UK Theatre Network

Encore

The Customs House, South Shields, Tyne & Wear

(until Saturday 23 May 2009)

It isn’t often that a theatre show can take you from the comfort of your seat to the sidewalks of New York City, on to the mystical land of Oz, and then place you in the poverty-stricken streets of Liverpool, but that’s exactly what the sensational singing group, Encore, do in their brand new show – and all before the interval, too!

Having earned themselves a reputation for excellence and established a faithful following, their shows are always a huge hit with audiences at the Customs House. Every time they are welcomed back to the venue I wonder how they’ll top their last show – yet every time they confound me and do just that.

Combining performances that are polished and professional with comedy sketches and dramatic excerpts from West End hit musicals, the group always manage to strike the right note with the crowd.

As well as performing many classic songs, Encore include a selection of their trademark themed sections. Their homagé to the well-loved sitcom ’Allo ’Allo, complete with double entendres using baguettes and French sticks, is a particular treat.

In addition to the group numbers, there are also some fantastic solo performances, notably Patricia Whale’s version of Good Morning Baltimore and Alan Davison’s deliverance of Love For Sale. But, it is Janet Peel’s emotionally-charged Tell Me It’s Not True that triumphantly closes the first act and puts her in the same league as any of the divas who have donned the crossover pinny and care-worn countenance to play Mrs Johnstone.

Encore are also to be applauded for their innovative decision to incorporate songs from contemporary shows such as ‘Wicked’, ‘Hairspray’, ‘Mamma Mia!’ and ‘Blood Brothers’ into their repertoire. This is something that works very well and puts them even farther ahead of their closest competition.

This is an irresistible, irrepressible show that has all the ingredients of a great night out, and it’s difficult to leave the theatre without a smile. Don’t miss it!

Steve Burbridge.

Jolson & Co – The Musical serves up the expected dish of lively jazz and swing music but also hints at a personality darker than the famous face the performer presented to the world.

With 17 instantly recognisable singalong songs backed by the irrepressible personality of Al Jolson (beautifully rendered by Allan Stewart), this production could be nothing other than a huge hit.  Mr. Stewart was expertly supported by Donna Steele and Christopher Howell who, between them, played 17 diverse characters in this elegant three-hander.  Ms Steele is to be particularly lauded for her ability to draw deep emotion from characters who were sometimes on stage for only a few short minutes.  This show is much more than a simple song and dance review as the complex layers of the great man were revealed in a detailed biopic of his remarkable life.

Born Asa Yoelson in 1886 in Lithuania, the youngster changed his name to avoid racist taunts as a boy when his family moved to America.  At the tender age of 8, the death of his beloved mother in childbirth had a profound influence on the youngster.  He developed his entertainer talent on the streets taking many queues from the multi-racial background of his fellow urchins.  However, he also developed an alienating perfectionism coupled with a burning desire to satisfy his mother’s ambition for him.  As his fame grew, so did his ego and this destroyed three of his four marriages and many friendships.  Al Jolson died in 1950 a living legend and almost 60 years later his musical genius and his epitaph live on – “You ain’t seen nothing yet!”.

This tour has been hitting the headlines for all the wrong reasons.  The producers’ decision to present the show without Jolson in his famous “blackface” makeup in order to minimise offence has sparked controversy and press debate.  Jolson (himself credited with championing equality for black Americans) had always declared that he donned the blackface persona to allow him the liberty to express the energy and enthusiasm that his music required – all this at a time when ‘blacked up’ performers were neither unusual nor controversial.  How quickly people forget that Al Jolson’s music and presentation style influenced popular entertainment as recently as the 1978 ‘Minstrel’ TV shows – 92 years after the great man’s birth! This production should, instead, hit the headlines for a flawless performance by Allan Stewart and a gritty and revealing portrayal of the “World’s Greatest Entertainer”.

