God of Carnage by Yasmina Reza

Reviewed at Milton Keynes Theatre by Catherine Brian on Tuesday 24^th March 2009

I was expecting an uproariously hilarious evening, given that God of Carnage has just won the 2009 Olivier for Best New Comedy, albeit for its West End run with a different cast. 

God of Carnage is a one act situation comedy.  The situation is two sets of parents meeting in one of their apartments in order to discuss one of the couple’s sons being hit by the other couple’s son.  A believable situation.  However, the comedy seemed to be based on the extreme personalities of the couples and for me, those personalities weren’t believable, therefore, for me, the comedy didn’t work.  It was a mildly amusing evening with one or two occasions to laugh out loud.

Roger Allam and Lia Williams play Michel and Veronique Vallon, whilst Richard E Grant and Serena Evans play Alain and Annette Reille.  The performances were good, in that the four actors were totally in character – albeit I didn’t find the written characters they were playing believable – and worked well together, I’m sure getting as much as was possible out of the material.

There were extreme devices added into the story for comic effect.  I didn’t find them funny.  I don’t really appreciate going to the theatre to watch projectile vomiting.  I see nothing amusing in it.
 I can’t see the comedy in someone not being able to survive a few minutes without their mobile phone. Maybe it’s me? Maybe they are funny things, and I have no sense of humour.  But looking around the auditorium, I couldn’t find anyone who was in stitches laughing.

The set was minimal – it looked rather dwarfed on the Milton Keynes Theatre stage – a sofa, a couple of chairs, a coffee table and a sideboard with a piece flown in for the back wall of the room.  The costume, lighting and props were all fine – in fact, everything was good, except the writing wasn’t that funny.

I have sat through some hilarious performances over the last few years – “Noises Off” had people literally roaring with laughter, “Eurobeat, Not Eurovision”, although technically a musical, was the funniest thing I have seen in years and almost the whole audience was crying with laughter – literally tears - so therefore, I expected the winner of this years’ Olivier to have the same effect on me.  It didn’t.

Would I recommend you to go and see this? Well, if you are a fan of any of the actors, or the writer, or are studying comedy, or acting, then yes, as it is performed well and amuses.  If you are going out in order to cheer yourself up and have a really funny night out at the theatre – go and see the local am-drams doing Ayckbourn, you’ll have much more fun.

God of Carnage played Milton Keynes Theatre from 24^th to 28^th March 2009.  www.miltonkeynestheatre.com.  Box Office: 0871 297 5454 (bkg fee).

Milton Keynes was the last date in the current UK tour, however, God of Carnage is currently playing on Broadway, www.godofcarnage.com with what looks to be a fabulous cast.  As I say, maybe it’s me - certainly there are superb actors and creative teams working on this play.  I would have thought it would be worth going to see the Broadway production simply for the quality of the actors.  And you never know you might even enjoy yourself!

Reviewed by Catherine Brian on Tuesday 24th March 2009 at Milton Keynes Theatre.

The Russian State Ballet of Siberia – Giselle

 

Reviewed at Milton Keynes Theatre on 5^th March 2009

I have never seen Giselle before but this production by the Russian State Ballet of Siberia was really worth waiting for.  This is of course a truly romantic ballet in the old fashion fantasy style with beautiful sets and magnificent costumes.

The two lead dancers Anna Aulle and Nikolai Tchevychelov were beautifully matched, she was delicate and he was bold and romantic.  Their pas de deux were particularly magical with the most exquisite, effortless lifts.

Ivan Karnaukhov played the part of the love sick Hans with particular skill right through to his tragic death at the hands of the merciless Wiles.  Of course Giselle is nothing without the Wiles. In this production the almost perfect synchronised dancing was hauntingly beautiful and terrifying at the same time. Anastasia Kazantseva as Myrtha was ethereal and menacing.

The music composed by Adolphe Adam is full of poetic feeling and was powerfully interpreted by the music director and chief conductor Anatoly Tchepurnoi.

