UK Theatre Network

On Sunday March 29^th 2009 I went to see Encore by A Stage Kindly at The Village Bar, Soho.  The Company was made up of: Katy Lipson ( piano and musical director), Giles Howe (host) and singers Elise Bowd, Teresa De Gennero, Nicola Henderson, Scott Armstrong and Lewis Greenslade, with Katy Lipson and Giles Howe performing some of their own material.

May I first say what a novel idea it was to showcase original material from New International Musicals, as well as The Company cleverly including their own material in the line-up.

The songs that stood out for me were ‘How Do You Make Magic’, ‘Be There’ and ‘A Revelation’, all sung by Scott Armstrong, who trained at The Mountview Academy of Theatre Arts. He uses his distinct, beautiful tones in ‘How DoYou Make Magic’and is  clearly in control whilst on stage, effortlessly switching between his head and chest voice.

Teresa De Gennero, who was chosen to duet with Scott Armstrong in ‘Marry Me’ and ‘A Tenor,A Soprano’, reminded me of a young Bette Midler with her stage presence, comic timing and strong projectory voice.  Both her and Scott in ‘A Tenor, A Soprano’ showed off  their musical capabilities.  And quite rightly so too!

I felt the depth of feeling within the pools of Lewis Greenslade’s eyes with each song that he sang, taking the audience on an emotional journey.  But, it would have been nice to have seen him occasionally play a more forceful character, rather than stereotyping him as the downtrodden victim.

Another of my favourites was ‘Upon The Table’ sung by Elise Bowd, who is clearly comfortable in making the stage her own; acting easily through the song- ‘Chiropractor’s Hands’ and showing us her sexier side, imitating slightly The ‘Oh yes!’ scene from‘When Harry Met Sally’.

In my opinion Nicola Henderson had the most operatic of all the voices, if a little forced at times.  My favourite of her songs was ‘The Neon Lights’ from ‘Mind The Gap’ written by Giles Howe, where she sounded not unlike Liza Minelli.

It might not be a bad idea if the organisers of this Tour shortened the song list to allow more time to be dedicated to introducing each New Musical.

The chemistry could be felt between long-term friends Katy Lipson and Giles Howe when they dueted together in‘Every Rose’, written by Giles, a rather haunting/Phantom of the Opera- type number.

In ‘Stars In My Eyes’ in the Finale, all the voices came together, allowing every facet of each of their voices to shine through. As they sang the words ‘’Where can you go?’’, I thought to myself ‘’W here can this Company go?’’, with the cult following they are gathering, far,I believe!

If you are writing a Musical visit them at www.astagekindly.com and discover their exciting opportunities.

And to find out what all the fuss is about, see them in their final performance on Sunday 5^th April when they will be performing at The Village Bar, Soho once again.

Bar – Tel 020 7439 4089

81 Wardour St., London, W1D 6QD

www.village-soho.co.uk

John Wilson’s 1964 play “For King and Country” deals with the story behind the 306 British men shot for cowardice or desertion during the First World War.

The story centres on Private Arthur Hamp, recently arrested for desertion. Before he is put up for trial he is met by Lieutenant William Hargreaves, who is gathering evidence for his defence. The play tells the story of a boy brought up in poverty, leaving school at the age of twelve to work in the local cotton mill. Pressurised by his family, Arthur volunteers for the Army to serve his King and Country.  Three years later he is the only survivor from his original battalion.  He speaks of the thousands of deaths he has seen, the friends he has lost and learning the news that his wife and child have left him. We witness the unfair trial which records his actions as ‘gutless’, and his eventual execution by his fellow soldiers.

The play helps to highlight the human tragedy of war. How circumstances can make a person treat their fellow man in such a cruel way.  Also, how anyone who tries to make a stand against this is crushed by an unjust and uncaring system.

For all the good points the play makes there were certain aspects of the production which diluted its message. Director, Tristram Powell’s decision to raise and lower a screen between set changes resulted in the audience not being sure if it was time for the interval , and also creating a few minutes of awkward clunking noises (as the set was moved) behind the screen. In addition, I struggled to feel sympathy for Adam Gillen’s portrayal of Hamp.

Despite this there are some excellent performances from other members of the cast. In particular Daniel Weyman as Hargreves and Kevin Doyle as the Padre, both give fantastic performances, allowing the audience to share in their frustration and anger at the rotten system of war and what it does to good, honest men.

Listings:

The Kings Theatre, Edinburgh

31 March to 4 April

Tues – Sat eves 7:30pm

Wed & Sat mats 2:30pm

Tickets: £12.50 - £25

Box Office: 0131 529 6000

www.eft.co.uk

Then touring until 18 April

Hot Flush!

UK National Tour

Reviewed at Darlington Civic Theatre

Myra, Sylvia, Jessica and Helen all have one thing in common – they are each going through the menopause. The women meet every Tuesday evening to share in their experiences, their secrets, their highs and lows and, together, they make up the ‘Hot Flush Club.’

Obviously, this musical is targeted at a female audience and the auditorium at Darlington Civic Theatre was packed with them on Monday evening.

Lesley Joseph leads a hugely talented cast that also includes Hilary O’Neil, Anne Smith, Ruth Keeling and the token male, Sam Kane.

Miss Joseph plays Myra who was a successful barrister specialising in divorce – until she began to develop symptoms of the menopause and her husband left her for a blonde bimbo. Now Myra drinks and smokes too much and struggles to contain her pent up anger and frustration. The incorrigible Joseph hurls herself wholeheartedly into the role and has the audience in hysterics.

Hilary O’Neil’s portrayal of sex-mad Sylvia, the gauche American is equally as effective. She is having a secret affair with Myra’s eighteen year old son and, inevitably, it is only a matter of time until she is found out and the sparks begin to fly.

Ruth Keeling is Jessica, the larger than life charity fund-raiser who has to cope with unwanted advances from the lecherous local vicar. Anne Smith plays widowed Helen, who battles loneliness and short-term memory loss.

All four women deliver fantastic comedy performances that have the audience whooping with glee. Refreshingly, they seem to work as an effective ensemble and nobody appears to pull focus or upstage anyone else.

Sam Kane has the unenviable job of being the only male in the cast and, with four sexy, sassy women to deal with, it must be no easy undertaking! However, Mr Kane revels in his role and his cheeky charm is a hit with the audience. He plays a variety of roles including barman, doctor, waiter, security guard and Chinese herbalist.

Olly Ashmore provides the musical numbers and his witty lyrics make each and every one a gem. When Roger Hannah’s choreography is integrated they become showstoppers in their own right. Director Alan Cohen also knows just how to get the very best from each member of his cast, too.

Undoubtedly, Hot Flush! will be derided by some snobbish critics  because of it’s tongue-in-cheek approach and revue-like content. However, it is worth noting that this production is filling theatres during the worst economic crisis since the depression of the 30s and providing a great night’s entertainment to boot. The ‘real’ world is filled with worry and woe, so let’s hear it for a welcome bit of fun, froth and frivolity. Go girls, go!

Steve Burbridge.