LISTINGS

KING’S THEATRE GLASGOW

Mon 18 – Sat 23 May

Mon – Sat eves 7.30pm

Wed & Sat Mats 2.30pm

Tickets: £12 - £29

Box Office: 0870 060 6648 (bkg)

www.ambassadortickets.com/glasgow  (bkg)

dinnerladies

UK National Tour

Reviewed at Darlington Civic Theatre

Take a group of endearing characters, add a stellar cast, liberally sprinkle with Victoria Wood’s humour and you have the perfect recipe for a great evening’s entertainment.

‘Dinnerladies’, the much-loved television sit-com which ran for sixteen episodes over two series’ from 1998 – 2000, has now been lovingly brought to the stage by The Comedy Theatre Company, and is playing at Darlington Civic Theatre all this week.

Starring Shobna Gulati (Anita) and Andrew Dunn (Tony) from the original cast, this production has been adapted from Wood’s original scripts by David Graham. Reviving the timeless and popular comedy classic, it is based on the second TV series and follows the reluctant love story of Tony and Bren (Laura Sheppard).

Set in the canteen of HWD Components, audiences are given the chance to reacquaint themselves with social-climbing Dolly (Liz Bagley), the incorrigible Jean (Stella Ross), sarcastic Twinkle (Emily Butterfield), uptight handyman Stan (Barrie Palmer), dithery Philippa (Louise Dumayne) and the flatulent Petula (Jacqueline Clarke).

The cast consummately handled the unenviable task of recreating and breathing new life into characters made famous by great performers including Celia Imrie, Julie Walters, Thelma Barlow and Anne Reid.  Each actor ensures that their performance contains just the right amount of mannerisms to reflect those of the original, without descending into the depths of caricature and mimicry. Not an easy task to accomplish, but they did so with aplomb.

Obviously, Shobna Gulati and Andrew Dunn did not encounter this challenge, as they reprised their original roles. Both received a warm round of applause from the audience upon their stage entrance and neither disappointed with their performances. Shobna is a great actress with impeccable comedy timing (‘Is genitalia that silver stuff that you drape over the Christmas tree?’) and it is amazing how she manages to deliver many of her hilarious lines with sincerity and a straight face. Andrew Dunn instils Tony with that trademark dry humour and can often demonstrate his thoughts or opinions with only a facial expression.

However, ‘Dinnerladies’ is an ensemble piece and it has to be noted that there is not one weak link in this production. Mention must also be made of the amazingly authentic costumes and set.

After enjoying a generous portion of Victoria Wood’s canteen-based comedy, don’t be surprised if you find yourself wanting to return for a second helping!

Steve Burbridge.

Looking For Buddy

Live Theatre, Newcastle upon Tyne

(until Saturday 13^th June 2009)

Geordie actor Tim Healy makes a welcome return to Live Theatre, the company that he and a handful of aspiring local actors set up 26 years ago, to take the lead role in ‘Looking For Buddy.’

He plays Phil, a down-at-heel architect, in this witty jazz musical which has been written by one of the country’s most entertaining playwrights, Jarrow born Alan Plater.

When a beautiful ‘bottle-blonde’ named Ella (Jayne MacKenzie) flounces into his Newcastle office, mistakenly thinking he is the private detective from the office below, Phil is drawn into an intriguing and potentially dangerous search for the missing recordings of jazz maestro Buddy Bolden.

Along the way he encounters an array of colourful characters and discovers that The Good Earth Corporation has plans to transform much of Tyneside – and not for the better, either.

With the help of his Marxist sister, Bella (Jane Holman), Frank the Fitter, a former shipyard worker (Phil Corbitt), and Fat Jack, the owner of The Blue Note Jazz Club (Nicholas Lumley), Phil takes on the smart, international corporation and clashes with the icy-cool, sinister Zelda (Jacqueline Boatswain) in an attempt to find out the hidden truth that lies behind the superficial regeneration plans.

Although some of the issues are a little dated – for instance, didn’t the ‘yuppification’ of Tyneside take place in the late 80s and early 90s? – the plot is entertaining and the performances are polished. In addition to the many surprises in the storyline, there comes an even bigger one when Tim Healy reveals that he has a pretty fine singing voice.

