in which Grusha has to walk across a small, unreliable bridge above a deep chasm.  This strikes me as a good metaphor for translating a play.  As he treads a narrow walkway, the translator looks down on one side and sees an arid landscape of fidelity, adored by academics but not much visited by ordinary folks.  On the other side, he sees below him the floodlit outlines of an egocentric ‘version’, bright, accessible and designed to draw attention to the translator rather than the play.’

(Alistair Beaton)

 

In the opening scene the musicians arrive.  The Singer (James Clyde) introduces us to story of The Caucasian Chalk Circle.

We instantly recognise Adjutant (Steven Meo), who also plays the Monk and Shawa, from the part he played in BBC3 series Grownups.

Simon (Peter Bankole) proposes to Grusha (Matti Houghton) with the words “I sincerely ask for your hand in marriage.”  She accepts.

He adds, “when the war is over, I’ll be back.”

Grusha bursts in to song on his departure, singing “I will wait for you under the green elm.”  The music could be described as Irish Folk.

The Governor’s Wife (Josephine Butler) flees on hearing of her husband’s murder, leaving baby Michael behind.  Grusha convinces herself she will leave him on his own but finds herself discussing it with the Cook (Clare Perkins) : “he looks at me like a human being.” Her response back is : “then don’t look back at him!”

The Chorus, with their oh so powerful voices, start up singing again  to continue narrating  the story: “She went for a last look at the child.  Just for a moment before leaving.  A town filled with fear..  For many hours she sat beside the child..  Picked up the child and carried it away.  Like a thief she slipped away.”

Grusha begins to question her decision: “What did I take on when I took you on?”, after paying out 2 pesetas for a mere drop of milk.

They stumble across an Inn where The Innkeeper (Christian Patterson) says to her and two upper class ladies, one played by Josephine Butler, the other by Clare Perkins: “just be thankful you’re not being thrown into shallow graves like thousands of others."  Clare Perkin’s character on realizing Grusha is a servant reacts in a rather Catherine Tate caricature-type way, saying “This woman has snuck in here”, branding her as a thief, purely because of her status in society.

The Sergeant (Nicolas Asbury) says to the character played by Steven Meo : “I was watching you dickhead.  Don’t think you’re heading for a promotion.”  At which point Steven Meo bursts into song. I am pleasantly surprised by how sweet and pure his voice is, with a natural trill in it.

The Sergeant continues with his verbal abuse: “How am I meant to find the Governor’s little bastard when I’ve got you for company?!”, ‘little bastard’ could be seen as a biblical reference.

Grusha leaves the baby on Farmer’s doorstep. The Chorus sing: “Why so happy to be heading home?  Why so sad?  ..because I’m free and single”, after she has unburdened herself of the bundle.  But then, she finds herself within the clutches of The Soldier. 

The Sergeant tries to intimidate her saying: “How to the hills.  How do you fasten your stockings?  ..to put it in military terms, I’d like to get a child out of you!” And as the missing child is mentioned, she runs for the hills. 

“Quick, hide him!”, says Grusha as she makes her way inside the Farmer’s house. 

The Farmer’s Wife (Claire Perkins) asks her: “why did you abandon your baby?  That’s a sin!”

The Sergeant tackles Grusha: “Why did you run away from me? ..to be frank, I could imagine quite a lot of things”, he says pervertedly.

An impressive physical theatre combat scene takes place between The Farmer’s Wife, The Sergeant and Grusha, where Grusha hits The Sergeant over the head with a spade.

Grusha sings: “Since no-one wants to have you (referring to baby Michael).  In this hungry.  You’ll have to make do with me.”  They manage to make it across to the other side of a precarious bridge and on to Laverto’s (Grusha’s brother’s) place.

Laverto’s wife (Josephine Butler) is less than welcoming.

Winter draws near and the bundle, whose face is never revealed to us, is transformed into a wooden doll-like puppet with the most piercing blue eyes, ironically matching those of Grusha.

