Ellen Kent & Amphitheatre Productions presents

PUCCINI’S TURANDOT (AN OPERA IN THREE ACTS)

 

Puccini

Puccini (1858-1924), last of the great Italian composers, continued to experiment with work right up until the time of his death.  Whilst composing the impressionistic Turandot, he was undergoing treatment for throat cancer but begged Toscanini for the opera not to be abandoned.  Sadly two scenes were left unwritten when Puccini died.

 

Ellen Kent

In July 2008 Ellen Kent set up Ellen Kent & Amphitheatre Productions at  Leeds Castle.  Kent went on to tour La Boheme, Tosca and Carmen around Britain under the same amphitheatre set by designer Will Bowen. Then, in Spring 2009, she began her tour of Turandot, Aida and Carmen within the same amphitheatre space. 

 

Turandot celebrates the life of Pavarotti.  We are taken back to the 1990 World Cup and the enduring aria ‘Nessun Dorma’. It is sung in Act Two and, in its full splendour, in Act Three by Calaf, played by Irakli Grigali.  His voice  with its effortless emotion truly draws the audience .

 

The story takes place in Ancient China with a Terracotta Army looking down from afar. Princess Turandot ,played by Galina Bernaz ( a Monica Belluci/Isabelle Adjani look-a-like), has degreed that she will wed the prince who manages to solve her three riddles.  Many have attempted this but failed.

 

Act I takes place outside The Imperial Palace in Peking.  There is uproar amongst the crowd over the execution of the latest suitor.  The Chorus sing ‘Why is the moon so late…’,in a haunting, almost sacred style. But, when the

children come enter, I cannot help but feel that they bear a striking resemblance to the munchkins in ‘The Wizard of Oz’.

Turandot, however, makes her grand entrance and entrances the audience, with a little help from her eye-capturing costumes.

Calaf, overcome by her beauty, is intent on winning the hand of Turandot. Lui a slave girl,is played by Irina Vinogradova. In my opinion, she is the best female vocalist in the production. She moves around the stage like a graceful ballerina as she  tries to dissuade Calaf from risking his life just for the sake of Turandot’s hand warning him with : “Your grave awaits.  Your fate is sealed.”

The Act is brought to a close by the sound of a gong marking his quest.

 

 Act II Scene I is set in The Palace Pavilion with Ministers Ping( Vladimir Dragos), Pang (Anatol Arcea) and Pong (Vasile Micusa).  They,  managing to be comical without overdoing it, give an account of the  executions which have taken place and talk of the strong need for China to find tranquility once more.  A fanfare then follows with the announcement of a prospective suitor.

In Act II Scene II: A Courtyard in The Imperial Palace, Turnadot seeks acceptance for her actions, seeing them as divine punishment on all men, after the rape and murder of a long distant aristocratic relative.

Calaf successfully solves each riddle in turn.  This leads to Turandot’s pleading with her father to release her from the promise she has made.  Calaf is prompted to lay out his own task.  If she is able to reveal his name to him he will sacrifice his own life. If not, she must accept his offer of marriage.

 

Act III Scene I: The Palace Garden that same night, Ping, Pang and Pong enter intending to spare their own lives by attempting to blackmail Calef.  On his refusal Timur, Calef’s lost father ( played by Valeriu Cojocaru) and Liu are dragged in.  Liu rather than give up Calef’s name says to the Princess: ‘I give him to you..’, then proceeds to stab herself with one of the soldier’s knives.

Turandot is still adamant she will not not marry Calef.  He allows her to know his name anyway, thus leaving his life in her hands.

Act III Scene II:  In the final scene Turandot offers up freely the name of her suitor to her father as ‘LOVE!’  The crowd then rejoice with a moving reprise of ‘Nessun dorma’.

 Ellen Kent embraces Opera in such a way that we are reminded of its origins and derivation from Greek tragedy.  Their large, colourful, chanting choruses would sing and speak as a means to carry the drama along.  In this production, she has definitely succeeded in doing that.

