UK Theatre Network

Richard O’Brien’s  Rocky Horror Show

Produced by Bill Kenwright

Directed By Christopher Luscombe

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 5^th October 2009.

 

What can I say about the Rocky Horror Show? If you don’t know and love it then you should do yourself a favour and go to see it. If like me and I suspect the majority of the audience you do know and love it, you will not be disappointed with this production. Naturally there are concerns about the role of Frank n Furter which Tim Curry made so much his own both on stage and in the Rocky Horror picture show. However, these concerns are unfounded as David Bedella is superb in this his second tour (he took the role in 2006/7) as Frank n Furter.

The other person who talks directly to the audience is the Narrator, a part taken by Steve Pemberton perhaps best known for his role in the League of Gentlemen. Again an excellent performance and I doubt I will ever forget him telling a heckler to “save your breath as you’ll need it tonight to blow up your girlfriend”.

The show is opened by Kara Lane as the usherette and it is only because I have a programme that I know she also takes the role of Magenta as she gives two wonderful but entirely different performances.

We then see Janet and Brad ably played by Hayley Flaherty and Mark Evans, supported by the Phantoms who whilst not having a major part do make a major contribution to the ambience (and are the understudies). A car journey, a flat tyre and a hike in the rain see Janet and Brad arriving at Frank n Furter’s castle. Personally I’ve always wondered why a Transylvanian castle is sat happily in the American countryside but sometimes you just have to suspend disbelief. The door is opened by Riff-Raff played by Brian McCann and they quickly meet Frank n Furter’s other servants Magenta and Columbia played by Ceris Hine. The remaining characters are Rocky played by Dominic Tribuzio and Eddie played by Nathan Amzi who also takes the role of Dr Scott.

This show relies heavily upon its music and therefore needs an excellent band, which are:  Steve Hill Musical Director/Keyboards, Dave Webb Saxophones, Steve Willingham Guitars, Ron Humphrey Bass Guitar and Paul Matthews Drums. The musicians were situated on a mezzanine at the back of the stage which made them an integral part of the show.

The scenery and props were simple but effective; in particular excellent use was made of fabric upon wooden frames which when lit from the back was virtually transparent but lit from the front made extremely effective wood panelling. I particularly liked the minimalist car which effectively consisted of four wheels, two seats, a radiator grille and a pair of hand operated windscreen wipers (but interestingly no windscreen).   Another excellent touch was the monitor screens, steam punk in style and used to enable some excellent cartoon work and puppetry. Perhaps the most obvious and heavily used scenery were the ladders which could be moved about the stage and were rendered more interesting by having gaps and partial rungs.

Excellent use was made of lighting including spotlights held by the phantoms at one stage. Effects were limited but appropriate and included thunder, lightening and the use of a smoke machine.

The costumes are vital to the Rocky experience and this production was no exception. There were slight changes from the original, for instance Magenta wore a rather fetching black lace number rather than the French maid’s outfit of the original, which may possibly have been disconcerting for those members of the audience wearing maid outfits. Traditionally the Rocky ethos encourages audience participation and some of the audience had dressed for the occasion which is fun. However, a few people at the front stood up to dance and wave lighters around and whilst I’m not a killjoy I wasn’t sorry the usher discouraged this. I’m sure the people sitting behind them were relieved too. Any reasonable person would be aware that if they stand up the people sitting behind them will be unable to see. Some people seem to think that fulfilling their personal pleasure overrides the rights of others.  When challenged they react as if people are being mean to them. At the end of the show many people stood up which I consider an appropriate time for such audience participation.

This is a really excellent production that is not to be missed.

Rocky Horror Show plays Milton Keynes Theatre until Saturday 10^th October 2009. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Bromley – Churchill Theatre from October 12^th to 17^th 2009.

www.miltonkeynestheatre.com www.rockyhorror.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 5^th October 2009 on behalf of Catherine Brian.

  

 

  

 

 

Rain Man

Reviewed at Theatre Royal, Newcastle upon Tyne

I must begin this review with a guilty admission. I have never seen the 1988 Oscar-winning celluloid version of Rain Man. Shocking, I know, but true nevertheless.