Laverto finds his sister a father ‘on paper’ in the shape of Jussup (Nicholas Asbury), who is meant to be close to drawing his last breath.  By being given an official stamp Grusha’s and Michael’s lives will be made easier.

Grusha is overcome with emotion on hearing the war is over and the soldiers,including Simon, are set to return from Iran.  The man she married is still alive!

 

 

Experimental theatre is not generally to my taste, with hard-hitting subjects being mixed in with puppetry. For example severed heads were quite obviously made out of cushion-type material but as the pace picked up in Act II I warmed to it.

 In Act II Grusha (Matti Houghton) and Simon (Peter Bankole) meet again at the stream.

Grusha says:“winter was a bit grim.  ..I can never go back.., I hit someone..”, referring to the Sergeant (Nicholas Asbury) whom she hit and left for dead.

Simon instinctively says: “Is the young lady saying the soldier is too late?  Bring me back the cross I gave you (a symbol of their commitment to each another).  Better still, throw it in the stream.”

The play is brought up to date with its references to the current situation in Iraq.  It is ultimately a play about Justice and when Azdak (James Clyde), who also plays the Singer, or rather, the narrator says: “they fought over arms..”, he is referring to George Bush Jnr. Azdak’s character is played like a Hugh Laurie in Blackadder as he spouts forth the words: “you should be hung, by the neck and so forth and so forth.”

Act I having gone at a much slower pace, we rely heavily on James Clyde to draw us from out of this hole.

We learn the child is now 2.

Simon has come round to Grusha’s situation and makes this clear when he says: “I would like to swear to the woman that the child is mine.”

In Court Grusha fights to keep custody of Michael against his biological mother and says to the Judge (James Clyde): “I’ve brought him up to the best of my ability.  I’ve taught him the meaning of work.  Well, as much as I could, he’s still so small.”

The second Act, in my opinion, is of a much higher calibre, revelling in its Blackadder feel.

The Judge’s counter argument is: “I don’t see that the child’s yours.  ..don’t you want him to be rich?”, which he would be if he were allowed to live with his biological mother

The approach of the baby in puppet form is most thought-provoking and engaging  His movements are so fluid that the actors’ skills in puppetry are shown to be in fine tune.

Azdak insists he be placed inside a chalk circle and by the true strength of the mother she will be able to pull him out of it.

The first time the experiment is carried out, Michael’s biological mother is the one to make it possible but then the Judge overrules his decision and allows Grusha to bring up the child as her own.

And also, accidentally divorces her, supposedly, from her horrid husband, when it seems quite apparent that he wishes the very best for her and Simon, and for them to live happily ever after, without any extra baggage.

 

 

* Cited by John Fuegi in Brecht & co (Grove Press, 2002).

The Winter’s Tale

The Royal Shakespeare Company at Theatre Royal, Newcastle.

Shakespeare’s play of love, paranoia, betrayal and reconciliation – The Winter’s Tale – is brought vividly and stunningly to life by the Royal Shakespeare Company at Newcastle’s Theatre Royal.

King Leontes of Sicilia (Greg Hicks) is the man with the perfect life. Powerful, wealthy and surrounded by a loving family he should be content, but instead he is ill at ease with the world around him. Isolated by a destructive jealousy, he lashes out at those closest to him.

After accusing his heavily pregnant wife, Hermione (Kelly Hunter), of infidelity with his best friend, King Polixenes of Bohemia (Darrel D’Silva), he imprisons her and arranges to have Polixenes poisoned. When Hermione gives birth to a daughter in prison, believing it to be illegitimate, he orders the child should be abandoned in the wilderness.

The Oracle of Apollo declares that Hermione is innocent of being unfaithful and brands Leontes a tyrant. His punishment is to die without an heir - unless the lost child is found. Shortly afterwards, the news arrives that their first-born son, Mamillius, has suddenly died, which causes Hermione to collapse. She, too, is later reported to have died.