 

The Russian State Ballet of Siberia performed at Milton Keynes Theatre until Saturday 7th March 2009.  Milton Keynes Box Office 0871 297 5454 (bkg fee) www.miltonkeynestheatre.com.  For details of further dates and venues please go to http://www.raymondgubbay.co.uk/newDisplayEvent.asp?eventid=1568

 

Reviewed by Pippa Elliot at Milton Keynes Theatre on Thursday 5th March 2009 on behalf of Yvonne Penne-Stuart.

The Russian State Ballet of Siberia – Coppelia

 

2009 UK Tour

 

Reviewed at Milton Keynes Theatre on 6^th March 2009

 

Coppelia is a ballet in 2 acts.  Most of the story unfolds during the first act, which is split into 2 scenes – the first one talking place in the village square and the second in Dr. Copelius’ house. 

 

The sets and costumes were extremely colourful; some might think the former were a little over the top at times, but that is really what Coppelia is all about.  The dancing was of excellent quality, with Natalia Goroshko dancing Swanilda being outstandingly the best.  Ivan Karnaukhov as Franz was also very good and the couple danced well together, executing some difficult lifts with ease.

 

The second scene, when the dolls come alive, was done well and a special mention must be made of Elena Tcherkashina who was very convincing as the Coppelia doll, and who made a difficult part seem effortless.

 

The story is more or less told by the time the second act opens and one can sit back and enjoy some lovely individual dances and pas-de-deux.

 

The familiar music was beautifully directed and conducted by Anatoly Tchepurnoi.

 

The Russian State Ballet of Siberia performed at Milton Keynes Theatre until Saturday 7^th March 2009.  Milton Keynes Theatre Box Office 0871 297 5454 (bkg fee) www.miltonkeynestheatre.com.  

 

For details of further dates and venues please go to http://www.raymondgubbay.co.uk/newDisplayEvent.asp?eventid=1568.

 

Reviewed by Yvonne Penne-Stuart at Milton Keynes Theatre on Friday 6^th March 2009.

In the fifties and sixties Doris Day churned out 39 movies and 650 pop songs.

But she is equally remembered for her wholesome image.

However, in A Sentimental Journey - which is currently enjoying its world premiere - writer Adam Rolston lifts the lid on her life to reveal three marriages before she was 30, bereavement, and a life-changing car accident.

It’s a sensitive portrayal, well researched and put together by 25-year-old Rolston as a musical, complete with a four-piece band which fits snugly into The Mill’s intimate space, and a sterling West End cast which includes Carol Ball, Glyn Kerslake and Tim Wallers.

Although he wasn’t able to get Doris Day’s approval, Rolston says he believes it’s a story that should be told, and he had no qualms about writing it. “I think it’s a very positive project and I hope audiences will be moved by it.”

It’s also, he says, ‘a lovely mother and son story’, which makes it quite remarkable. For Doris Day’s story is told by her son Terry, played by Ian McLarnon, with the title role being played by Sally Hughes, artistic director of The Mill, and Rolston’s own mother.

But Rolston assures me there was no nepotism involved.

He grew up in the industry - his father is Hollywood actor Mark Rolston whose credits include Aliens - and has learned from working in television and films since embarking on a writing career at the age of 16.

He explained: “I have always tried to get a play on at The Mill but it has very exacting standards.”

Now, however, he says it’s wonderful seeing his first play come to life, especially as it has been directed by the award-winning Alvin Rakoff - who also happens to be his stepfather.

“I’m very honoured that Alvin is directing,” he said. “The more I see it the more confidence I have.”

Meanwhile, the production lets us see Hughes in a different light, as an accomplished singer, while her skills as an actress mean that she flits easily from teenage Doris to disillusioned divorcee whose only wish in life was to be in a happy marriage.

A Sentimental Journey continues until April 19 at The Mill at Sonning. Box office: 0118 969 8000.

www.millatsonning.com

 

If Juliet Stevenson doesn’t win an award for her role in the powerful two-hander Duet For One, then I’ll lose faith in life itself…

… Or I would if I hadn’t listened with baited breath to her sometimes harrowing, sometimes amusing, dialogue with Henry Goodman in Tom Kempinski’s play which is, deservedly, winner of two awards.