I cannot really provide a reason as to why this is the case. However, it did mean that, when I entered the auditorium of Newcastle’s Theatre Royal, I would be unable to compare the performances of Oliver Chris and Neil Morrissey against those of Tom Cruise and Dustin Hoffman.

The classic movie has been adapted and updated by Dan Gordon, who is also responsible for adapting Terms of Endearment and Murder In The First for the stage.

It centres around Charlie Babbitt (Oliver Chris), a selfish and egotistical car dealer whose business is on the brink of going bust. When he learns that his father has died, Charlie assumes that the inheritance he expects will solve his financial crises, until he learns that the $12 million fortune has been bequeathed to an unknown beneficiary.

The mystery recipient turns out to be Raymond (Neil Morrissey), an autistic older brother that Charlie never knew he had.

There are some terrifically played scenes between Chris and Morrissey, although some of them do not make for comfortable viewing. Charlie sees his brother only as a ‘retard’ who stands between him and the money he so desperately needs and he doesn’t mind telling Raymond this.

Morrissey is sublime as the obsessive savant, mastering each nuance and mannerism to perfection. Chris is equally as good as the highly-strung, materialistic entrepreneur.

But the joy of this piece gradually ascends to an uplifting peak when the brothers begin to get to know one another whilst driving across the country to Los Angeles. It is a journey, not only in the sense that they leave one physical location and arrive in another, but also in the sense that it is a life-changing experience for them both, during which Charlie finally learns the true meaning of unconditional love.

The production values of this piece are second to none and the performances from the cast are exquisite. Morrissey and Chris are excellently supported by Charles Lawson, Ruth Everett, Patrick Brennan and Emma Gregory.

Rain Man is a touching, heart-warming show that deals sensitively with a subject that it never trivialises. Indeed, it is an exhilarating, uplifting and wonderful piece of theatre.

Steve Burbridge.

Rain Man is at Theatre Royal, Newcastle until Saturday 10 October 2009.

 

Together We’re Heavy at the Cock Tavern Theatre

 

The female-led company CANUK was founded in 2008 and is committed to devise, develop and inspire strong new work in collaboration with playwrights and actors. CANUK recently took the critically acclaimed show The Strong Breast Revolution to the Edinburgh Fringe Festival. Now it presents the world premiere of Chris Purnell’s new play Together We’re Heavy at the Cock Tavern Theatre.

 

Rob, who is a bit on the chubby side, is suffering from a mid-life crisis at 25! He finds himself trapped in a dead-end job, spending his spare time with his mom and her friends instead of beautiful neighbour Lorraine whom he adores but who is in a relationship with he-man Walter. Walter indulges in humiliating Rob, preferably in front of Lorraine. After unsuccessfully trying to meet girls in a step dancing course Rob resigns himself to his fate and refuses to leave the flat that he is sharing with his mom. Encouraged by the arrival of fitness instructor Gary, Rob evolves into a new man and finally dares accost the pretty girl-next-door with unforeseen consequences

 

This is a play about obsession and Jai Lynch gives an outstanding performance as the child-like, shy Rob who is defenceless against Walter’s attacks and the overwhelming love of his well-meaning but somewhat overbearing mother (Jean Apps). Some of the dialogue seems a bit uneven at times but this is a fast-paced play with believable characters competently directed by Tanith Lindon.

 

The cast includes Jean Apps, Miranda Keeling, Jai Lynch, Alex Papdakis, and Austin Spangler.

 

The show is at the Cock Tavern in Kilburn from 29 September to 24 October 2009. Tickets are available online via Ticket Web or by phone at 08444 771 000.

 

 

 

Arthur Miller’s 1947 masterpiece All My Sons begins as a family drama, turns into a detective story, and ends as a Greek tragedy.

We’re in the back yard of a typical middle-American home a couple of years after the Second World War.  For the prosperous householder and paterfamilias, Joe Keller, the conflict was merely an opportunity to grow his small manufacturing business into a little gold-mine supplying engine parts for the army’s aeroplanes.  For his sons Chris and Larry, who piloted those planes, the war was about making the kind of self-sacrifice that would build a better world.  Now Chris is suffering an existentialist angst, realising that for most of his countrymen the war had no meaning and nothing has changed; while Larry is missing presumed dead, his plane having disappeared off the Chinese coast three years before. 