Leontes is overcome with grief and remorse and vows to spend the rest of his life in atonement.

Sixteen years later his abandoned daughter, Perdita (Samantha Young), is alive and well, having been found as an infant by a kindly, eccentric shepherd. Unaware of her background, she is in love with Florizel (Tunji Kasim), son of Polixenes. When he discovers that his son plans to marry a common shepherd’s daughter, Polixenes forbids it. The young lovers elope to Sicilia, pursued by Polixenes.

Back at the court of Leontes, Perdita’s true identity is discovered and the unveiling of a commemorative statue of Hermione sets a chain of events in motion that could eventually reunite the scattered family.

The Winter’s Tale explores the human psyche when corrupted by jealousy and paranoia, whilst also examining its staggering ability to forgive even the most devastating betrayals and cruelties inflicted upon it, thus revealing the true meaning of love.

This production deserves all the acclaim that will, undoubtedly, be bestowed upon it. Consummate performances from the cast are technically backed up with an impressive set designed by Jon Bausor, atmospheric lighting and sound by Jon Clark and Martin Slavin, respectively and dynamic direction from David Farr. The result is a terrific piece of theatre that is as profound and poignant as it is funny and frivolous.

Steve Burbridge.

‘The Winter’s Tale’ runs until Saturday 31 October 2009.

A return to the Glasgay Festival for playwright Matthew McVarish, after the success of last year’s “To Kill A Kelpie”, with another issue based theatrical piece.

 

Having reviewed To Kill A Kelpie last year, and being extremely impressed by this new author, I was intrigued to see a piece that was billed as not written by, but created by Matthew McVarish. On further reading it appears this production was as much of an experiment in writing styles as it was in creating a new piece of theatre. This did give me sense of trepidation; however I’m pleased to say that this was one experiment that was far removed from Frankenstein’s Monster!

 

What has been created, through a collaborative writing process from the actors and creator, is a touching piece of theatre which manages to sensitively portray the story of a couple who are unable to naturally have a child, and are going through the decisions and processes involved in adoption. The fact that the couple are both men is another layer to the story which adds both drama and humour in equal measure. The piece is sympathetically played to make the audience appreciate the ideals of the couple who wish to adopt, but also challenges the characters and forces them to give forth their reasons, showing that these are no different than the reasons of any childless couple with a desire to become a parent.

 

The continual thread of “children’s stories” that runs through the play is a nice way to allow comedy into some very serious moments. The moment of genius that is the courtroom cross examination, interjected with readings from the story of Pinocchio highlights this beautifully. As co-authors to the piece, actors Andrew Agnew and Ed Corrie have obviously had some input into the development of their characters, and this has helped create extremely believable performances on the stage. Mr Agnew as Joe, a frustrated children’s author, shows a gentle maternal human being, whose need to become a parent bubbles under the surface as a frustration that could combust in tears at any moment. Mr Corrie, as Mike, brings his frustration to the fore. His intense portrayal of the family lawyer torn apart by his circumstances in both his work and home life brought another real layer of humanity to the piece. The relationship between both these actors was so natural and believable, that at times it did feel as if the audience were intruding in a family home.

 

The third actor in the piece was Kai Ross, who at 8 years old has a level of maturity that will carry him well in this business. His ethereal appearances throughout the story were another excellent use of imagery, and his interactions with the adult actors, and the audience were perfectly pitched on the right side of “cute”. The play does have moments that are a little “saccharine”, however this does lend itself well to the “Children’s Story” theme and director Lauren Graham does not allow this to take the play into tacky sentimentality.

 

Although this is “issue based theatre”, the issue at hand is sensitively depicted without forcing any messages to the audience. This is a moving, humorous play, which draws laughter and tears from its audience but ultimately, and most importantly, entertains.