The musical score is provided by acclaimed multi-instrumentalist Alan Barnes and delivered by a band that remains on stage throughout the performance, but never detracts from the action. The songs are all written especially for the play and are integrated well.

If you’re looking for an evening filled with laughter, song, comedy and drama, then ‘Looking For Buddy’ is the perfect solution.

Steve Burbridge.

                

It’s the day of an Old Firm match and a Rangers fan and a Celtic fan have been locked up in the cells before the match... together.

Des Dillon’s play explores the sectarianism and religious hatred inherent in the West of Scotland, in particular that often exhibited by Rangers and Celtic fans. The set-up allows for all the songs and stereotypes to flow freely from Billy (the Rangers supporter) and Tim (the Celtic supporter). This allows for some hilarious moments, but also what it brings to the fore is the similarities between the two people. They sing songs that mean the same things, with some of the same words and the same tunes. It helps to illustrate the ridiculousness of sectarianism and how outdated and backward it appears when placed in the spotlight.

The real craft in Dillon’s writing is that he doesn’t let the play simply become a ninety minute rant about how bad religious hatred is, but also gives human moments to the story by showing the pain and upset of Harry (the turnkey) whose grandson is fighting for his life in hospital. Harry would rather be anywhere else than having to babysit a couple of immature football fans, and yet he stays and does his job. Suggesting that the human spirit is stronger than any devotion to a football team or perhaps to a religion too.

The play is superbly acted by new theatre company NLP Theatre. None of the actors have had ‘formal’ acting training and yet they all give some brilliant, very naturalistic performances. In particular Scott Kyle and Colin Little work well together as Billy and Tim, creating some great tension and terrific comic moments. Stephen Cafferty’s direction is simple and effective in allowing the play to breathe and give the message its full resonance.

An important production, that says a lot about a very modern problem.

Listings:

Royal Lyceum Theatre, Edinburgh

14 to 16 May

Thurs – Sat eves 7:45pm

Tickets: £5 - £18

Box Office: 0131 248 4848

www.lyceum.org.uk

Then touring until 17 September

www.nlptheatre.co.uk

Little Boy written by Tommy Kearney , Directed by Steve Miller

Stage Management and Design by Sorrell Moore

Union Theatre till May 16th

An event that marks and shapes a generation is the thread that runs through Tommy Kearney’s Little Boy. Peace, being an ultimate goal, is an idea explored by the relationships presented through faith, action and empowerment.

Little Boy is set in a Merseyside Catholic girls high school and follows the events during the year of four friends confirmation and their reunion years later.

Suzanne (Siobhan Doyle), Lisa (Annmarie Hodson), Paula (Lianne Curtis) and Michelle (Victoria Denard) muddle through school work, personal problems and learn about their faith.

The girls are inspired by a young and idealistic teacher, Miss Clemson (Steph Parry), a fervent peace protestor and paper crane folder. Through her passion for her convictions, CND and Greenham Common, her students come to understand the wider world.

The mood of the eighties is nicely reflected through pop culture references, the use of music tracks such as Madness, and the hero worship of Suggs.

Kearney’s dialogue draws the audience in, taking them back to school days where taking the cane as punishment for transgressions also meant thanking the teacher afterward for the experience.

There were some nice character developments between Miss Clemson and Father Nick  (Howard Corlett). Pearl Marsland as Mrs Riley was both touching and terrifying.

Steve Miller’s direction and vision, made full use of the space. In a sense it seemed the play had been written with the Union theatre in mind. With minimalist sets by Sorrell Moore, the atmosphere of the school and church life was created.

An entertaining piece by a writer who knows his subject, Little Boy on at the Union theatre, Southwark till May 16th

It’s the night before Andy and Vicky’s wedding, the only problem is Andy is dead. A drug fuelled fondle from an air stewardess caused him to have a heart attack mid-flight and now Vicky has been left to pick up the pieces. She sits in her “Footballers Wives”esque flat, pooping a few tranquillisers with her sister Nikky, awaiting the arrival of two of Andy’s mates. When they arrive the party really begins...