The uneasy status quo is shaken with the arrival of their former neighbour, Ann, Larry’s one-time girlfriend and now Chris’s intended bride; but his mother Kate opposes what would amount to the final acknowledgement of her other son’s death.  Over three acts and less than 24 hours the play peels back the half-buried war-time scandal surrounding the family firm and its link with Ann’s father and Larry’s accident.

David Thacker, the Octagon’s incoming artistic director, has chosen to open the new regime in Bolton with his specialist subject, Arthur Miller.  Thacker’s personal relationship with the playwright is well-documented, and his record for producing Miller’s plays in this country is second to none - indeed my own first exposure to professional theatre was his production of A View from the Bridge at The Young Vic, a space very similar to the Octagon. 

Although I’ve seen the Octagon in-the-round before, the playing area has never felt so close and immediate.  The tiny stage is denuded bar the most basic of props (in the way of a handful of tables and chairs), but in Patrick Connellan’s stunning design the floor is transparent colourless glass which reveals a forest of wooden joists buried in sand, representing the shaky foundations of the Keller home.

George Irving returns to the Octagon after his blinding performance in Shining City two years ago.  He remains faithful to Miller’s description of Joe Keller as “stolid”, but although superficially impassive and unemotional, below the surface there fizzes a James Cagney-esque nervous energy which eventually explodes to shattering effect.   

Margot Leicester, who was so brilliant as the grieving mother in A Conversation at the Royal Exchange, gives a wonderful performance here as a mother in denial about her grief, clucking and fussing around the neighbours in an apparently unselfconscious manner, but constantly on her guard.

Oscar Pearce (Chris) and Vanessa Kirby (Ann) are a fine pairing as the sad but wise young lovers, and Mark Letheren has a great turn as Ann’s flaky brother George, in the typical Elisha Cook Jr role of a little man in a too-big suit.

The four lead members of the cast are returning next month in David Thacker’s Lancashire-set production of Ibsen’s Ghosts, again with Patrick Connellan designing, so it will be fascinating to watch this talented team take on another classic domestic tragedy.

 

All My Sons is on at Bolton Octagon until Saturday 24 October 2009

Tickets: from £9.00

Evenings: Mon-Sat at 7.30pm

Matinees: Friday 2, Saturday 3, Monday 5, Wednesday 7 October and Sat 17 Oct @ 2pm

Box Office: 01204 520661

www.octagonbolton.co.uk

 

Other Octagon events exploring All My Sons:

 

5 October, 5.30-7pm - Les Smith talks to David Thacker about his relationship and work with Arthur Miller (tickets free).

 

14 October, 10am-1pm - David Thacker leads cast members in an investigation of the play (£5).

 

17 October, 10am-1pm - Christopher Bigsby, academic and biographer of Arthur Miller, discusses the playwright (£5).

 

24 October, 2-6pm - Caryl Churchill’s Seven Jewish Children will be performed alongside an extract from All My Sons followed by a discussion (tickets free - donations to Medical Aid Gaza).

 

 

Moliere’s – The Hypochondriac

Tuesday September 29^th 2009, Richmond Theatre.

“regrette.. regrette.. ..je ne regrette rien”, are the opening words spoken by the main character Argan, played by Clive Francis (a bit of a John Cleese look-a-like) on showing the contents of his bedpan to the audience.

 

 

He proceeds to read out his notices from Monsieur Apothecary giving the fee he must pay for each treatment.  All are outrageously expensive.

 

Enter Toinette, the maid, played by Leanne Best, who appears to be speaking in a Yorkshire accent.  His daughter Angelique, played by Lucinda Raikes, follows closely.  While her father is away Angelique speaks of her ‘mon cher’ otherwise known as Cleante (Jake Harders). Toinette encourages her to explore this, saying “you’ll find out what his intentions are soon enough”.

