Orwell - A Celebration is coming to Trafalgar Studios for a limited run from 8th June.







A theatrical celebration of George Orwell, marking the 60th and 70th anniversaries of 'Nineteen Eighty-Four' and 'Coming Up For Air'. 'Coming up for Air' displays Orwell’s great gift for comic writing and grasp of middle-class fears at a time of economic and political crisis. The evening also features excerpts from Nineteen Eighty-Four alongside other Orwell works 'Killing an Elephant' and 'A Hanging'.

SeatChoice is proud to be helping to support this production.

Noises off won the Laurence Olivier and Evening Standard Awards for Best Comedy in 1982.  Directed by The Queen’s Theatre Artistic Director, Bob Carlton, members of the resident ensemble Cut to the Chase, bring Michael Frayn’s comedy vigorously to life. 

Frayn’s farce within a farce uses this much-debated genre to highlight the hilarities of human nature by taking the audience backstage of a touring theatre company. 

Inside the program for Noises off was another for Nothing On, the fictional play.  Apparently it was January and I was in the Grand Theatre, Weston-Super-Mare on opening night. 

Act One is set on the stage during final rehearsals of Nothing On. The living room and upstairs of a country house is laden with doors leading to other unseen rooms, and banisters and balconies just waiting to be fallen over. The fictional characters fluff their lines, forget where the ever present plate of sardines are supposed to be and are frequently stopped by the director Lloyd Dallas (Shaun Hennessy), from among the audience.  Selsdon, (Stuart Organ) the alcoholic actor who has been missing all day, appears from the audience too, fooling me for a moment that he was an old man already needing the bathroom. The farce begins slowly but cleverly with lots of perfectly timed entrances and exits, banging doors and mishaps but a disappointing lack of humour.  It wasn’t until the second act that I appreciated the skill involved in the writing and directing of this play. 

The stage was turned 180º during the interval and we now viewed the same scene but from backstage, halfway through the tour of Nothing On. Act 2 fulfilled all the promises of sidesplitting humour as the pace accelerated considerably.  The cast seemed to melt comfortably into their parts as if they felt more at home with chaos. They performed as the characters in the energetic, desperately less than perfect play, to perfection. In true farce style, trousers were dropped, women de robed, vases smashed, cactus poked up backsides and quite brilliantly, a plate of sardines was thrown in a frenzy from character to character just in time to reach Dotty (Kim Ismay) before her next entrance. 

I was left with a satisfying ache in the stomach after this act, but there was one more to come.  The third act was set front of stage again on the last night of the tour.  The same scene is played a third time, the cast of Nothing On have gone from dynamic to lethargic, they perform singularly, making up lines and talking to themselves.  This act saw the seemingly pointless and one-dimensional character of Vicki (Natasha Moore) shine. Throughout the play, she moves like a robotic doll, concentrating on her lines and her positions, never considering any of her colleagues.  As all other characters forget their lines, stand in the wrong places and generally fall apart, she continues flawlessly, no matter what, even if it means talking to the wall.  Luckily the scene isn’t played out to the end, I don’t think I could have sat through the commotion again.  The energy seemed to die away slightly at this point, along with the characters themselves.  Overall, the evening was entertaining and enjoyed immensely by the audience. Do go and see for some good old fashioned humour, but leave your frustration at home or you’ll be covering your eyes with one hand and shaking your fist with the other shouting, “No!” 

 

CAST 

Georgina Field (Belinda/Flavia Brent)

Shaun Hennessy (Lloyd Dallas)

Kim Ismay (Dotty Otley/Mrs Clackett)

Simon Jessop (Frederick Fellowes/Philip Brent/Sheikh)

Sam Kordbacheh (Tim Allgood)

Natasha Moore (Brooke Ashton/Vicki)

Stuart Organ (Selsdon Mowbray/Burglar)

Rowan Talbot (Gary Lejeune/Roger Tramplemain)

Lucy Thackeray (Poppy Norton-Taylor)

 

Director- Bob Carlton 

Designer- Rodney Ford 

Lighting Designer- Paul Stone 

Action Co-ordinator- Nicholas Hall
 

Noises Off

By Michael Frayn

 

Previews: Fri 17 Apr and Sat 18 Apr at 8pm

First Night: Mon 20 Apr at 7.30pm

Performances: Tue – Sat at 8pm

Captioned Performance: Wed 29 Apr at 8pm

Matinees: Thurs 30 Apr and Sat 9 May at 2.30pm

Signed Performance: Wed 6 May at 8pm

Audio Described: Sat 9 May at 2.30pm

 

The Queen’s Theatre, Billet Lane, Hornchurch RM11 1QT

Tube: Hornchurch

Tickets: £13.50 - £22

Box Office: 01708 443333

Booking online at www.queens-theatre.co.uk

 

 

 

COMPANY                           Ye Olde Rose and Crown, Walthamstow.

