Falstaff

Reviewed on Wednesday 25th November 2009

Richard Jones’ staging of Verdi's comic opera is a lot less controversial than his 2008 production of Macbeth. However, there were some murmurings in the audience in reaction to some of the scenery, particularly when the garden at Ford’s house was revealed with its rows of cabbages, skipping brownies, young Etonian rowers moving backwards and forwards and plenty of men in uniform. The men get the best costumes; poor Alice, Meg and Nannetta spend much of their time in really dull attire. Even in the last scene Meg and Alice are ‘disguised’ under tent-like cloaks made from curtain material.  Good for a giggle were the cats that came dangerously close to scene stealing a number of times. So, some imaginative and effective design by Ultz but this did not transpire in the last scene which was too predictable. This was a let down compared to the imaginative and tight staging of the previous scenes. Too many people crowded onto the stage wandering randomly about in seemingly undirected chaos. This climax, where Falstaff is taunted, seemed neither frightening nor funny but merely a bit bewildering.  

So, to the performances. Jonathan Veira's Falstaff, who according to the programme has played this part over 80 times in 4 or 5 different versions played this purely for laughs and although an immensely powerful performance and highly amusing there was a lack of any subtlety or sensitivity in this particular performance. It was at full throttle throughout and we were in the realm of caricature by the end. I wonder if Viera over-eggs the pudding like this every time or was pushed by revival director Sarah Fahie to drive every pun, play on words, and innuendo home as hard as this. The Glyndebourne audience is an intelligent one; they don't need everything spelled out for them. Veira is a brilliant singer though and where he was superb was in his vocal performance, so clearly at ease with the music and words that you did feel totally confident of him as the pivotal point for almost all the musical interaction.

The other males were good, particularly Bardolph (Harry Nichol) and Pistol, (Sion Goronwy) who were such a bizarre misfit couple physically that much of the comedy was in the visual interplay between them. Ford (Guido Loconsolo) was very understated and played the respectable husband quietly and convincingly.

All the women were superb, Meg (Rachel Lloyd), Alice (Jessica Muirhead), Nannetta (Elena Tsallagova), who incidentally has the sweetest crystal clear voice, and Mistress Quickly (Kathleen Wilkinson) balanced each other well and portrayed the relationships between them believably. The performances of all these characters were discrete and sophisticated and that was perhaps why Viera seemed to be otherwise.

Thomas Blunt’s direction of the orchestra was expert and gave the audience time in each scene to enjoy the layers of the music and experience the full richness of the score.

This was a very funny evening but the opera as a whole suffered from unevenness of staging and imbalance between the performance of the main characters.

Falstaff plays Milton Keynes Theatre Saturday 28^th November (0870 060 6652 Booking Fee) and the Plymouth, Theatre Royal Wednesday 2^nd, Saturday 5^th December (01752 267222)

Jenůfa

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

Composed by Leoš Janáček

Directed by Nikolaus Lehnhoff

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

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

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

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

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

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

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

 

Reviewed by Yvonne Penne-Stuart at the Milton Keynes Theatre on Thursday 26^thNovember 2009

Dial M For Murder

Tuesday 3^rd November 2009 at Richmond Theatre

In the opening scene Sheila Wendice (Aislin McGuchin) says: “I burnt all the letters, except one”, to American writer Max Halliday (Nick Fletcher), with whom she has been having an affair.  It turns out it was stolen and a blackmail note followed.

I particularly liked the set with its rotating stage.  Deceptive at first.  My eyes had to focus hard to make sure the furniture was not simply being moved.

The curtains, almost scarlet in colour, would change position as the stage did.

The ransom money was not collected from the address it was sent to.  Max quizzes her: “Are you ever going to tell Tony ( Richard Lintern)  about us?”

She hesitates and tries to condone what she has done, feeling a year ago her husband became a changed man.

The interior pays particular attention to its objects, which are all in various tones of red.

Before the husband enters they make a toast: “ Let’s drink to the way things turn out.” Continuing with the red theme, we notice the colour of Sheila Wendice’s handbag and coat, also red.