For although Duet For One charts an intensely emotional journey as violinist Stephanie Abrahams is forced to face a future without music after contracting multiple sclerosis, it immerses us in life itself and, as her psychiatrist Dr Feldmann points out, the tree of life has more than one apple on it.

Whether this was written before the severe agoraphobia he suffered for years, I don’t know, but Kempinski writes with so much feeling and insight, while Stevenson gives a heart-stopping performance as a woman whose memories, plans, thoughts and fears come tumbling out in an at times explosive tirade of poignant prose before a psychiatrist whose seeming indifference is the catalyst. It’s a true tour de force as she also expertly negotiates a motorised wheelchair and moves with the constraints of someone whose body is becoming increasingly dysfunctional.

Dr Feldmann is skilfully played by Henry Goodman whose restraint, reserve and calm is a complete contrast to the woman’s out-pourings and sarcasm. And while Stevenson outwardly has to give so much of herself, Goodman’s role, with its long silences and stillnesses, together with unexpected comic moments, is equally impressive.

Duet for One is all about learning the purpose of life and how to live it. And as Feldmann says: “It’s a journey Miss Abrahams. We are making it together.”

What a privilege it is to have shared that journey with two such accomplished actors.

Duet For One ends a short tour, which has included Bath and Windsor, at Richmond until April 4 before a well-deserved return to London’s West End in May.

Picture: Douglas McFarlane in the Sky News Green Room prior to going on live.


In This Update
- This Month's Sky News Blog
- This Week's Nevis Radio Blog
- This Week's UKTheatre Blogs
  - Gates of Gold at Library Theatre, Manchester
  - Chorus of Disapproval at the Watford Palace Theatre
  - King’s Theatre and Theatre Royal, Glasgow - 2009 Season
  - Boeing Boeing – Theatre Royal, Glasgow – 23rd – 28th March 2009
  - All The Fun Of The Fair

Welcome

Thanks for reading. It's been a challenging but satisfying week. Making It In Hollywood is now out there. I submitted it to Cannes on Monday and they confirmed receipt. I'll find out before the press conference in 2 weeks. I've also sent it to BBC, Sky, Pathe, Momentum and Edinburgh Film Festival, though I may be too late for that. I also noticed that Film London have something called LUFF which if your film is selected, it gets screened in front of sales people and distributors. I'll keep you posted, whatever the outcome.

Have a great week and check out the Radio, TV and online blogs. Feel free to share around online if you see something a friend may like.

Douglas 
-----------------------------------------------

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This Month’s Sky News Blog
Produced by Tim North and Emily Upton, Sky News

Ebay dirty car ad. Don’t drink hot tea. Alcohol worse than marijuana. Microsoft tackles Mac. No more black cars in LA.

http://tinyurl.com/ctk4xd - Recorded 7pm Friday 27th March 2009.

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This Week’s Nevis Radio Blog

Coldplay, Green Day, New Radicals, The Feeling and for my American friends online Sweet Home Alabama. I also managed to sneak in another Les Miserables song for my UKTheatre pals 
Today (Saturday) 12pm-2pm Streaming online and on FM in West Of Scotland.

http://www.nevisradio.co.uk 

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Gates of Gold at Library Theatre, Manchester
Published by: Caroline May on Thursday 26th March 2009

The story is inspired by Micheál MacLiammóir and Hilton Edwards, fabled actors turned writer-producer-directors who founded the Gate Theatre in Dublin. Despite their apparently impeccable Celtic credentials, both were Londoners by birth – a fact they went to some lengths to deny. Yet strangely, considering the moral tenor of the times, they made no secret of their homosexual relationship, remaining linked personally and professionally until MacLiammóir’s death in 1978.

Read more >>>
http://www.uktheatre.tv/magazine/read/gates-of-gold-at-library-theatre-manchester_76.html

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Chorus of Disapproval at the Watford Palace Theatre
Published by: Elspeth Rae on Thursday 26th March 2009

What especially delighted me was the perfect display of, through, at times completey stereotyped characters, the idiosyncrasies and bitchy claustrophobia of performance within an amateur dramatic society.