 

Company at Walthamstow’s Ye Olde Rose and Crown theatre pub is a must for all musical theatre lovers. It will delight Sondheim fans and may even convert those new to his work into avid disciples.

Modernised to the age of computer dating by All Star Productions, Company shows that finding the right companion is just as difficult now as it has ever been. The story follows the journey of Bobby, a single man just turned thirty five and under pressure by his friends to find a long- term partner. Various viewpoints on the subject are presented in a series of short scenes that generally show the less than ideal aspects of commitment.

Aaron Clingham’s musical direction is spot-on. In the intimate venue it was close-up and personal, and it was thrilling to hear stunning harmonies so near that they actually vibrated through your body. The cast are at their most effective when singing as an ensemble, and it was a joy to hear perfect renditions of songs likeSide By Side, Company and other classics that make this Sondheim musical so remarkable. Nevertheless sometimes the band were very loud, and occasionally the lyrics and vocals of solos were drowned out by the backing.

Sebastian Rex’s mostly tight direction showed an imaginative use of the oblong performance area, and there were some nifty moves for the livelier numbers. However Rex is clearly not a fan of the power of stillness or the economy of movement. At every opportunity he has the cast physicalising. His favourite move had the actors flailing their arms about their head and body in what looked like a bizarre fusion of voguing and the YMCA dance. And the intimacy of Barcelona was completely destroyed when a dancer suddenly appeared from under the bed doing a contemporary piece like a crazed fairy on Viagra.  I am sure it was meant to represent something deep and meaningful but it was often very distracting and contributed little to the numbers.

Company not only has exceptional songs but a great book by George Furth which allows the cast to showcase their acting skills. All performances are good but it is the women who really carry this production. Claudia Morcroft is brilliant as dizzy trolley-dolly April, Alix Dunmore gives a dazzling performance as Amy the manically reluctant bride and Julie Ross is utterly compelling as Joanne. Of the men Joe Scheffer is outstanding as Harry.

As a person who rarely goes beyond zone two the schlep to Walthamstow seemed tantamount to going to the outer Hebrides, and whoever planned the eight o’clock  start leading to a very late closing time clearly has no idea how difficult it is to get decent public transport from this venue at night. In fact I only got half-way home before the promised trains decided not to appear. During this emergency I was forced to stay over unexpectedly at friend’s house and spent the evening raving about the show, while singing badly the entire repertoire to him. Get a ticket while you can.

 

OLIVER VALENTINE                                  Box Office: 0208 509 3880

Widowers’ Houses, George Bernard Shaw’s first stab at playwriting, begins almost like a boulevard comedy of Brits abroad behaving badly. 

Young Harry Trench has just passed his medical exams and is celebrating in typical student fashion by going travelling.  As he tours Europe, freed from the trammels of polite society and his dinner jacket, he scrapes an acquaintance with another pair of English tourists, the exquisite Blanche and her formidable father, Mr Sartorius.

Soon though the façade of light comedy is thrown aside, and Shaw’s trademark political, moral and philosophical purpose comes to the fore.  Mr Sartorius is a self-made man, and while Harry’s aristocratic relations have no objections to his alliance with Blanche and her vast wealth, Harry himself is appalled to learn that his future father-in-law made his fortune as a slum landlord.  Having seen the result of such living conditions in the hospital out-patients department, the newly qualified doctor wants nothing to do with Sartorius’s tainted money, but Blanche has no plans to eke out an existence on Harry’s measly £700-a-year private income, and as her fiancé is too gentlemanly to reveal the true reason for his misgivings, she breaks off their engagement.

The third act challenges Harry’s high-minded attitude and Blanche’s idolatry of her father, and Shaw satirically lets them discover that real life is about compromise and pragmatism.