 

On Argan’s return he tries to put his reasons across to Toinette as to why he wishes his daughter to marry a medic.  He would then have a son-in-law who could cure all of his ailments.  Toinette’s response is “’tis sacrifice your daughter’s happiness”. Argan, not valuing her feelings, quickly responds with “..her mind is like a bed.  She can unmake it”.

 

(Exit Toinette and enter Beline, Argan’s wife, played by Brigid Zengeni, who later shows us her refined singing voice).

Toinette comes back in after Argan has explained to his wife, who has kicked him in the groin and refused his sexual advances, by saying “sex could prove fateful!”.  This behaviour shows  he must be fit and well to want to have sex with her. Cue for Bonnefoi to enter, a prospective lawyer, played by Chris Porter (who also plays Monsieur Fleurant and Doctor Purgeon).  He has obviously been invited round by the wife to discuss his fortune with him. His entrance is wonderfully camp with his use of large movements.  All actors display evidence of a huge commitment to movement skills and experience in physical theatre.

He persuasively says to Argan “My advice would be to hire an advisor like me”.

 

Roger McGough adapts the piece beautifully, managing to successfully pull out Moliere’s use of word play and, although The Hypochondriac’s origins lie in France, there is a great deal of British style lavatory humour within it.

 

Toinette then introduces Cleante to Argan as his daughter’s new music teacher.  She encourages him to refer to her master as looking more like ‘a corpse on legs’, rather than say he looks well.

When we observe the two lovers in each others company it is a prime example of Moliere's way of scrutinising all members of society. …total overplay so that no character should ever be taken too seriously.

“Angelique, you must be of good grace”, Toinette advises so as not to give any inkling to her father that she is bethrothed to another.

 

Enter father (Diaforus, Neil Caple) and son (Thomas, Toby Danyzic), both of whom are doctors by profession, announcing “We have both taken the hypocritical oath”.

Such a scene-stealer of a scene by Toby Danyzic that he makes it hard for the others to steal it back.  Moving a lot from the hip, he speaks firstly to Angelique, his bride-to-be.  Refering to his face changing as he sees her ‘great firey orbs’.

Argan’s,  secretly laughing inside but making every attempt to take him seriously, replies  “How about that then”.

When the suitor mentions his thesis and pawns it off to Toinette, she says: “.. I shall put it in the closet where the master keeps his faeses”.

This is a clever example of Roger McGough’s adaptation of Moliere’s play on words.

 

All the characters we have met thus far are present at the supposed music lesson between Cleante and Angelique, which is completely improvised.

The father who is growing impatient enquires “does this go on for very long?!”

Angelique is slow to realize that the almost operatic-style story they are recounting is, in fact, her’s and Cleante’s own love story.

They continue, allowing their musical chant a more folkie edge, in an attempt to draw back her father’s interest.

The pace picks up once more and the finale is brought to a close when they all rejoice in a dance. That is, all except for Argan who ends it abruptly when he says “That’s enough for one day.  Eternity, I’d say!”

 

His wife enters, giving her son-in-law-to-be the opportune moment to deliver his spiel to her but the ever impatient and flouncy Beline brushes it off, not allowing him a window to complete it.

 

“I know your little scheme, Madame”, says Angelique to her step-mother who wishes her out of the way so she can get her hands on her father’s fortune.  Thomas interjects with one of his Greek proverbs.  It’s so painful that the rest of them appear as if  contemplating suicide, while we, the audience are doubled-up in pain.

Argan ends their pain by saying “I’ve had enough”, giving his daughter the ultimatum of marrying his chosen suitor or be sent to a convent.

(The doctors leave.)

The wife then seizes the opportunity to reveal to her husband the true identity of Angelique’s music teacher. I felt it bore resemblance to a scene from ‘The Taming of the Shrew’.

(Act I closes).

 

Act II opens but, during the interval I learnt that McGough, who adapted ‘The Hypochondriac’, also adapted Moliere’s ‘Tartuffe’.  I find his writing beautifully written, capturing the essence of the original text and the newness of modern day.