 

Listings

Tron Theatre, Glasgow – 20^th-24^th October 7.45pm

The Nolans: I’m In The Mood Again

The Metro Radio Arena, Newcastle upon Tyne

The most talked-about tour of the year took Newcastle by storm as Bernie, Linda, Coleen and Maureen – collectively known as The Nolans – proved that sisters are doing it for themselves with a concert that captured the girl group’s energy and spirit perfectly.

It’s incredible to think it’s now thirty years since their smash-hit single, ‘I’m In The Mood For Dancing’ stormed the pop charts and became a cult classic. It’s even more incredible that the quartet look and sound even better than ever.

The show is spectacular - their greatest hits, disco diva anthems and songs from their new album – and right from the beginning it kickstarts an evening that quickly develops into an enormous party.

Many of the girls’ original hits have been subtly updated and each number is choreographed carefully and performed with seven hunky male dancers - enough to raise the blood pressure of many a middle-aged woman in the arena.

Having slung the spandex, banished the boob-tubes and parted with the platforms, the costumes now are sophisticated, stylish and yet equally as sexy. And, for those who appreciate a bit of glitzy glamour, there are still sequins and stiletto heels to keep you happy.

As well as belting out their own back catalogue, the group bestowed the Nolan magic on Girls Aloud’s ‘The Promise’, Ernie K. Doe’s ‘Here Come The Girls’ and ‘Eternal Flame’ by The Bangles. Each of the siblings was also allowed to shine individually with a solo performance: Coleen kicked off with a playful cover of Alesha Dixon’s ‘The Boy Does Nothing’; Linda gave a true rock-chick rendition of Duffy’s ‘Mercy’; Maureen showed off her impressive vocals with ‘Valerie’ by The Zutons and Bernie completed with Pink’s ‘So What?’

It was a cracking comeback concert from the group who were giving us ‘girl-power’ long before The Spice Girls were even thought of.

Steve Burbridge. 

 

 

 

Hi there

 

There’s lots as usual going on in the world of theatre and film. I’m personally preparing for lots of networking at Sheffield Documentary Festival in 2 weeks when Making It In Hollywood screens to interested delegates. I’ve already had requests for advanced screeners from Austrian and French Film Sales and Acquisition companies.

It’s also starting to get into BAFTA voting time. The competition for BAFTA members to get a seat where there’s a Q&A with top directors and actors, is fierce and you have to plan ahead and be quick to RSVP to the publicists. However I managed to get invited to new Coen brothers film A Serious Man.

I’ll keep you posted on all those, in the meantime I hope you enjoy all the colour pictures with snippets from the reviews. Simply click on a title you like and you can read the full magazine article online.

Enjoy your week of theatre and film.

 

Douglas McFarlane
editor@uktheatre.net

To get this newsletter in colour send a blank email to: subscribe@uktheatre.net
  

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Now showing in the VIDEO section this week
Secrets The Play

http://www.uktheatre.net/videos/view/secrets_the_play_959.html

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In the EVENTS diary this week
1867   
Mad Kings And Englishmen: History Hung, Drawn And Quartered

aje @ GoMA

Perseus and the Gorgon's Head

Romeo and Juliet
http://www.uktheatre.net/events.html

 

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With Reviews from around the UK

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The Gift

Published by: Douglas McFarlane on Thursday 22nd October 2009 06:10pm
An elderly farmer and what looks to be either his young wife or his daughter are in a shabby living room.  I am assuming they are related because he is a curmudgeon and I cannot think why she would be there otherwise.  But why does she seem so at ease and why is she wearing that old-fashioned dress?

THU22nd

Chitty Chitty Bang Bang (Kings Theatre, Glasgow 20 October – 14 November, 2009)

Published by: Cameron Lowe on Thursday 22nd October 2009 05:10pm

The Gift

By

Eamon McDonnell

An elderly farmer and what looks to be either his young wife or his daughter are in a shabby living room.  I am assuming they are related because he is a curmudgeon and I cannot think why she would be there otherwise.  But why does she seem so at ease and why is she wearing that old-fashioned dress?