The passionate love affair between the jovial Harry (Ben Addis) and the doll-like Blanche (Lucy Briggs-Owen) is the glue that holds together a not entirely convincing structure, and if director Greg Herzov hadn’t played up their almost animalistic sexual attraction the ending would have fallen flat.  Shaw devotes most of his attention to the sinister Sartorius, played in his inimitable and inscrutable manner by Roger Lloyd-Pack, and the rent-collector Lickcheese, a conniving and obsequious pauper-on-the-make portrayed by Ian Bartholomew with Dickensian relish.  

Ashley Martin-Davis is responsible for Blanche’s mouth-watering costumes – what a shame that velvets of such rich plushness and colour are nowadays only seen on soft furnishings.  And special mention for Vanessa-Faye Stanley, who upholds the Exchange’s long tradition of scene-stealing servants as Blanche’s put-upon maid.

Although this is Shaw’s first play, Widowers’ Houses is littered with typical Shavian wit, ridiculous moral dilemmas, and a cast of vivid characters, and remains as entertaining, funny and pertinent as it was in 1892. 

 

Widowers’ Houses is on until Saturday 9 May 2009

Prices: £8.50-£29.00

Evenings: Mon-Fri @ 7.30pm, Sat @ 8pm

Matinees: Wed @ 2.30pm, Sat @ 4pm

Box Office: 0161 833 9833

www.royalexchange.co.uk

IN THIS UPDATE

- Join UK Theatre Network
- Doug's Radio Blog
- BAFTA Report
- Casting For Oliver In The West End
- Opportunity for Youth Dance Contact
- Sir Ben Applauds McAvoy

UPCOMING EVENTS

- MusicaliFragilistic - London
- BritBits 5 - New York 
- Dine With Shakespeare - Manchester

MAGAZINE BLOGS

- Madame De Sade - Review by Elspeth Rae
- Jolson & Co - Review By Steve Burbridge
- Be Near Me - Review by John Sinclair 
- Waiting For Godot - Review by John Sinclair 
- Little Shop Of Horrors - Review By Steve Burbridge
- Hot Flush - Review by Cameron Lowe
- Cabaret - Review by Sue Marks
- In Conversation With.....Catherine Porter - Interview by Steve Burbridge



How to Join UK Theatre Network

UKTN is a network of theatre lovers created in 2001 and has now grown to around 10,000 subscribers who collaborate, contribute, click and connect via our newsletters and blogs. You can subscribe free to our weekly newsletter by sending a blank email to subscribe@uktheatre.net or register with our social media site at http://www.uktheatre.tv to publish your events, blogs and chat with others who are passionate about theatre.


Doug's Radio Blog

Listen to Doug's Radio Blog each Saturday 12pm-2pm -http://www.nevisradio.co.uk
This weeks show includes everything from Jools Holland to Handel's Messiah, Simply Red to Status Quo and Romeo and Juliet to the Rolling Stones. If the weblink above doesn't work, try http://stream01.keyone.co.uk/nevis


BAFTA Report

I'm about to complete by report for BAFTA on Social Media. I'm looking to include many opinions of readers of this email about your thoughts of the events, website and social media elements of BAFTA. Reply to this email and include your name, age and occupation. 


Have a great week

Douglas McFarlane
editor@uktheatre.net
http://www.uktheatre.tv


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Casting For Oliver in the West End

UK Theatre Network are supporting the casting of Oliver in the West End by representing the talent youth of today. All children must be under 5 foot tall (they will be measured at the audition) and aged between 7 (which is the minimum age on the day of the audition) and 13.

http://www.uktheatre.tv/forum/topic/26


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VACANCY FOR AN EXCITING NEW POSITION

Youth Dance Contact (p/t)

Stoke-on-Trent Theatres in partnership with Youth Dance England andDanceXchange, Birmingham, seek a dynamic dance animateur with established project management skills to enable them to take on this new role with confidence and vision.

http://www.uktheatre.tv/forum/topic/27#27

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Sir Ben Applauds McAvoy

I got great tickets this week for Three Days Of Rain at the Apollo Theatre in the West End. I wanted to see what James McAvoy was like on stage, having enjoyed the film performances of this talented young Scot. On arrival, I was delighted to notice that I was sitting two rows behind Sir Ben Kingsley and watched with interest at the end to see his reaction. He clearly enjoyed it as his hands were raised in applause at the end and as he was leaving he gushed about how good it was and that he was going to get a message backstage to McAvoy to let him know. Praise indeed and something I'm sure my fellow Scot will relish. 