In the first scene we are introduced to a new character, Argan’s brother Beralde (Simon Coates), who speaks with a relatively heightened RP accent compared to the rest of the cast.  What is the reason for this, I ask?  He quizzes Argan over his wife’s motives and the true meaning behind their marriage. “She’s your angel of mercy for self gain” (Beralde) and as for his brother’s opinion on his doctors: “They know their Classics to terrify you in Latin”.

Here a reference is made to Moliere whom Argan’s character is based upon, as he himself was suffering from tuberculosis in the latter years of his life.

Doctor Purgeon uses his scaremongering tactics as a means to try and extract more money from Argan, “..and finally, the most dreaded ‘d’ of all”, Toinette interrupting with the questionable answer “Dandruff?”, seeing him as merely taking advantage of her master, which calls for drastic measures to be taken.  She decides to  disguise herself as an Italian doctor.

Argan says: “You look awfully like my maid!”

Response: “Well, one thing led to another and then, he tried to kiss me” (Toinette as dr.)

 

An experiment is then carried out on Argan’s wife.  He plays dead to see how she reacts.  She is absolutely over the moon at the idea and says outloud to herself “Best the family think him alive till I alter the will”, giving Argan the impulse to jump up, now realizing she was in it for the money.

 

A similar experiment is carried out on daughter Angelique, whose response is much more kindly, saying: “..with no-one to comfort him.  He died alone” and on speaking to Cleante, her betrothed, she says to him “..should you think of marriage, don’t think of me”.

Argan comes back to life at this point, when she is prepared to give herself to the Lord, his request should she not follow out his instructions. He draws the conclusion that all shall be well if Cleante becomes a doctor, saying “Why didn’t I think of it before?!”

And with Argan’s brother commenting,“Is there a disease you haven’t had? You’re a walking encyclopaedia!”, a pretend examination and award ceremony is carried out on a similar par to Who Wants To Be A Millionaire, to make Argan believe he is a fully-fledged, qualified doctor and can treat himself.

All the action is brought to a close with the actors bursting in to song.

If one were to sum up this production in one short sentence, one could describe it as ‘A charmingly cheerful weekday pick-you-up!”

 

 

 

All aspects of Oscar Wilde's story of Dorian Gray are beautifully captured by Matthew Bourne's company.

 

The emotions and moral intricacies of this gothic fable are performed in a visually exciting, and captivating way; and Terry Davies' score greatly adds to this and portrays the emotions. Gray is a hedonistic and narcissistic young man who makes a pact with the Devil to never age and to become immortal. He lives a immoral and excessive life until he finally gets bored with it all. He falls in love; but has a terrible secret to hide. Whilst his physical beauty shows nothing of his lifestyle or Faustian pact; his 'painting' hidden in the attic bears the scars of every one of his debauched deeds- creating a hideous image of who he really is. Except, in this production, Bourne has chosen to physicalise this painting in the form of a doppelganger of Gray- a decision which highlights the themes of duplicity in Gray's novel, and makes a much more powerful image for the audience; which makes Gray's fears and need to hide the truth even more believable.

 

The dancer's capture this often chilling tale with such ease, and it is truly gripping to watch. A modern design puts Wilde's story firmly in the 21st century; showing how it truly is a universal tale; and fits perfectly with our current image-obsessed world. The dancer's costumes firmly capture this modern and edgy world; where beauty and image are everything. The stark lighting of Paule Constable also capture's the black and white-ness of this fashion society. The dance style is alluring and seductive; and Richard Winsor brilliantly portrays Dorian with real passion and emotion.

 

It is clear that Bourne has put a great deal of thought into his choreography and devising of the

production; and it pays off. Both avid fans of Wilde's work, and new visitors to the tale will thouroughly enjoy this production and the twists that Bourne has added- his modern interpretation; and bringing the homosexual subtexts of the novel to the forefront, for example.

 

A most enjoyable and thought provoking night out. It's a must for everyone.

 

LISTINGS

Dorian Gray

Wed 30 Sep – Sat 3 Oct

Wed – Sat eves 7.30pm

Tickets: £19 - £35

Box Office 0844 871 7647 (Bkg fee)

www.ambassadortickets.com/glasgow (Bkg fee)

Abigail’s Party

 

Mike Leigh’s career in the 1970’s

‘Leigh made nine television plays.  Earlier plays such as Nuts in May and Abigail’s Party tended more towards bleakly yet humorously satirising middle-class manners and attitudes.  His plays are generally more caustic, stridently trying to show the banality of society.  Goose-pimples and Abigail’s Party both focus on the vulgar middle class in a convivial party setting that spirals out of control.’