 

 

This celebration of Michael Jackson’s music and unique dance style has become something of a tribute in light of his untimely death last week.  Topical issues aside, the quality of this performance is good enough to turn your socks white and blow one glove off your hand!

 

Thriller Live delivers the MJ magic in spades with a loosely chronological review of his music from the Jackson 5’s “I Want You Back” through to his 1995 release “Earth Song”.  The presentation style was unusual for a stage show, delivering a documentary of Michael Jackson’s musical history and record breaking achievements rather than a more traditional biopic.  This lent itself to a focus on the music and dance rather than the star’s controversial live story.  With such a rich back catalogue of music to choose from over a 30 year period, the delivery did not disappoint the audience.  The deceptively simple fixed set proved to be incredibly dynamic as a huge movie screen featuring dazzling effects, movie clips and photos became transparent on several occasions to reveal the live onstage band.

 

The unique Jackson 5 sound was authentically reproduced from the off, but the glove (quite literally) came off in the second act as tens of millions of pounds of the worlds most expensive music promotion videos were reproduced live on stage!  The choreography, styling and effects of “Smooth Criminal” were just mind blowing with particular emphasis on the astonishing talents of Michael Anthony Duke.  A short, dedication was made to the ‘King of Pop’ before a very moving performance of “Man in the Mirror” by fellow lead vocalist Ian Pitter – the song likely to top the UK charts next week (it reached number 11 back in 1988).  Other MJ high notes were hit by TV’s Popstars finalist Hayley Evetts and talented fellow vocalists Peter Murphy and Dwayne Wint.  The signature fedora hat should also be tipped forward in recognition of the amazing talents of 11 year old Tyler McLean who played young Michael.

 

This production was so slick it had my “click track” senses tingling (particularly in reference to the backing vocals), however I was won over by astonishing solo vocals and high energy dance routines that followed the unique MJ style flawlessly through three decades of hits.  This show will have you moonwalking in the aisles.  Shamone!

 

Listings Info:

Thriller-Live

King’s Theatre, Glasgow

29 June to 4 July

Mon –Fri eves 7.30pm

Sat 4pm & 8pm

Tickets: £12 - £27.50

Box Office: 0844 871 7648(Bkg)

www.ambassadortickets.com/glasgow (bkg)

You Really Couldn’t Make It Up

Live Theatre, Newcastle upon Tyne

FOLLOWING on from their recent success with ‘You Couldn’t Make It Up’, father and son writing partnership, Michael and Tom Chaplin once again attempt to shed some light over the events both on the pitch and behind the scenes at Newcastle United Football Club during the most dramatic and disastrous season in its history.

Spike, Julie, Les and Tino are four disillusioned season ticket-holders who are contemplating whether they should desert the Toon Army or not. It is their humorous banter and sardonic irony that forms the framework of this piece, whilst pivotal events that are believed to have taken place between Kevin Keegan, Mike Ashley and Alan Shearer are re-enacted, too.

The cast of four - Chris Connel,  Bill Fellows, Davie Nellist and Laura Norton – deliver impressive performances, as they play the four fans and the three most influential characters who have defined the last year in the life of the club: Ashley, Keegan and Shearer.

For my money, though, it was Chris Connel’s magnificent portrayal of Alan Shearer, the club’s latest messiah, that stole the show. Every gesture and mannerism was perfectly mimicked and the physical resemblance was also remarkable.

Although, primarily, the play is a piece of factual entertainment it is also a heartfelt and witty examination of the devotion of four fans who, in spite of everything, are able to ‘keep the faith.’

Steve Burbridge.

'You Really Couldn't Make It Up' runs at Live Theatre, Newcastle until Friday 10 July 2009.

FRY AND LEY – A Double Bill            COCK TAVERN THEATRE

 

Stephen Fry’s Latin, and Duncan Ley’s Last Drinks at the Cock Tavern Theatre, Kilburn, offers an interesting, if not a peculiar mix and match of theatre.