Read more >>>
http://www.uktheatre.tv/magazine/read/chorus-of-disapproval-at-the-watford-palace-theatre_77.html

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King’s Theatre and Theatre Royal, Glasgow - 2009 Season
Published by: Cameron Lowe on Wednesday 25th March 2009

This spring looks set to be an amazing time for all Scottish theatre goers as the King’s and Theatre Royal will be playing host to some phenomenal productions!

Read more >>>
http://www.uktheatre.tv/magazine/read/king�s-theatre-and-theatre-royal-glasgow---2009-season_75.html

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Boeing Boeing – Theatre Royal, Glasgow – 23rd – 28th March 2009
Published by: Cameron Lowe on Wednesday 25th March 2009 

When flight changes on a visit to London meant that I missed this play on it’s West End run (little realising the irony), I was more than delighted to see it touring to Glasgow this year, and went along with high expectations. 

Read more >>>
http://www.uktheatre.tv/magazine/read/boeing-boeing-�-theatre-royal-glasgow-�-23rd-�-28th-march-2009_74.html

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All The Fun Of The Fair
Published by: Steve Burbridge on Monday 23rd March 2009

All The Fun Of The Fair, as the title suggests, is set against the backdrop of a travelling funfair that is struggling to survive in the late seventies. Starring David Essex as funfair owner Levi Lee and featuring almost all of his hits, it was always going to be something rather special.

Read more >>>
http://www.uktheatre.tv/magazine/read/all-the-fun-of-the-fair_73.html

It’s taken something close to seven years to get A Last Belch for the Great Auk onto the stage, so understandably, I’m looking forward to 6.45pm next Wednesday and curtain up at the Old Fire Station.

David Halliwell, who wrote the play, was a friend of mine. We met in Charlbury in 1996. We were introduced in a convoluted way by local jazz musician (and now childrens author) Alan Fraser, and Harry Potter director David Yates. Long story short, David Yates had directed me at drama school and when I moved to Charlbury, (where he was living) he happened to be doing a ceilidh and needed an authentic Scot to do some readings. There aren’t too many authentic Scots in a village like Charlbury, so I got the gig. That’s when I met Alan Fraser, who asked me to do some stand up at his cabaret nights, The Outhouse, and also said that David Halliwell was looking for a Scot (another lucky break) to appear in his production The House. I got the House gig too (I was the only one in Charlbury with a kilt), and subsequently played the same role (Private Billy Meechan) in a London production (retitled In That Summer of Sweet 16) directed by Jane Clark of I’m a Camera at the Old Red Lion in 1997.

I also formed a company with David, The Wychwood Depiction Engine, which produced several plays for the Charlbury Arts Festival (including Merriel The Ghost Girl, which had prompted Sam Peckinpah to write to David when he saw the original production). David had pioneered multi-viewpoint drama in the 60s and 70s. He said, “if you are telling the story of man bites dog, you see it from the point of view of the man, from the point of view of the dog, and from the point of view of the bite.” He also founded the first lunchtime theatre company in Britain and possibly the world, Quipu. He won the Evening Standard Most Promising Playwright of the year in 1966 for Little Malcolm and His Struggle Against The Eunuchs.

David’s tales were always full of humour, controversial and always, always full of ‘names.’ When I first met him, I thought he was probably full of , well, you know, but it turned out that he did indeed share fish and chips with the Beatles during a recording session at Abbey Road (one of the VERY few outsiders who ever got to attend a recording session with the Fab Four). This occurred after George Harrison (who went on to produce a film version of Little Malcolm as the first film in Handmade Films cannon) attended Little Malcolm on stage and persuaded the others that David might be the director for their next film - in the end, this turned into the animated Yellow Submarine.