The back-drop, see-through, is so much that we may see the staircase.  While the husband is alone with old school acquaintance, Captain Lesgate (Daniel Hill) whom he tells he had always wanted to marry for money,

He continues saying “Would you like to hear how my wife nearly left me?”

After long absences he has discovered something had been going on.

Tony: “I’d make it look like a burglary.  I tried to force her hand by blackmailing her. Funny to think I might have murdered her,..”

“..if I hadn’t seen something to help me change my mind.”

The thing to help change his mail being ‘the letter.’

The Captain, who resembles the main lead in ‘To The Manor Born’, realizes he is being blackmailed.  Reluctant to carry out the task demanded, he is swayed by offer of £1,000.

To create an almost filmic-type atmosphere, the furniture, centrally positioned, starts to judder slightly.  As the see-through red curtain gradually moves round, the phone starts to ring; the captain exits from the scene, the lights change to blue and we hear the sound of teardrops.

The attempted murder scene is most effective, with its echoey sound effects.  All-in-all a well put together piece of theatre, capturing the spirit of Hitchcock.

Christmas with the Rat Pack

Darlington Civic Theatre

‘Tis the season to be jolly . . . and to be surrounded by wall-to-wall panto! But, before all that begins in earnest, Christmas with The Rat Pack is a very welcome deviation on the festive theme.

As the title suggests, the show treats audiences to an evening of the music of Frank Sinatra, Dean Martin and Sammy Davis Jr. Now in its tenth year, the appeal of this production is obvious – it’s slick, stylish and sensational.

Stephen Rashbrook, Mark Halliday and Matt Henry perform as Frank, Dean and Sammy, respectively, and they are joined by Robyn Currell, Nikki Stokes and Rachel Parrott as the Burrelli Sisters.

After beginning with a string of swing hits including Almost Like Being In Love, I’ve Got You Under My Skin and That Old Black Magic Called Love, the tone takes a seasonal turn and classic Christmas songs are integrated into the proceedings.

The performances are top-notch; each of the guys looks and sounds like the legend they are portraying, and there is a wonderful rapport between them. Some scripted ‘comedy patter’ entertains the audience between numbers and it is executed in a way that looks completely spontaneous.

The auditorium was pretty much full on press night, which bodes well for the rest of the week, proving that it is possible to present a seasonal show without having to have the audience shout out: ‘It’s behind you!’

Steve Burbridge.

‘Christmas with The Rat Pack runs at Darlington until Saturday 28 November 2009.

 

Cosi Fan Tutte

Reviewed Tuesday 24^th November 2009

Nicholas Hytner's production of Così Fan Tutte has been reworked since its 2006 debut and this revivial is most definitely a Glyndebourne crowd pleaser. The loyal audience at Milton Keynes signalled their approval long and loud at the end of last night's performance.
This opera about deception, self-deception, morals and fidelity, labelled 'immoral' by Beethoven and considered misogynistic by others is now considered to be one of Mozart's finest works. Although the title translates as 'Typical women' neither sex comes out of this narrative particularly well!

This production has received very favourable reviews elsewhere and Hytner’s revivial is an elegant one aided by Ashley Dean’s sophisticated staging. Outstanding as ever is the orchestra, this time under Patrick Lange’s perfect control; this is the highlight.

The strongest performances come from Riccardo Novaro (Alfonso) and Simona Mihai (Despina). These two, and their dark plottings, pin the production together. Novaro plays Alfonso with an air of menace and does not overplay the humour; he clearly enjoys causing disharmony and distress. Nevertheless, he is charismatic and that coupled with his rich and powerful voice makes Alfonso an attractive character.

Mihai, as Despina, has a pure, fresh quality to her voice, and is a perfect match for her co-conspirator. She is superb in portraying the cynical, no nonsense side of her character and contrasts well with the two sisters, played by Gillian Ramm (Fiodiligi) and Lucia Cirillo (Dorabella).

These two are also excellent, both in voice and as performers, and play their parts with a mix of naivete and gentle sexiness at the beginning. Their character development as the story progresses is well managed and they are faultless in their vocals.Cirillo expresses herself very well in the comedic role, with Ramm taking the role of the seemingly more 'sensible' sister. They both are superb in their scenes with their lovers, Andrew Tortise (Ferrando) and Jacques Imbralio (Guglielmo).