Latin was written by Fry whilst still at Cambridge and remains his only play to date. It won him an Edinburgh Fringe First, and led to his collaboration with Hugh Laurie. Set at Chatham Preparatory School for Boys, it is a witty spoof of the traditional boys boarding schools so often immortalised in fiction. Dominic Clarke is the new school master of Latin who has a cunning plan to marry the headmaster’s daughter in order to become head himself when her father dies. However his older colleague Herbert Brookshaw discovers that Clarke has been having an affair with Cartwright, one of his 13 year old pupils. In return for not revealing his secret he asks Clarke to beat him “twice a week with a coat hanger and a wet towel, not forgetting the peanut-butter!”

It’s all a bit naughty with double entendres all the way. Latin is a gem of subversive juvenilia, and it’s uniquely British humour with references to bottoms, sticky ends and firm hands manages to bring the crowd into hysterics. From the beginning the audience take on the role of the errant pupils as they are addressed face to face with a Joyce Grenfell approach. Punters are put in detention for lateness, and exercise books are hurled at them with derisive comments from the tutor. Fry never apologises for the illegal relationship in the play. Indeed he almost celebrates it. Perhaps it is because of it’s sensitive nature that it has been rarely performed. Not surprisingly when it premiered in Edinburgh, a local councillor attacked the play for promoting paedophilia.

Matthew Burton displays outstanding comic timing as Clarke, and Mark White is scarily convincing as the merit obsessed Brookshaw, who appears the epitome of the old- fashioned master who surreptitously delights in late night extra-cirriculars. The pair embrace this titillating romp with gusto and it’s all very watchable.

The same cannot be said of Last Drinks by Duncan Ley. This feeble attempt at a poor man’s Waiting For Godot, had me wanting to run for the bar long before last orders had been called. Despite probably the best intentions by Ley, the play at times frequently seemed more like a parody rather than a homage to Beckett. Nathan Godkin’s direction veers between confused states of attempted comedy through ‘League Of Gentlemen’ characterisations and desperate drama. As the theatres of Paris and Berlin show, absurdist theatre is a specialised art form that has to be done extremely well or it comes across as trite and very pretentious. Unfortunately this production is a victim of the latter. This is not a reflection on the very capable cast who cope admirably with direction that appears to be guessing at this particular type of theatre.

The night’s double-bill is a reminder of how the success and failure of any production depends on so many fragile factors. It felt like a very long night, and perhaps the productions should have been presented on alternative evenings rather than together.

 

OLIVER VALENTINE                          Box Office: 08444771000

 

The word ‘Apologia’ we are told by the sharp, acerbic character Kritsen, is a defence, a justification of a belief; it is also the title of her memoir, which incidentally bears no mention of her two sons. During a birthday celebration the once fiery reactionary finds herself under the line of fire from her own children, forced to defend the choices of her past.

In his second play (after the huge success of ‘The Pride’ at the Royal Court six months previously) Alexi Kaye Campbell returns with a sensitive portrayal of a family’s past in his new play, ‘Apologia’.

Set around art historian Kirsten’s stylish bohemian kitchen, the domesticity of a family celebration is the perfect setting to scrutinize her past. The piece is full of humour, which emerges through Campbell’s structured contrasts; one son is a high powered corporate banker, the other a sensitive, out of work actor; one girlfriend a ‘vacuous’ soap actress, the other a wholesome, born-again American Christian.

In fact it is the delightful contrast in energy and pace between earnest American Trudi, and cynical cut-throat Kirsten that provides much of the comedy and impact to the play. As actresses, Sarah Goldberg and Paola Dionisotti play against each other brilliantly, creating strong and commanding polarised characters. 

Despite a slight dip in energy initially after the interval, it is the second half that fully explores the issue of parenthood. Campbell begins to unravel the authority and grace of a woman so highly revered in the first half. Described by her son Simon as more of an ‘absence’ than a parent, through his experiences Campbell captures the power of memory, and its lasting damage on family relationships.

Sensitively directed by Josi Rourke, ‘Apologia’ explores the sacrifices made by a parent, and the fall of a heroic and successful woman, whom Dionisotti embodies perfectly with controlled passion and dignity.