David introduced me to many of the people he’d met throughout his career; many people who were probably frustrated, as I was, by his refusal to compromise, his refusal to ‘play the game.’ This was also one of the reasons I admired him and one of the reasons why, however difficult it was to be his friend, I was always glad I was. As Mike Leigh (probably David’s oldest - not in an ageist way Mike - friend) said in his obituary in the Guardian, “Nothing he wrote had the weight or depth of which he was undoubtedly capable, and nobody who knew him or his wit, intelligence, or indeed his writing would disagree that he could and should have been up there with Beckett and Pinter, his two major influences. He in turn was a great influence on me, and it fills me with immeasurable sadness to know that I will never again spend a scintillating drunken night with this perceptive, invariably confrontational, and always funny genius.”

David’s sister Liz and her husband Cliff are coming to see the play at the Fire Station. They haven’t seen ‘Belch’ performed before. I only hope we (myself, Alexa Brown as Dymphne Pugh-Gooch and director Sarah Dodd) give them a memorable and entertaining evening out and live up to the writing.

I wanted to ‘Belch’ ever since I found a copy at David’s house probably around 2001 or 2002. I am an occasional birdwatcher - I discovered that I birdwatch more (once or twice to the point of twitching) when I am unhappy with another aspect of my life. I’m pleased to report that i am not currently an ‘active’ birdwatcher.

We were always going to put on A Last Belch for the Great Auk and at one time interviewed an actress who was in neighbours (Nicola Charles) for the part of the model (she was ‘busy’ recording a single at the time. I can’t remember the name of the single (he said bitingly).

For one reason or another, we never got around to doing it before David died in 2006. I’d seen him in the street a few days before he died, and had made plans to have a pint with him when I got back from filming in Glasgow. While I was away, David died.

I was at the point of splitting up with my wife at the end of 2006, so everything else went on the back burner, but the urge to ‘Auk’ never went away. Last year, I showed it to a director friend of mine, Sarah Dodd from the Oxford Playhouse and MakeSpace theatre company, and she loved it. She also happened to know an actress/model who would be perfect as Dymphne. And so finally, I got the chance to play Reg Armitage. We did a rehearsed reading last November, and got really good audience feedback. I really think it’s a great play, and we are hoping to tour it if we can get funding. Hopefully, the two nights at the Old Fire Station as part of Oxfringe won’t be the end of the story….

Next up, I’m hoping to do a Scottish tour of a play written by a friend of mine, Simon Farquhar. It’s a revival of his Rainbow Kiss, which is set in Aberdeen and premiered at the Royal Court in 2007. It’s set in Aberdeen, and you don’t get many plays set in the Granite City. I’m also hoping to do Simon’s new play, which was only completed a week ago. It’s brilliant, very real, very dirty, and there are a couple of parts I’d love to play. Then there’s a film on the last days of Robert Louis Stevenson which I’ve been tracking for two years while it raised funds. Everything is almost in place, and I’m hoping they’re going to be casting soon. I read a part in that while they were developing the script and it’s fantastic - it’s got everything, rape, murder - and the fact that I possibly don’t exist! And of course, the fact that the writer is playing loose with Scottish history guarantees a certain level of notoriety and scrutiny from Scotland. Of course, all of that depends on the casting directors…

I’m also doing my spoken word evening at the Jam Factory, 27 Park End Street, Oxford OX1 1HU, tel 01865 244613, on Monday April 6 at 8pm. It’s basically… a swanky swashbuckling scoundrel showing off with others of that ilk. Some call it poetry. They’re mishapen. Some say prose. So we prose - and primp and preen. And some cameras go off. And on. And off. It’s words, all about the words, man. And woman. It’s for us all. Anything might happen. This is not guaranteed but likely. And it’s still a raggedy gathering of rags makeing melly. Come and make some of your own You never know who’s going to turn up, or what might happen (although I’m pretty sure you’ll hear me doing a couple of John Lennon’s brilliant poems from In His Own Write and Spaniard in the Works).