My view was that it was an unnecessarily complex play, with minimal set and some questionable judgements on direction, but all three actors were very talented and compelling to watch, so I'd recommend it from that perspective. 

For more details and to watch the video preview:
http://www.lovetheatre.com/uktheatrenet/whats_on/london/three_days_of_rain

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UPCOMING EVENTS

MusicaliFragilistic

Musical magic of stage and screen brought to life in a 21st Century Cabaret Club night
Conway Hall, 25 Red Lion Square, London WC14RL Tube: Holburn

http://www.uktheatre.tv/events/profile/30

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Dine With Shakespeare

Dinner with a Difference Theatre Company invite you to ‘DINE WITH SHAKESPEARE" at Smiths Restaurant, 1 Church Road Eccles April 22nd 23rd at 7pm

A fun and innovative evening of fine food, music ….. and Shakespeare.

http://www.uktheatre.tv/events/profile/42

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BritBits 5
Short Plays for the Busy Anglophile!

Join Mind The Gap Theatre for the return of our fabulous short play festival featuring brand new works by, for or about The British!

Performances: April 26 - May 5, 2009 - Manhattan Theatre Source, 177 MacDougal Street (Between 8th Street and Waverly) 10011, New York, NY

http://www.uktheatre.tv/events/profile/44

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Madame De Sade

Review by Elspeth Rae

I wasn't sure if I was going to enjoy Mishima's play set in 18th century Paris. Although I love a lot of Japanese writing translated into English (Haruki Murakami being one of my chosen authors to have with me if, God forbid, I was ever to be left suddenly on a desert island beach) I am aware of the peculiarities and intricacies of language that can be lost in translation. 


http://www.uktheatre.tv/magazine/read/madame-de-sade-by-yukio-mishima-until-23rd-may-2009_121.html

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Jolson & Co: The Musical

Review by Steve Burbridge

Allan Stewart gives a breath-taking performance as Jolson in this stylish and sophisticated production. His voice is exquisite, full and powerful as he belts out Jolson’s biggest show-stoppers.

http://www.uktheatre.tv/magazine/read/jolson-andamp;-co-the-musical_101.html

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Be Near Me

Review by John Sinclair 

John Tiffany makes good use of the ten actors to create a beautiful piece of theatre. Most of the actors play two or three different characters, which works well in conveying the many different types of people Father David comes across.

http://www.uktheatre.tv/magazine/read/�be-near-me�-traverse-theatre-edinburgh-15-to-18-april-2009_120.html

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Waiting For Godot 

Review by John Sinclair 

One of the many influences that inspired the play was turn of the century music hall theatre and it is this aspect of the play that Sean Mathias and the Theatre Royal Haymarket Company have decided to put the main focus on.

http://www.uktheatre.tv/magazine/read/�waiting-for-godot�---king�s-theatre-edinburgh-13-to-18-april-2009_119.html

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Little Shop Of Horrors

Review By Steve Burbridge

This sensational new touring production, fresh from a recent West End revival, is magnificent. It has everything that you could look for in a musical: a talented cast; a wonderful storyline; a great 60s-pastiche score; and a vicious form of vegetation from outer space, intent on world domination, to boot!

http://www.uktheatre.tv/magazine/read/little-shop-of-horrors_100.html

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Hot Flush 

Review by Cameron Lowe

Clearly not for the young (or the faint of heart) this is a highly entertaining show for all women and many brave, confident men!

http://www.uktheatre.tv/magazine/read/hot-flush-(kingand39;s-theatre-glasgow-13---18-april-2009)_99.html

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Cabaret

Review by Sue Marks

If you like your theatre dark and raunchy then this is for you. Set in and around the Kit Kat Club in 1931 this play provides a snapshot of pre-fascist Berlin. Already considered a decadent city, the recent abolition of censorship had facilitated a new age of permissiveness.

http://www.uktheatre.tv/magazine/read/cabaret_98.html

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In Conversation With Catherine Porter