 

The Bush Theatre

Wed 17 June – Sat 18 July

Book Online www.bushtheatre.co.uk

Box Office 020 8743 5050

Some mysteries may never be solved.  Why do cartoon characters make ‘screech’ noises when they stop running?  Why do we laugh loudest at physical comedy?  And why do pirates all over the world have Cornish accents?  One thing is for sure, though, when Scooby-Doo and those "meddling kids" from Mystery Inc. are on the scene, the mystery will always be solved!

 

Based on Hanna-Barbera’s loveable characters, Fred, Velma, Daphne, Shaggy and Scooby-Doo, the storyline follows the gang as they search for clues to solve the mystery of a holiday island where all of the tourists have been scared away by ghostly pirates.

 

The show set off at a cracking pace and kept the young audience’s attention with a combination of over the top physical comedy, whacky chase scenes, colourful costumes and high energy musical entertainment.  The adults were entertained too by liberal references to the classic cartoon show from their youth.  This aspect of the show was particularly successful due to some excellent attention to detail.  For example, dancing involved each character repeating a simple unique move and laughing always involved excessive shoulder shrugging with straight arms … just like in the cartoon!

 

Technically the show was very ambitious, although this was cleverly and smoothly executed in order to divert attention from the technical details.  Most impressive was the extensive use of sound effects and music from the original cartoons.  Characters bouncing on trampolines, skidding to a halt, running while being held still by captors, etc. did so with exactly the same sound used in the cartoon.  Of course, this went right over the kids’ heads, but the adults got a kick out of it.

 

Matthew Bloxham’s portrayal of Shaggy was the stand-out performance for me.  I had set the bar high for the delivery of Shaggy’s role and he conjured up a character voice and physicality that matched my memories of my favourite character from the show.

 

This is a great family show with high production values and reasonably priced family tickets.

Listings Info:

Scooby Doo and the Pirate Ghost

Wed 24 – Sun 28 June

Wed & Thu 6.30pm

Friday 2.30pm & 6.30pm

Sat 11am, 2.30pm & 6.30pm

Sun 11am & 2.30pm

Family Ticket: Group of 4, max 2 adults

Weekdays £57 and £43

Weekends £64 and £48

Tickets: £8.50 - £21

Write Me A Murder

Reviewed at Darlington Civic Theatre

Two contrasting brothers return to the home of their childhood, Rodingham Manor, to attend their father’s deathbed.

Clive (Paul Opacic), the eldest, is in line to inherit everything – the title of Lord Rodingham and the vast estate made up of the manor, farms and even the local village. With little regard for tradition, he intends to sell the lot to Charles Sturrock (Leslie Grantham), a self-made property developer and former delivery boy for the village grocer.

Younger brother David (Christopher Villiers), a crime writer, values his heritage and wants things to stay the way they are.

Despite being admonished by the formidable family physician, Dr Elizabeth Woolley (Helen Weir), the siblings continue to bicker and snipe, neither of them showing much concern for their frail old father.

Events take a turn when David is asked by Sturrock to coach his wife, Julie (Maxine Gregory), an aspiring novelist, with a view to helping her become published. During their time together, David and Julie become close and the plot that forms the centre of their work of fiction looks set to become a hard and cold fact. Perhaps they have discovered how to perpetrate the perfect murder.

Although the piece itself is fine, several things marred my enjoyment of this production. Firstly, since the demise of ‘Dirty Den’, Leslie Grantham seems to have become something of a one-trick pony, acting-wise, and has entrenched himself in playing spivs, crooks or craggy cockney detectives. He sneers and snarls his way, unconvincingly, through his performance. Secondly, Paul Opacic and Christopher Villiers appear to have been cast the wrong way round – as Villiers is Opacic’s senior by twenty-two years surely it would have made more sense for him to play the older brother. Thirdly, after a long hot day, the auditorium was uncomfortably warm, which made it difficult to concentrate fully on the play.

It’s a shame that these obstacles got in the way of what could have been a much better production. On the other hand, though, there were some factors that are worthy of particular mention: David North’s set is, as usual, a visual treat and Maxine Gregory’s performance was a sheer delight.

Steve Burbridge.