David Halliwell’s A Last Belch for the Great Auk at the Old Fire Station on April 1 and 2 at 6.45pm. It’s directed by Sarah Dodd and the two-hander cast features Alexa Brown as Dymphne Pugh-Gooch and Steve Hay as Reginald Armitage. Tickets cost £8, and can be booked at The Old Fire Station, 40 George Street, Oxford OX1 2AQ; Tel 0844 844 0662 or see the website

For my profile and showreel, see http://www.uk.castingcallpro.com/updateall.php and http://www.stevehay.co.uk

Background on David Halliwell: http://www.independent.co.uk/news/obituaries/david-halliwell-472814.html

http://www.imdb.com/name/nm0356668/

http://www.filmreference.com/film/28/David-Halliwell.html

http://www.guardian.co.uk/news/2006/mar/22/guardianobituaries.artsobituaries

http://www.thestage.co.uk/features/feature.php/12264/david-halliwell

 

 

The Russian State Ballet of Siberia – Swan Lake

 

Reviewed at Milton Keynes Theatre on 7^th March 2009

 

This extremely popular ballet would seem to be a fairly safe bet for any company: Tchaikovsky’s glorious music, the staging and setting, the emotional drama of the final scenes. Surprisingly then, I left the performance feeling that this is a somewhat uneven and at times lacklustre performance.

 

Firstly, the positives were the orchestra who did full justice to the score and were as note perfect as to be expected under Anatoly Tchepurnoi. Secondly, is the amazing Anna Aulle, playing Odette/Odile. She is an outstanding dancer and performer: technically brilliant and wonderfully expressive, both in face and body. She was the best thing about this production, utterly believable throughout and totally focussed. She is a gorgeous, gorgeous performer; I cannot praise her highly enough. The only match on stage for her as far as technical execution and dramatic expression go was Kirill Litvinenko, who was excellent as Von Rothbart. He looks the part and is a strong dynamic dancer, who is also thoroughly committed to his performance. These two had the most exciting choreography and embraced it.

 

The other lead, Prince Siegfried played by Nikolay Tchevychelov, is not as strong as the above. The blurb in the programme says that he has ‘striking artistic personality, creativity and scenic charm’. This may be so but it was not much in evidence last night. He has a certain amount of charm, which serves him well as the Prince, but his performance did not move beyond that and was rather one-dimensional. He seemed distant in the second half and his performance lacked expression. Dancing opposite Aulle did him no favours as frankly, she danced everyone off the stage. There was something strange about Tchevychelov though, in that his mouth is almost constantly moving. Several times I thought ‘Is he counting the beats?’  Whatever he is doing it is very distracting.

 

Now moving to the main problem with this production on this particular night: the corps de ballet.  Usually, I would not necessarily be focussed on these performers but they drew my attention because they were occasionally disengaged from what they were supposed to be doing; namely, acting a part and putting on a performance. However, several times some members were distracted, and distracting, when on stage; looking around and, bizarrely, speaking to each other and giggling when on stage! They are supposed to be swans! Most annoyingly this happened as the last scene drew to a close, which completely punctured the drama and emotion of the final moments. Whilst this might have only been audible in the front few rows, and most probably not noticeable to the majority of the audience it is unacceptable.

 

So, the performance of the orchestra, Aulle, and Litvinenko were outstanding but unfortunately these brilliant performances were overshadowed by the very odd behaviour of the corps. All in all this was an uneven night.

 

Swan Lake played at Milton Keynes Theatre on 7^th March 2009. Milton Keynes Theatre Box Office 0871 297 5454 (bkg fee). www.miltonkeynestheatre.com  or for details of further dates and venues please go to http://www.raymondgubbay.co.uk/newDisplayEvent.asp?eventid=1568

 

Gates of Gold

Library Theatre, Manchester

24 March 2009

 

Anyone who enjoyed Frank McGuinness’s Someone Who’ll Watch Over Me at the Library Theatre in 2007 will be eager to see their new production of his 2003 play, Gates of Gold.

The story is inspired by Micheál MacLiammóir and Hilton Edwards, fabled actors turned writer-producer-directors who founded the Gate Theatre in Dublin.  Despite their apparently impeccable Celtic credentials, both were Londoners by birth – a fact they went to some lengths to deny.  Yet strangely, considering the moral tenor of the times, they made no secret of their homosexual relationship, remaining linked personally and professionally until MacLiammóir’s death in 1978.