“Hoors” is the latest play from Gregory Burke, best known for the international hit “Black Watch”. Anyone expecting a similar play will be sorely disappointed as this play couldn’t be more different. It doesn’t stop it from being a great play. In fact the set-up gives Burke free reign to be as funny as possible with wickedly funny dialogue, including a brilliant scene about Titian.

Superb performances were given by all the cast, in particular Michael Moreland who played an innocent yet stupid Stevie. Add to this Conor Murphy’s sleek, but simple set and Burke has successfully created a slick, stylish, yet very Scottish comedy!

Listings:

Traverse Theatre, Edinburgh

1 to 23 May

Tues – Sun eves 8:00pm

Sun eves 5:00pm (10 and 17 May)

Sat mats 2:30pm (13 and 23 May)

Tickets: £5 - £16

Box Office: 0131 228 1404

www.traverse.co.uk

Then touring until 20 June.

Singin’ In The Rain

The Sunderland Empire (until Saturday 16^th May)

What a glorious feeling!

Musical-lovers are in for a real treat this week as ‘Singin’ In The Rain’ makes a big splash at the Sunderland Empire.

Based upon the 1952 film, it is a comic depiction of Hollywood’s rather awkward transition from silent films to ‘talkies.’

Tim Flavin stars as Don Lockwood, the popular actor who is to play the lead in Monumental Pictures’ new big budget musical, ‘The Dancing Cavalier.’ Tim is an accomplished star of musical theatre and takes the acting, singing and dancing well within his stride.

Jessica Punch’s performance as Kathy Selden, the chorus girl made good, is full of warmth and she has a lovely vocal quality, too.

Strong supporting performances are delivered by Amy Griffiths as Lina Lamont, Don’s vain and shallow leading lady, and Graeme Henderson, as Cosmo Brown, who provides much of the wonderfully slapstick comedy of the era.

All the musical numbers are crowd-pleasers and are delivered with energy and panache by a talented cast and chorus. Particular highlights include ‘Good Morning’, ‘Broadway Dream’ and, of course, the title number – complete with real rain!

The sets and costumes add to the overall striking effect and are symbolic of the stylishness of the production. This is a show that will enchant young and old alike and it is hugely entertaining.

Steve Burbridge.

Arcola Theatre, arcolatheatre.com, 06-30 May 2009 8pm 02075031646

Cast: Lucy Ellison, Jeremy Killick, Victoria Pratt, Sandy Grierson

Harnessing the voyeuristic aspects of the media coverage in the aftermath of toddler Jamie Bulger’s murder, Niklas Rådström’s play constantly questions the audience’s reflexive reactions to the events that took place on 12 February 1993. Without giving the two 10 year old killers any overt sympathy, (brief segments of the police interviews are read out flatly, with different actors swapping roles for Jon Venables, Robert Thompson and their parents) the players shift from one perspective to another in order to get to the bottom of this brutal and senseless killing ‘by two children who killed a third’. Jamie (or James as his mother calls him) is not mentioned until the end as the child ‘who could be any child, who could be the child that we think of when we think of a child,’ seems at times little more than a refrain—a fact which the playwright throws back at us when in the end Jamie’s ‘mother’ talks of him not being mentioned—even being forgotten.

Considering the subject matter, it would be hard for the piece not to have a certain mawkish strain to it, (particularly because of the constant questions to the audience, ‘I don’t know why you came here, I don’t know what you expect to hear’) and at times, I found that the frenetic pace and jarring light bulb pops left me unable to savour the poignancy of the text. A sensitive cast take you through the piece, but, because they are all interchangeable members of a ‘chorus’ at times I felt we were not given as broad a glimpse into the characters lives as we might have been. Nonetheless there were some particularly moving moments, such as when the Chorus Leader (played by Jeremy Killick) calls a halt to proceedings with the line ‘Wait. Hold it. Don’t let what’s already happened happen already.’ There follows a brief and gorgeous descriptive monologue from Victoria Pratt about the night before the killing.