Interview By Steve Burbridge

Catherine Porter’s diverse career has included leading roles on West End, Broadway and worldwide theatre stages with Andrew Lloyd Webber, Michael Crawford, John Barrowman and Michael Ball to recording and touring with rock legends Queen.

http://www.uktheatre.tv/magazine/read/steve-burbridge-in-conversation-with-.-.-.-catherine-porter_97.html

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I wasn't sure if I was going to enjoy Mishima's play set in 18th century Paris.  Although I love a lot of Japanese writing translated into English (Haruki Murakami being one of my chosen authors to have with me if, God forbid, I was ever to be left suddenly on a desert island beach)  I am aware of the peculiarities and intricacies of language that can be lost in translation. 

For me, the experience was centred wholly around being in the same room as Dame Judy Dench, enjoyment of the play came second by a long shot. 
It's a difficult one.  Madame De Sade deals with issues of familial and marital bonds as well as paying some attention to the strangeness of the French aristocracy of this time. Comtese de Saint Fond played impeccably and wonderfully by Frances Barber was a joy to watch and epitomised the women of the court of that time obsessed by gaining sexual power over men-  even men who are married to their acquaintances.

I was also pleasantly surprised by Rosamund Pike's performance as Renee, Madam De Sade.  Playing opposite Judi Dench in so many scenes would have made even the most experienced of actors quake in their boots, but she held her own, convincingly portraying a woman refusing to leave her man, however desperate and at times ridiculous the situation became.

This, I believe was the central problem of the production.  Not the actors, Dench's sublime voice alone making the experience worthwhile, but the play itself.  There were times when the reasons behind Renee staying with her husband got lost in the language and the superflous poetics.  I don't know if this was, as I mentioned previously a case of being 'lost in translation', but the dialougue often felt strained and too much.  In fact, it was so over-developed that at times I often felt I didn't care what happened in the story.  Which was a shame as anything with such a stellar cast should hold its own easily.

Go and see it, the Donmar do some great deals on last minute tickets as well as good student offers, even if its just to get inspiration from actors who have shaped and in the case of Pike and Button potentially shaping, the course of acting history.

Jolson & Co: The Musical

Reviewed at Theatre Royal, Newcastle

The life of legendary performer Al Jolson is being played out on the stage in the sensational bio-musical, Jolson & Co.

 Known as ‘the world’s greatest entertainer’, Jolson was arguably the most successful star of the first half of the twentieth century. By 1920, he was America’s most famous and highest paid entertainer and he took the leading role in the first ‘talking picture’, The Jazz Singer in 1927. His life, however, was born of humble origins.

Asa Yoelson was born in Lithuania in 1886, the fourth child of Moses Reuben Yoelson and his wife Naomi. When he was eight the family emigrated to America, and by the time he was eleven he had been bitten by the showbiz bug and was singing, with his brother Hirsch, for coins on street corners.

Allan Stewart gives a breath-taking performance as Jolson in this stylish and sophisticated production. His voice is exquisite, full and powerful as he belts out Jolson’s biggest show-stoppers.

The show cleverly takes the format of an interview between Jolson and radio presenter Barry Gray at Broadway’s Winter Garden Theater in 1949. Significant events in his life are reconstructed in the form of flashbacks, revealing to the audience that it was not entirely made up of only glamour and glitz.

Indeed, Jolson’s personal life provides plenty of dramatic content and Stewart’s skilful performance reveals a man who needed constant reassurance from his adoring public, a man capable of loving an audience of thousands and yet unable to give himself to only one woman. Indeed, Al Jolson, it seems, was seduced by his own fame, wealth and success and spiralled into an egotistical, domineering control freak.

Only three performers appear on stage throughout this high-calibre show – Stewart, as Jolson, and his co-stars Donna Steele and Christopher Howell, who both play in excess of eight roles each.

Miss Steele is a talented actress, singer and dancer who is compelling to watch. She plays Jolson’s mother, three of his wives and Hollywood actress Mae West, too. Every character is successfully honed and so carefully drawn that you really are not conscious of the fact that they are all being portrayed by just one actress. Likewise, Christopher Howell plays a multitude of male characters, also with great aplomb.

Credit should also be paid to Chris Hayward who, as Head of Wardrobe and Costume Supervisor, adds an authoritative air of authenticity with a fabulous array of costumes and shoes.