‘Write Me A Murder’ runs at Darlington Civic Theatre until Saturday 27^th June 2009, before touring to Cambridge, Wolverhampton, Colchester, Cheltenham, Swansea and Worthing.

 

Sweeney Todd: The Demon Barber Of Fleet Street

A Performers Stage School presentation

The Customs House, South Shields, Tyne & Wear

Stephen Sondheim’s gothic Victorian melodrama, ‘Sweeney Todd: The Demon Barber of Fleet Street’, has been brought vividly to life by the pupils of Performers Stage School.

Under the expert direction of principal David Ducasse, the youngsters skilfully portray the story of the infamous barber who, having returned to London from a sentence of hard labour in Australia for a crime he did not commit, vents his rage upon unsuspecting customers.

While waiting for the opportunity to exact his revenge on Judge Turpin, the man who abused the barber’s wife and appointed himself ward of his teenage daughter, Johanna, Todd enters into a macabre pact with Nellie Lovett, the proprietor of the flagging pie shop beneath his premises.

Danny Emmerson-Ducasse and Lucy Stephenson head an extremely talented cast as Sweeney and Nellie, whilst strong supporting roles are delivered by Michael Mather, Rebecca Hancock, Heather Robinson and Laura Rea. The show combines moments of gore and humour perfectly and the musical numbers are clever and witty.

Special mention must also be made of the fantastic dual-layered set, which allows the audience to witness Sweeney Todd’s victims fall through a trap door into Mrs Lovett’s bake-house to their awaiting fates, having received more than just a ‘short-back-and-sides.’ Well, they say that acting is a cut-throat business!

Lighting and sound effects ensure that the chilling atmosphere of Victorian London’s squalor is almost tangible.

This production must surely be the most ambitious that the stage school has undertaken to date, but their audacity resulted in a show that is an undisputed theatrical triumph.

At curtain call the cast were rewarded with a rapturous applause from the packed auditorium.

Steve Burbridge.

 

 

Hello UK Theatre Networker

It's new, it's fresh, it's your redesigned UKTheatre.TV. I've given it a lick of paint and I'm in the process of redesigning a logo for the new look website. Have a look here:- http://www.uktheatre.tv

Also new, is the UK Radio Blog. Now live online and streaming around the world, the radio show that started out in Scotland is now a live 365 radio station where you can listen to all the latest news, stories and music. A new show is uploaded every week and you can listen to it anytime while you are social networking - http://www.live365.com/ukradioblog

Look out for Sky News next Friday between 7-7:30pm, where you'll find another TV blog on Martin Stanford's Bafta award winning "News With A Web Agenda".

This week I went to see the play Oh Well Never Mind Bye at the Union Theatre in Southwark. It's a perfect venue to get close up and personal with any performance, and where you can see the latest talent in London. Each of the actors were first class and complimented a well written play with energy in the dialogue. The set design, lighting, sound and pace were all carefully considered and well executed. Find out more about the play here:-

http://upandcoming.webeden.co.uk/#/oh-well-never-mind-bye/4533472660

And in the meantime, head down to Leicester Square this weekend where you'll see everything London’s West End has to offer, absolutely free. Among the acts taking part in this year’s West End LIVE are American talk show host Jerry Springer, who is currently appearing in Chicago, and I’d Do Anything winner Jodie Prenger, who performs with the cast of Oliver! Other shows taking to the open air stage in the middle of Leicester Square. There's also the Jersey Boys and La Cage Aux Folles, Hairspray, Wicked, We Will Rock You, Dirty Dancing, Avenue Q, Thriller Live, Stomp and two massive West End newcomers Priscilla Queen Of The Desert The Musical and Sister Act. The main website was inactive when I checked but here it is http://www.westendlive.co.uk

Have a great week in the world of theatre, where you are.