First to Tortise who is not as strong as the others on stage. His voice does not seem quite a match and his acting is so awkward at times that his character is not consistently believeable, upsetting the balance and force of the drama on stage. I found my eye drawn to him in the scenes with Guglielmo and their lovers but not for the right reasons. As he is not convincing as the lovestruck Ferrando, the scene in which his lover’s infidielity is exposed – a scene which should be painful to watch as his anguish, despair and anguish is revealed – is rather weak when it should be a pivotal point.

Imbralio, on the other hand, is utterly convincing throughout. Beautiful in voice, perfect in his performance, convicing as both a bit of a cad
and a persuasive lover.

Overall this a solid and strong revival; superb orchestra as ever, elegant staging, and overall perfomances which are convincing and engaging.

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

 

Reviewed by Louise Winter on behalf of Catherine Brian

Glaswegians will find a second use for their Hallow'een costumes this week as Richard O' Brien's Rocky Horror Show makes a welcome return to the King's Theatre.

It’s been 2 years since Rocky Horror visited Glasgow and, at 36 years young, this show doesn’t seem to be showing any signs of age yet! The openly sexual nature of the characters and the storyline were so far ahead of their time when the show opened to a tiny London audience in 1973 that today they still appear fresh and relevant. Director, Christopher Luscombe, and set designer, Janet Bird, added fresh elements to the show a few years back and this latest cast bring their own energy and life to the well loved characters.  The tradition of audience interaction with the cast ensures that no two performances are the same!!

David Bedella simply owns the role of Frank 'N' Furter.  He brought all of his experience of a US national tour (with Meatloaf, no less) to bear in his portrayal of musical theatre's most recognisable character.  He had an astonishing rapport with the audience.  Christopher Biggins embraced his role as the Narrator, comfortably staying one step ahead of an audience who were, at times, a little over excited!  “It was over, but what was over?” asked Mr. Biggins.  “Your career”, answered the audience.  “You must be mistaking me for Katie Price”, he retorted.  Mark Evans (Brad) and Haley Flaherty (Janet) were vocally accomplished and carried the story well.

This is a great production of an excellent show and Glasgow audiences have been given another chance to catch it.  Don’t miss out!

 

LISTINGS INFORMATION

Richard O'Brien's Rocky Horror Show

King's Theatre: Monday 23 - Saturday 28 November 2009

Mon  - Thu eves 7.30pm

Fri & Sat 5pm & 8.30pm

Tickets: £12.50 - £30.50

Box Office: 08448 717648 (bkg fee)

www.ambassadortickets.com/glasgow

Jump!

Live Theatre, Newcastle upon Tyne

To market a play as being ‘played out like a Tarantino movie’ seems a tad egotistical and a rather tall order to fulfil. A quote like that should be used when it can be attributed to a rave review rather than little more than speculative wishful thinking.

That said, Live Theatre is synonymous with producing high-quality drama laced with strong local connections and I was looking forward to a tense, psychological black comedy.

Assembling a cast of extremely talented local actors, including Vicky Elliott, Laura Norton and James Baxter, the ‘English premiere’ of Jump! follows the lives of seven desperate characters during New Year’s Eve on Tyneside.

Good time girls Marie (Vicky Elliott), Dara (Laura Norton) and Hannah (Bronagh Taggart, making her professional debut) knock back the bevvies and bitch while waiting for another girl friend to arrive.

Johhny (James Baxter) and Ross (Harry Hepple) are a couple of guys who have got themselves in too deep with a local heavy and now have to carry out a contract killing to write-off a gambling debt that they cannot repay.

Two strangers, Pearce (Neil Grainger) and Greta (Frances McNamee) are both intent on leaping from Newcastle’s High Level Bridge but, after accidentally discovering each other, they proceed to try to talk one another out of it.

As the story unfolds it becomes apparent that the lives of these seven characters are already intertwined and that each of their lives are about to change forever.

Writer Lisa McGee seems to have ‘borrowed’ some of her ideas – didn’t Helena Bonham Carter and Sam Neill have a similar encounter on a bridge in Alan Ayckbourn’s 1998 movie, The Revengers’ Comedies?