It’s the dramatic potential of a drawn-out and painful deathbed that provides the setting for Gates of Gold.  Gabriel, a narcissistic drama queen in an unconvincing wig, is expiring loudly and complainingly of bowel cancer and a weak heart.  Having driven away innumerable carers with a sharp tongue and unreasonable behaviour, his cool and phlegmatic partner Conrad manages to engage the no-nonsense nurse Alma.  But although things improve, Gabriel isn’t willing to go gentle into that good night – and he’s even more agitated when the vultures begin gathering in the shape of his equally eccentric sister Kassie and her sinister son Ryan.

For those who found Brian Friel’s Faith Healer a little mysterious and ambiguous – well, that was child’s play compared with a piece in which all of the characters are lying all of the time, so you’re never sure of anything at any given point, and just when you think you’ve managed to grasp the facts something is revealed which changes your perspective on everything yet again.  Nevertheless, even while in a state of perplexity and bamboozlement, it is possible to admire and enjoy this high-class production by director Rachel O’Riordan.

Oliver Cotton as the dying man leaves us in no doubt that in his prime Gabriel was a charismatic, flamboyant, exotic creature who richly merited his own high opinion.  Even though now stranded breathless in bed, his wit and banter remain undiminished.

Ian Barritt’s placid and initially unsympathetic Conrad (bearing an uncanny physical resemblance to Hilton Edwards) is the stiff-upper-lipped Englishman to Gabriel’s Colleen Bawn, but his gradual suggestion of hidden depths and suppressed passions is fascinating.  When they share their bed and reminisce, Gabriel with his palliative morphine and Conrad casually smoking a pipe of heroin, they’re like an old married couple who are still in love.

Diego Pitarch’s design has to allow for the counterpointed dialogue between some scenes, and does a great job of fitting a bedroom, hall and living room simultaneously onto the Library’s modest stage, while James Whiteside’s lighting draws the play to a memorable and moving conclusion.

Frank McGuinness calls Gates of Gold a love story, which it undoubtedly is, but he could equally have billed it as a detective story with an unfathomable ending.

 

Gates of Gold is on until Saturday 11 April 2009

Prices: £9.80-£18.10 (conc from £7.35)

Times: Mon-Thurs @ 7.30; Fri & Sat @ 8pm; matinees Thurs & Sat @ 3pm

Box Office: 0161 236 7110

www.librarytheatre.com

Playing at Watford Palace Theatre from Tuesday 24th March-4th April
http://www.watfordtheatre.co.uk/p2.html

With interjected numbers from Gay's The Beggar's Opera, this play could have proved, for some, slightly taxing.  Although Gay's ballad opera was hailed as a masterpiece in his time (the 17th century), one would imagine that what was relevant then could not seemingly be so now.

Luckily, with only small interjections rather than full scale continuous singing,  Gay's songs are used not only as a means of highlighting the rehearsals for the performance that is being created within this play, but as a succinct plot developer for Ayckbourn's own play; using Gay's creation as a means of explaining the emotional whereabouts of Ayckbourn's characters.

What especially delighted me was the perfect display of, through, at times completely stereotyped characters, the idiosyncrasies and  bitchy claustrophobia of performance within an amateur dramatic society.  

Although this performance was engaging, at times I felt disappointed in Julian Harries' portrayal of Guy.  I cannot quite decipher why this was, but there were moments when I did not care about him at all and didn't at all believe that any of these women would find him attractive.  Sion Tudor Owen's Dafydd varied from blisteringly hilarious to slightly irritating and brash.  His huge voice constantly overpowering all others on the stage, it was, at times, a little too much.

However, there were some stellar performances from Katie Kerr as the fabulous Bridget and Katy Secombe as the vulnerable Hannah, her voice painfully emotive in song.   I was blown away by the accuracy and indeed poigniancy of Paul Leonard's portrayal of Jarvis and would like to see more of his work.

Overall, Peter Rowe directs a great production of Ayckbourn's play and it is well worth a visit.  Yet again The Palace is providing the goods and putting on plays that are just as good, if not better, than some of the shows that have made it to the West End