Douglas McFarlane
editor, uk theatre network
http://www.uktheatre.tv

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Menopause: The Musical

Published by: Steve Burbridge on Friday 19th June 2009 03:06pm

Menopause: The Musical

Reviewed at The Tyne Theatre & Opera House, Newcastle

WHEN four different women are thrown together at a lingerie sale in a well-known London department store, it seems as though they have little in common. One is a shrewd business woman, one a vegan Earth mother, one a successful soap star and one a dowdy housewife from Skegness.

http://www.uktheatre.tv/magazine/read/menopause-the-musical_214.html

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The Pianist at Manchester Royal Exchange

Published by: Caroline May on Friday 19th June 2009 02:06am

Two years ago audiences were raving about Neil Bartlett’s Manchester International Festival production of The Pianist, which was originally staged in the highly unconventional setting of a loft above the Museum of Science and Industry. Now there’s another chance to see it with the original cast in the Royal Exchange main house.

http://www.uktheatre.tv/magazine/read/the-pianist-at-manchester-royal-exchange_213.html

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Mama Mia! The Musical

Published by: Elspeth Rae on Thursday 18th June 2009 07:06pm

MAMA MIA! The Prince Of Wales Theatre London

It's funny, because ever since I was little I have loved Abba songs, so it's not the music. No, I say, thank you for the music. And it's not the cast (although I could have wrung some of their necks at numerous times trhoughout.) I think it's the story. I know it's meant to be funny, but the whole thing is so cliched and so unfeasible, that at times I looked across to my friends and others in the audience who weren't struck down with incurable mamamiaitis, and watched a confused and clouded look wash over their faces.

http://www.uktheatre.tv/magazine/read/mama-mia!-the-musical_212.html

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Manchester's 2:47 Theatre Festival launches this year's programme

Published by: Caroline May on Thursday 18th June 2009 03:06pm

Running from 20-26 July, Manchester's top festival of new writing showcases 21 original one-hour pieces in unconventional venues.

The programme features a mix of experienced and new writers, while previous 247-ers returning this year include Steve Timms, Ian Townsend and Steve Pearce.

http://www.uktheatre.tv/magazine/read/manchesterand39;s-247-theatre-festival-launches-this-yearand39;s-programme_211.html

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"Shining Days" a new play written and directed by Julie S. Halpern

Published by: Rachel Thomas on Wednesday 17th June 2009 10:30pm

"Shining Days," the second full-length play by Julie S. Halpern, made its debut on June 17th on the Royal Stage at the Producers Club in midtown . The play focuses on the relationships of six historical figures living in the torrid times of war and struggle in Ireland and England in the late 19th century and early 20th century.

http://www.uktheatre.tv/magazine/read/andquot;shining-daysandquot;-a-new-play-written-and-directed-by-julie-s.-halpern_210.html

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Killing Time

Published by: Steve Burbridge on Wednesday 17th June 2009 07:39pm

Killing Time

Reviewed at Darlington Civic Theatre

The second production of the 10th Anniversary Summer Repertory Season at Darlington Civic Theatre is an intense and gripping thriller starring, once again, Hannah Waterman and Huw Higginson.

http://www.uktheatre.tv/magazine/read/killing-time_208.html

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Seven Brides for Seven Brothers

Reviewed by Louise Winter on Tuesday 16th June 2009 at Milton Keynes Theatre

Every obvious cliché can be used to describe this musical – thigh slapping, foot tapping, yeehah shouting, hand clapping fun! It is a lovely story and really quite sad at times.

The Pontipee brothers live a typical bachelor life out in the wilds of Oregon.

Big brother, Adam, well played by Steve Houghton, drives into town to find a wife to ‘keep house’ for him and the other boys.

http://www.uktheatre.tv/magazine/read/seven-brides-for-seven-brothers_207.html

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PRODUCT MEDEA 4.0 COCK TAVERN THEATRE

Published by: OLIVER VALENTINE on Monday 15th June 2009 06:06pm

Medea.4.0 at the Cock Tavern Theatre, Kilburn is a modern marketing take on the classic Greek myth that engages from beginning to end.