The storyline has a strictly ‘thriller-by-numbers’ feel to it and the twists and turns are easy to anticipate. The script is littered with gratuitous bad language that adds nothing to the development of the narrative and the dialogue is rather clichéd.

There are also some glaringly obvious geographical gaffes that must have been the result of the decision to change the setting of the play from Belfast to Newcastle. These should have been picked up by the production team from the outset – or at the very least during the rehearsal process.

Performers of the calibre of Vicky Elliott and Laura Norton are worthy of a better vehicle to demonstrate their abilities than this. If I were to offer Miss Elliott a cautionary word of advice, it would be: ‘Watch out! Be careful that you don’t become typecast as the slightly cynical tart with a heart and the witty one-liners.’

James Baxter’s attempt to instil a degree of believability into the one-dimensional role of Johnny, combined with his stature, hairstyle and facial expressions, resulted in a performance that made him seem like Sonic the Hedgehog with a severe case of haemorrhoids.

The audience on press night, aside from theatre critics, seemed to comprise of family and friends of the writer and performers, plus a sprinkling of invited local celebrities, and there was a fair amount of over-enthusiastic, sycophantic laughter which smacked of desperation more than anything else.

When the only line in the play that I could really engage with was ‘I just want to get home and pretend tonight never even happened’, it leaves little more to say.

Steve Burbridge.

‘Jump!’ runs at Live Theatre, Newcastle until Saturday 5^th December 2009.

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The Adventures of Mr Brouček

Opera North at Theatre Royal, Newcastle

Unconventional is probably a fair way to describe The Adventures of Mr Brouček.

This co-production between Opera North and Scottish Opera is the first major British production since the 1990’s. It’s based upon two novels by Svatopluk Čech – The Excursion of Mr Brouček to the Moon and The Excursion of Mr Brouček to the 15^th Century.

Generally, his adventures begin and end in a beer barrel and Brouček is, essentially, a sort of drunken, operatic Mr Benn.

Firstly, after a quarrel in the local pub about the existence of life on the Moon, he falls and is transported to a surreal, clinical environment populated by a civilisation obsessed with art, poetry and all things aesthetic. There are some zany moments in the scenes that follow, which are most certainly to be taken with a large pinch of salt.

Brouček’s pompous opinions and lack of lunar etiquette soon land him in trouble, however, and he is forced to leave abruptly.

The second half sees him transported back in time to 1420 and slap-bang into the midst of a Czech battle. There is a distinct air of patriotism present throughout these scenes – all stirring battle songs and calls to arms. Brouček’s cowardice results in him faring no better in the past than he did in the future, and he is placed in a barrel to be burnt.

This vivid musical journey through space and time is a true ensemble piece, incorporating a strong cast of singers who each play multiple roles.

John Graham-Hall puts in a star-turn as the bumbling Brouček and almost succeeds in making the loathsome, lecherous loser likeable. Anne Sophie Duprels deserves a mention on two counts; firstly, for her wonderfully uninhibited performance as Málinka/Etherea/Kunka and, secondly, for doing it with a badly-sprained ankle. A real trouper, indeed.

Fun and eccentric, this was an enjoyable – yet rather bizarre – opera.

Steve Burbridge.

The Adventures of Mr Brouček was performed at Theatre Royal, Newcastle on Thursday 19^th November 2009. 

SECRETS COCK TAVERN THEATRE

With the enticing title of Secrets and publicity that promised ‘explosive drama,’ I was all set for an exciting night out at the latest play at the Cock Tavern Theatre. However this rather tame and unfocused contribution offers little in the way of startling confessions or dramatic originality.

Created by Flexible Productions, eight actors reveal their own, true-life secrets through devised enactments. Amongst those unravelling their inner-most shames are a traumatised woman revisiting her sadistic relationship with a boyfriend, a closet queen, a supposedly reformed bully and a questionable victim of sexual abuse. Apart from Helen Briscoe’s disturbing revelations it’s all a bit timid, confused and ultimately shallow. In fact there are the secrets which are so vaguely wafted about that’s it hard to actually pin-point what they actually are.