 

When Abigail’s Party opened I was quite shocked to see how its original story had been tampered with.  The setting had been adapted from the 1970’s which we had become used to from the Mike Leigh film of the same title,  to the modern day.   This also hugely altered the socio-political situation.  However, I thought to myself ‘give it a chance. Adaptations when done well, can work’.  This turned out to be the case with this version!

 

In Scene 1 the lights come up on Beverly (Gaby Finer) and Laurence (William O’ Connell) who have invited new neighbours, Tony (Daniel Rodrigues)  and Angela (Alix Martin), over for drinks, along with Sue, their divorced neighbour.  She is making herself scarce from the party that her daughter Abigail is having.   Angela and Tony enter and we immediately latch on to Beverly’s shrillness and superficiality when she mentions,in passing, to Angela referring to her husband: “he’s got a firm handshake, hasn’t he?!” , otherwise masking a hollow emptiness underneath.

Beverly secretly grimaces when she acknowledges Angela as being  the same type of person when she says: “When I saw you, I knew we’d get along.  We’re alike, aren’t we.”

An ultimate in comedy of the lower middle-class, with Beverly spending most of the evening engaging in snide remarks to her guests and husband, such as saying to Angela, “your house is smaller, Ange.  Cos I know they’re smaller on your side!”

(Lawrence exits, but not before Beverly has reminded him about the ciders!)

Whilst he is away Beverly talks of her last driving test.  Her 3^rd attempt!

“I’d like to learn but Tony reckons I wouldn’t be any good.”

(Sure enough Lawrence comes back in asking for Tony’s help, obviously having trouble starting the car but having too much pride to actually admit to it.)

Beverly swiftly moves the focus off Tony, asking Angela what colour her lipstick is. “a pinky red”, Ange replies.

Beverly suggests a slightly paler tone may have been better so as to blend in with her skin tone. Then continues to say: “Can I give you a tip? Just sit yourself down in front of a mirror and say..”

Cut to Angela who comes back with the response Beverly is waiting for, “ I’ve got very beautiful lips”, adamant that it will make a world of difference.

(Enter Sue, played by Sue Ferguson, who hands Beverly a gift on her way in.)

“oh it’s reja, lovely”, unable to pronounce its rightful name ‘rioja!’

 

Actress Alix Martin displays her character Ange’s nervousness well through a range of agitated movements, including a constant nodding of the head.

 

“eye, eye Sue, it’s started”, Beverly who refers to the stereo being turned on at Sue’s daughter’s party.

During the next sequences Beverly and Ange show themselves up to be the  strongest characters.

Beverly continues to take centre stage saying, “Any excuse for a mash-up, that’s what they call it these days”, assuming that the other 2 women are not at all up- to- date with today’s common terms.

The topic of Divorce is brought up when Ange says to Sue, “Oh it’s funny, we were all getting married around the time you were getting divorced.”  Ange always being the one to accidentally put her foot in it and thus, create an arkward silence.

“I blame a lot of it on feminism”, Beverly says, breaking it.

“To celebs, getting divorced is like going to the lavatory” (Beverly).

Beverly procedes to ask Tony: “do you think people should marry, Ton?”, Ange not allowing him the chance to answer saying: “ ..he’s not so sure since he got married to me!”

Divorce is swiftly moved on from to the topic of Pregnancy.  Beverly who has no inclination to have a baby of her own says, “having to go in to hospital would be like being ill.”  She becomes aroused when Tony appears to shout at his wife when she goes in to too much detail over one of her young patients who persisted in picking out their stitches!

(Laurence enters, stops in his tracks, and mutters “oh shit” as he remembers he has not bought the ciders his wife asked him to.  Beverly, who has rushed out after him, re-enters recounting what she has seen of Abigail’s, Sue’s daughter’s party.)