A knock on the door and it is Callum the new neighbour – he is generally reticent but mentions he has been to prison.  Collum befriends the farmer (Ned) and reveals his loyalist identity in Northern Ireland.  Another woman then comes in.

If it is now established that we are living in the present, Ned seems firmly in the past. He does not have a television, rarely meets a neighbour, and, when he offers a drink to his guest,  pours a glass of whiskey into a jam jar (after having spat into the jam jar to clean it).

It is a world where Ned believes the past and present meet – a world of spirits and ghosts and Banshees and even leprechauns.  It is in the borderlands between north and south.

Driving the whole play is the viewer’s attempt to make sense of it all.  Why does the kind woman refer to the window so much (shades of Heathcliff)?  And the other woman?  Why is she so bitter?  And why does she have blood on her clothes (shades of MacBeth)?

Of note also is the language.  In some instances it is lyrical but I felt there was an over-reliance on the Oirish.  “I do be liking it...” “Do I be boring you...” do people really be talking like that?  People talk in clichés but again there was a bit too much for me of the “the road to hell is paved with good intentions” dialogue.

Nonetheless, all four actors turn in impressive performances in a well-directed play that holds your attention throughout.  There are two stories told in this bleak but compelling drama, which runs eighty minutes without an interval.

Richard Woulfe

“You’ll believe a car can fly” read the marketing spiel in advance of the Chitty Chitty Bang Bang tour.  The show certainly bursts onto the stage with a bang (bang), but can you believe the hype?

 

It is difficult for me to articulate just how good Chitty Chitty Bang Bang is … because my jaw dropped while watching the show and it hasn’t fully recovered!  WOW!  Even if the car had been a huge disappointment, the show would have proved itself as an excellent piece of musical theatre.  Every element screamed quality.  The large adult cast (30 strong), child cast (22), band (15) and several dogs (yes, dogs) filled the King’s stage with colour and energy and the auditorium with sound!  The somewhat abstract set added a childlike sense of drama and, when required, a real sense of motion!  Choreography was characteristic and entertaining in equal measure and flawlessly executed throughout.  The adapted script was bold in both cuts from and additions to the original 1968 movie screenplay and delivered rounded characters who were quickly lovable (or loathable) as required.

 

The score is packed with childhood favourites like Toot Sweets, The Ol’ Bamboo and Truly Scrumptious and the principal cast together with the large and talented ensemble delivered all to the highest standard and to the delight of the audience of young and old alike.

 

But the car … oh, the car is the star (as they say)!  And I repeat … WOW!  Take every wish that you may have dared to fanaticise upon for the delivery of your childhood dream Chitty and it is produced as a reality on stage.  There is a seemingly endless escalation of awsomeness as the car performs one miracle after another from its first spotlight reflecting reveal through a speeding countryside journey to a jaw dropping slow motion fall from a clifftop!  Chitty deservedly takes the final bow at the end of the show to the strains of the Superman movie theme!  One more time … WOW!

 

Don’t miss this fantastic show … its wonderful, its wizard, its keen!

 

Listings Info:

Chitty Chitty Bang Bang

Tue 20 Oct – Sat 14 Nov

Mon – Sat eves 7.30pm

Wed and Sat mats 2.30pm

Tickets: £20.50 - £39.50

Signed Performance Thu 29 Oct 7.30pm

Audio Described Performance Thu 12 Nov 7.30pm

Box Office 08448 717 648 (Bkg Fee)

www.ambassadortickets.com/glasgow (Bkg Fee)

Anyone who nostalgically misses the heyday of 1970s ITV race comedy – epitomised by Love Thy Neighbour and Mind Your Language – should hurry themselves down to the Theatre Royal Stratford East for the new play by Cosh Omar, whose Battle of Green Lanes proved such a critical success at the same venue in 2004. The first act of the play, at least, will satisfy a demand for guffaws at broad comic situations, vulgarity, farcical argy-bargy and a dramatis personae in which racial, sexual and cultural stereotypes abound.