This awkward effort lets down the usual high standard of work that the Cock has consistently produced in the past. The writing is all over the place, contrived and clumsily structured with some scenes adding little to the storyline or development of the characters. Indeed the only revelation this play really offers is the ability of the exceptionally skilled cast to create engaging, truthful performances despite being in a production that under Danielle Coleman’s messy direction, looks like a drama school creation. This further is emphasised by a bricolage of victim headlines glued onto a cheap looking backdrop as the centre piece for the set.
Helen Briscoe is exceptional in all her roles, James Dutton convincing as the bully and a suspected victim, Andrew Cleave very watchable as the put-upon psychologist and Shireen Walton adds some equally comic and moving moments to the play.
The telling of secrets have been the basis for many a successful drama. This is not one of them.
OLIVER VALENTINE
www.cocktaverntheatre.com

“Sailor Beware!” by Philip King & Falkland Cary at Baron’s Court Theatre on Sunday 15^thNovember 2009

Published by: Tremayne (Potter)

Before the curtains went up at The Curtains Up pub I had been led to believe that “Sailor Beware!” was a farcical play, not worthy of a revival but by the end of Act I, the person had to take back what had been said and admit, how much they liked Nadine’s  Window’s take on it.  A non-farcical play.Bumper packed, full of joyous Northern-style humour.

“It’s the uniform she’s fallen for”, says Emma Hornett (Jean Christie), speaking disapprovingly of her daughter’s choice in men.  The man, in question, is Albert Tufnell (Michael Aucott), who bears a slight resemblance to singer Robbie Williams.  His character, played out in a very natural, cheeky boy way, makes it difficult for the audience not to be endeared by him.  Albert is a Marine and on greeting his mother-in-law-to-be he throws his arms open.  She seems less than impressed.  Then, cousin Daphne Pink (Chloe Fontaine) arrives, and Albert introduces himself to her as ‘The Human Sacrifice!’

The tea time scene is painful to watch.  I could relate to it immensely, with its tedious arguments bubbling at the surface and the bossy mother figure, who says: “we can’t all have baths in the morning”, suggesting that some people might choose to bath the night before The Wedding, i.e. Pop( Kevin Halliwell)!Their quibbling continues and Pop says: “anyone would think he were on his way to prison the way you talk”, seeing no reason why Albert should not experience one last night of freedom on the town before the big day, managing to start-up an argument between Albert and his fiancée, Shirley (Jacquelyn Kent ).

When the lights fade for the first time, the actors use the time effectively, clearing the dinner table and carrying away any unwanted running props.

In the next scene we are introduced to annoyingly funny neighbour Mrs Lack (Jeryl Burgess), whom all of us can relate to as we all would have come across someone like her at one time or another. A kind of Dot from EasterEnders type, who brings with her the news that her daughter cannot carry out her bridesmaid duties but her take on it is that why shouldn’t a Wedding start to go wrong before the marriage has had a chance to begin.

Pa comes in after a big night on the town, not convincing me with his drunken behaviour.  That is, until he starts to rearrange the household ornaments and then I believe him!

I like the reference made to ‘scotch broth’ as Daphne puckers her lips up ready for a goodnight kiss from Carnoustie ( Andrew Glen), who is a marine friend of the groom.

Act II reminded me greatly of Last of the Summer Wine, in its heyday with all the same cast.

“Oh my God, get rid of her before I come back”, says Ma suspecting Mrs Lack is coming round again, blatantly relishing in the fact of poking her nose in where it is not welcome.

Albert finds himself getting pre-Wedding jitters and does not turn up to the ceremony.  Ma’s answer to everything is a nice, warm brew, even when Shirley tells her she wants to die! “Well, you’ve got to have a tea first”, she responds, completely managing to capture that Northern spirit.

Whilst everything is up in the air, Albert walks in, to everyone’s dismay and reassures Shirley that he did want to marry her. ‘Did’ being the operative word!

The priest arrives shortly after and insists on seeing the bride and groom on their own.  During the discussion we learn that Shirley had allowed her mother to put down a deposit on a house, just 3 doors down.  Carnoustie had apparently let it slip out the night before, otherwise Albert would have been none the wiser.  Both are still dead set on marrying one another but Albert stipulates that it must be on his terms and not on Shirley’s mother’s.  Shirley agrees and all ends happily.