Slovenian playwright Sasa Rakef gives the legend a 21st Century angle by placing it in the corporate world, and spinning Medea’s tragedy for mass entertainment and maximum financial return. With an aggressiveness that would shame even Alan Sugar’s apprentices Medea. Inc uses ‘emotion design technology’ to sell their product.

http://www.uktheatre.tv/magazine/read/product-medea-4.0----------------cock-tavern-theatre_206.html

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PETER PAN KENSINGTON GARDENS

Published by: OLIVER VALENTINE on Monday 15th June 2009 08:06am

PETER PAN

KENSINGTON GARDENS

A new effects laden production of Peter Pan in Kensington Gardens, the original place where the story began, sounds like the perfect scenario for this much loved 1904 tale to return home. But on it’s journey it has lost it’s heart and soul in a messy plundering of J.M Barrie’s original concept.

http://www.uktheatre.tv/magazine/read/peter-pan------------------------kensington-gardens_205.html

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Magic Bullet' - new show with King of Comedy Magic, Christian Lee, Hackney Empire July 1 & 2 2009

Published by: Nicola Hollinshead on Sunday 14th June 2009 07:06pm

Comedy Magician Christian Lee played at Jackson's Lane Theatre, Highgate, for three nights last week with his new show 'Magic Bullet' & what an enjoyable show it was!

Lee has worked hard to produce a fully rounded themed show which is hugely entertaining, funny and skillful, appealing at Highgate to both an adult and younger audience - quite a feat!

http://www.uktheatre.tv/magazine/read/and39;magic-bulletand39;---new-show-with-king-of-comedy-magic-christian-lee-hackney-empire-july-1-andamp;-2-2009_204.html

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PANDA Spotlight On Making Work in Challenging Economic Times

Date: Tuesday 30th June 2009

Time: 6.30pm - 8.30pm (followed by optional networking session: 8.30pm – 9.30pm)

Venue: Contact, Oxford Road, Manchester, M15 6JA

Cost: Free to PANDA members / £5 non-members

http://www.uktheatre.tv/events/profile/64

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A powerful new play from the unequivocally adventurous Second Skin Theatre and penned by resident writer William Whitehurst  brings the story of Rasputin –that mythical mad monk who helped destroy an empire – and his era to the stage in a stunning new production at the Rosemary Branch Theatre in Islington.

The opening moments of the play resound with the sounds –and even the smells –of Russian orthodoxy and as the lights go up we are confronted with a set that really wouldn’t look out of place in a national theatre. This kind of high-reaching and meticulous approach used by designer Mike Lees acts as an indicator of what’s to come on stage.

Andy McQuade brings to the role of Rasputin an astonishing depth of feeling and authenticity, capturing at once the man’s raw peasant vitality, his lust, his craftiness, and most of all the extraordinary pain at the core of his being. His principal antagonist, Felix Yussupov, is played to the hilt by one of the two Russian actors in the cast, Benny Maslov. Maslov brilliantly captures the sinister aspects of Yussupov but we also see this shell progressively shredded by the final dramatic scene –“In spite of everything, I still believe!” And we all know he’s not even fooling himself any longer.

The other Russian actor in the cast, Nika Khitrova, plays the bitterly wronged servant girl Katya, who transforms from humble servant to raunchy stripper to dark instrument of revenge with bone-chilling conviction. With just a few short scenes spread throughout the play she manages the near impossible task of presenting a monumental journey across many years with gut wrenching authenticity; her final moment is as moving as it is horrific.Alice Fernbank as the tormented Tsarina, caught between the demands of empire and a desperate desire to help her suffering son, offers such emotional nuance and range that we come to understand and deeply sympathize with her even as we watch her help unleash the chaos that will destroy her world.

The last link in this remarkably talented ensemble, Alastair Natkiel, creates in the Grand Duke Dmitri Pavlovich a thoroughly sympathetic portrait of a vulnerable, wounded man who wants most of all to love and be loved. Natkiel understands how to maintain the outer façade while showing us how the inner man crumbles. Love may be all this character really wants, but it is in desperately short supply in Russia in the last years of empire and so he like everyone else is swept along by a tide that ultimately chokes off all but the worst aspects of human nature. And that, this play suggests with extraordinary power and conviction, is ultimately the tragedy of Russia itself at the dawn of the twentieth-century.

Do not miss.

http://secondskintheatre.com/

Sean Baker