 

Ange becomes excited about having another drink, gets up from chair and begins to admire the décor.  Tony joins her in the kitchen and Beverly arrives shortly after.

 

Laurence comes back from off licence with the ciders.

 

“You’ve got a friend there for life there, Sue”, Beverly says to Sue after she shows an interest in having Laurence’s olives.

 

I would be interested to know whether the cigarettes the actors smoked during the performance were real or not.

 

(Beverly decides to get things moving by putting on Hero by Enrique

Iglesias, choosing to put on Ring My Bell afterwards.)

Laurence does not waste any time abruptly getting up from where he is sitting after Beverly has said, “anybody mind if I turn it up?”.  He is quite clearly embarrassed by his wife’s behaviour in sneaking up behind him and blowing in his ear.   He sees this as an ideal opportunity to go and look in on Abigail’s party, encouraging Tony to go along too.

 

Sue, who has barely eaten before coming round and can obviously not take her alcohol, hurriedly goes to the bathroom to vomit.  Ange, a nurse, looks in on her.

 

In Act II Sue comes back in to the room after vomiting, blatantly wanting to crawl in to a hole and die.

“Now Sue, this is just a slight perfume.. ..it’s J-Lo’s Glow.  Sue, don’t worry, It could happen to any of us” (Beverly).

Sue is made to feel more humiliated in turn by Beverly and Ange who speak about if she had been sick when the men were present.

 

 Beverly saying to Ange: “is he very violent?”, asking about Tony, almost getting turned on by the idea.

Ange replies, “..the other day he said he’d like to cellotape my mouth. And that isn’t very nice, is it?!  ..comes from getting married.  The fun wares off.”

(Laurence enters.  Tony has not come back with him.)

 

Laurence shouts at Beverly, “can’t you see you’re embarrassing Sue”, after her and Ange  fill Sue’s mind with images of 15-year olds jumping on Tony.

When Tony comes to the door, Beverly remarks, “your shirt’s all wet!”

 

As Laurence procedes to move around the circle showing off his Charles Dickens Collection, he closes the book in Tony’s face and comments to Sue: “don’t you think the class of people has altered?”, as in the neighbourhood.

Not the response he is expecting back, Sue says: “..it’s more mixed that’s all.”

(Beverly who has come back from the toilet argues with Laurence over turning the volume up on Elton John.)

“I thought he was The Queen of Pop!”, as opposed to The King.

(Sue goes to the toilet.)

Beverly comes up with the idea of putting all the chairs to one side and and having a boogie.  She is dancing with Tony when she says to Ange: “you’ll be quite safe with Laurence, he won’t rape you!”

Sue agrees to Laurence’s offer of a dance, while Beverly makes it her mission to dance with Tony again.

Ange simply jigs around in her chair.  Tony reluctantly sits down afterwards between his wife and Beverly.

 

Laurence attempts, yet again to impress Sue, this time by showing her his Van Gogh Collection.  He ends up having a heart attack, after letting the tension brew up inside of him throughout the evening.

Ange tends to him whilst Beverly, unable to cope with the situation, repeatedly shouts at him at the same time as pouring herself out a drink, as if it is all she is good for.

Tony and Sue complain about her flicking her ash over his helpless body.

Beverly insensitively says “.. he’s taken it on himself.”

She loses her patience, the first time in the evening, with Sue and tells her to “piss off!” and to stop the racket her daughter is making.

Sue rings up her daughter.  While this is going on Tony is supportive of his wife, assisting her as she carries out mouth-to-mouth resuscitation and after she has put him in to the recovery position, she complains of having a cramp in her leg!

The entire evening is made up of complete farce, reminiscent of Joe Orton.

 

Having watched just half of the original film, I am able to see how each of the four actors has thought carefully about how to depict their characters and have undoubtedly done so with great professionalism!

 

Goodmann Productions take their up to date version of Abigail’s Party, which I saw at Ecetera Theatre in Camden on Monday 14 September 2009, on Tour.  The first date to be confirmed is 9th October at Shrewsbury House in Surbiton.  However, further details regarding the Tour will be added to their website www.goodmannproductions.co.uk shortly.