Cosh Omar himself stars as Hassan Hassan, an eccentric bachelor who cohabits with his transgender houseboy/sex servant Sanjay, played by Raj Ghatak as if he's the ethnic love-child of John Inman and Julian Clary. Conveniently for the plot, Hassan suffers from "acute episodic paroxysmal alcoholic amnesia" – in other words, he goes out, gets drunk, does silly things and can't remember doing them. On this occasion, his condition has got him into quite a pickle – he's acquired a wife, in the shape of a pretty young Muslim girl in a snazzy hijab. Various comic twists and turns ensue, as Hassan's house is invaded by a Jewish builder, a reactionary white neighbour, the girl's fundamentalist Muslim family and Hassan's own dysfunctional Turkish parents. The first act and a half has a great deal of very broad fun with this cast of walking talking cultural clichés and the talented company works hard to produce some genuine belly laughs. 

It appears to be Omar's intention to paint a picture of the contradictions, in-fighting and tensions of multi-cultural society as a farcical scrum. The play gets into potentially scathing Ortonesque territory when the Muslim and Jewish characters, previously at each others' throats, conspire to murder the old white neighbour and bury him under the Hassan's in-progress extension. But unfortunately the play, instead of building on and paying off the plot's comic situations, descends into speechifying and, worse, sermonising about the Islamic and the European past and present, a trait exemplified by the appearance of a black policeman whose only dramatic function seems to be teach the characters and the audience a lesson in multi-cultural tolerance. This leads to a strangely abstract anti-climax in which the bulk of the cast leave stage to address a group of policemen waiting to be taught racial tolerance and a denouement which desperately contrives every character a happy ending. This feels severely compromised, as if Omar doesn't have the courage of his convictions in terms of sending up his stock-character, falling back on a desperate need to convince us that the play is really "constructive" and "helpful." Satire doesn't need to conciliate its audience like this.

Sanjay, the transsexual houseboy, is the most intriguing and at the same time the least successful of the play's major characters. There are certainly plays to be written about the curious position of homosexuals in Muslim societies, gay men who provide ostensibly heterosexual men with sex and are allowed a social existence if they change their gender (Iran, for example, has allowed hundreds of sex change operations in the past few years). But Omar misses the opportunity to get beneath the surface of this character, and we are left with a cheap camp variety turn written and performed without heart or soul. In fact, none of Omar's characters becomes any more than a cardboard cut-out, the women especially given a scarce amount to do or say.

Part of the problem is that Omar has been encouraged to work on a luxurious scale, a cast of thirteen filling the stage but many of the minor parts are left thankless and underdeveloped. Despite this, the actors are excellent – Omar himself performs with considerable verve and excellent comic timing (reminding me of a cross between Mike and Bernie Winters), Faraz Ayub portrays a hilariously boorish fundamentalist and the wonderful Jack Chissick fills the stage with a gloriously funny splenetic rage as the nasty neighbour. It is a shame that most of the play's verbal wit is on the level of having Chissick scream "f**king hell!" whenever possible, but the actor makes the most of every one of these obscene yelps. Kerry Michael's production is pacey and energetic when the play is, but his insistence on lining people up on the edge of the stage as if they are addressing the audience during the later speeches only emphasises the play's leap into the pulpit.

It's hard to know why Omar has chosen to resurrect a rather discredited 1970s form of populist TV sitcom to deal with the racial and cultural contradictions of today, and still harder to understand why, having done so, he doesn't stick to his guns and continue to make us roar with laughter at contemporary mores rather than going preachy and maudlin about sentiments which most of the Theatre Royal audience will always already be inclined to agree with him on.

Theatre Royal Stratford East, Gerry Raffles Square, Stratford, London
E15 1BN
Box Ofice: Mon – Sat, 10am –6pm 020 8534 0310
16 October - 14 November 2009
Tues - Sat 7.30pm, Matinee Sat 3pm