Designer Morgan Large has provided a simple but highly effective stage that, rather than detracting from the drama, subtly enhances it

The inclusion of musical numbers including ‘Babyface’, ‘My Mammy’, ‘Swanee’ and ‘California, Here I Come’ gives the audience plenty of opportunity for tapping their feet and singing along, and concludes the show on a happy, nostalgic note. Miss it at your peril!

Steve Burbridge.

Jolson & Co: The Musical is at Theatre Royal, Newcastle, until Saturday 18^th April 2009.

“Be Near Me” is based on the Booker Prize nominated novel by Andrew O'Hagan and is a co-production between the National Theatre of Scotland and the Donmar Warehouse.

The play is about Father David Anderton, an English priest who is moved to the town of Dalgarnock on the Ayrshire coast. Dalgarnock is filled with sectarian hate and Father David soon finds refuge in the company of two local teenagers, Mark and Lisa. Father David’s relationship with Mark grows, until one fateful night he makes a decision that destroys his life and the lives of his closest friends forever.

John Tiffany makes good use of the ten actors to create a beautiful piece of theatre. Most of the actors play two or three different characters, which works well in conveying the many different types of people Father David comes across. Also his decision to use the cast as a choir, singing sectarian songs from both sides, helps to make you realize the pointlessness of religious hate when there is so little we don’t have in common with each other. This is ably helped by Davey Anderson’s music, which underscores a lot of the show.

The actors themselves are wonderful, working together as a true ensemble. It is hard to pick out any one performance, but due should go to Ian McDiarmid who plays the central role with such superb subtlety and makes us feel great sympathy for a character it could be easy to hate. McDiarmid also adapted the novel into the play and has successfully created a piece so powerful that you’d never know had been adapted from anything. Blythe Duff also gives a superb performance as Mrs Poole, Father David’s housekeeper, whose confession leads to his downfall.

An excellent piece of theatre. Well directed and filled with impeccably strong performances. Buy a ticket!

 

 

Listings:

Traverse Theatre, Edinburgh

15 to 18 April

Wed – Sat eves 8:00pm

Tickets: £5 - £16

Box Office: 0131 228 1404

www.traverse.co.uk

 

Then touring until 16 May.

"Only the misfortune of exile can provide the in-depth understanding and the overview into the realities of the world" - Stefan Zweig

            

Samuel Beckett’s classic play is about two tramps, Estragon and Vladimir, who are left by the side of an empty road. They are waiting for a man called Godot, who never arrives. It is famous for being a play where nothing happens. Despite this it is probably the most easily accessible of all Beckett’s work. Because even though these men are left with nothing to do, they have plenty to say.

One of the many influences that inspired the play was turn of the century music hall theatre and it is this aspect of the play that Sean Mathias and the Theatre Royal Haymarket Company have decided to put the main focus on. The set for the play is the ruins of an old, abandoned Victorian theatre. They also bring out the theme by highlighting the references that the characters make to old songs and adding sound effects or moves, which help to highlight some of the more comic moments in the play. It is a clever way of trying to make sense of what can be quite a baffling play.

The only problem with this is that the language is so rich that you wish there were some pieces of dialogue that were left to speak for themselves. However the cast work well together to use every syllable of what Beckett has written to full effect.

The two tramps are played by Ian McKellen and Patrick Stewart, who both give outstanding performances. In particular McKellen, who brings a sense of desperation and loneliness to Estragon. The superb casting is completed by Simon Callow as an excellently dark Pozzo and Ronald Pickup as a confused and lonely Lucky. Local boy Callum Souter was brilliant as the Boy, working incredibly well with Stewart given his young age and experience.

The company’s decision to cast the likes of McKellen, Stewart, Callow and Pickup will obviously ensure bums on seats, but should also be applauded for exposing one of the great plays of the twentieth century to a new audience.

If you want to see a great play performed by masters of their craft, look no further than this show!

 

 

Listings:

The Kings Theatre, Edinburgh

13 to 18 April

Mon – Sat eves 7:30pm

Wed & Sat mats 2:30pm

Tickets: £19.50 - £37.50

Box Office: 0131 529 6000

www.eft.co.uk

 

Then touring until 25 April and then runs at Theatre Royal Haymarket from 30 April.