‘…A bike tossed to the ground by the phone booth:

the back wheel spins, it has been spinning all night

As if on an endless outing among the stars.

On the wood fence along Winter Street someone has sprayed:

I come from the future and it’s already over’

Is this production a little too cold and frenetic to really make an impact? With a brave cast and clever construction this piece is challenging and asks uncomfortable questions about the nature of evil. The writing can be devastating in its effectiveness, and when the actors get a chance to shine they are excellent, with Lucy Ellison and Killick particularly worthy of note. Not enjoyable exactly, then, but a sharp, intelligent look at a very difficult subject.

Chocolate Factory Productions in conjunction with the Churchill Theatre Bromley present

Little Shop of Horrors

Based on the film by Roger Corman Screenplay by Charles Griffiths

Book and Lyrics by Howard Ashman Music by Alan Menken.

Direction Matthew White

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 11^th May 2009.

This is a truly spectacular production that is a must see. The set is superb consisting of the house and store fronts which construct the corner of skid row where Mushnik’s flower shop can be found. The fascia of Mushnik’s opens along with the revolving stage behind it to give the inside of the flower shop.  In a similar way the house on the opposite side of the corner opens to provide the interior of the dentist’s surgery. The main prop is the plant Audrey II ranging in size from an initial seedling about 30 centimetres tall through a variety of sizes to the full grown plant over 2 metres tall and filling the stage.

 Sylvester McCoy  is delightful as the little Jewish flower shop owner but he is overshadowed by Damian Humbley who gives a superb performance as Seymour maintaining acting, accent and  mannerisms whilst hitting notes that would be difficult if that was all one had to think about. To see one part played this well is a treat but it just keeps getting better as Alex Ferns gives real menace to the role of the dentist Orin Scrivello (and then tops this later by playing a plethora of minor characters including showing some of the shapeliest legs on the stage).

Auditory continuity is supplied by the three girls Crystal, Chiffon and Ronette played by Cathryn Davis, Lara Martin and Donna Hines respectively, who may not have had major parts but certainly made a major contribution to the singing and dancing in this play. The female lead of Audrey is taken by Clare Buckfield who does a good job with this difficult part and I particularly enjoyed her singing when she had the chance to belt it out. Mention should be made of Mike McShane who although not present in person is the TV presenter as featured on the TV. These actors are supported by Morgan Deare, and Christopher Ragland.

However, the real star of the show is Audrey II animated by one of three puppeteers, Andy Heath, Brian Herring or Iestyn Evans with the superb voice of Clive Rowe.

The effects include the lighting in the various windows of skid row, spotlights and stage lighting (I was particularly impressed by the use of darkness), smoke and flashes and of course Audrey II.

This show is all about the music and the band were; Toby Higgins on piano, Jodie Oliver on keyboards, Duncan Floyd on guitar, Gordon Davidson on Bass and Matt French on drums.

Costumes were appropriate to the 1960s and were suitably supportive to the roles. I particularly liked Audrey’s line when she’s wearing a skirt slashed to the waist about other outfits she’s worn which are cheap and tawdry unlike this one.

Like all really good plays this leaves you wanting more and it’s hard not to leave humming “Suddenly Seymour” or muttering in an improbably low baritone “Feed Me”.

Clearly everyone involved with this production had given it their all as it was a truly outstanding performance.

Little Shop of Horrors plays Milton Keynes Theatre until Saturday 16^th May 2009. Milton Keynes Theatre Box Office 0870 060 6652 (bkg fee). The tour then continues  playing Woking New Victoria Theatre from 18^th May to 23^rd May 2009.

www.miltonkeynestheatre.com www.littleshopthemusical.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 11^th May 2009 on behalf of Catherine Brian.