After a critically acclaimed run in London, A View From The Bridge stops in Glasgow for one week as part of a very limited national tour.

Arthur Miller has created many tragic heroes in his time, and many of his plays focus on situations surrounding family loyalty and responsibility. A View From The Bridge seems to combine many of his themes in one play, and it’s humour and drama still provides entertainment to this day. The political statements that speak to us about our lives today, including the immigrant workers, the struggles for money are the background in which to place a simple story about misplaced love and loyalty.

This current production has pulled in two heavy hitters to lead the cast. Ken Stott as Eddie Carbone, a hardworking longshoreman, and Mary Elizabeth Mastrantonio as his wife Beatrice. The family unit is completed by orphaned neice Catherine, played by Hayley Atwell, whose movement into adulthood at age 17 provides the crux of the story. I’m unsure as to whether it was down to Lindsay Posner’s direction or Miss Atwell’s own performance, but her physical portrayal did seem a little too contrived and forced. Also there were some strange costume choices which seemed to contradict the script itself which I was very surprised to see in a production of this standard. On the other hand Ms. Mastrantonio’s minute movements are precisely placed and timed to make maximum impact. With the most genuine accent of all the cast, and probably the most genuine emotions throughout, she stood up to the powerhouse performance from Ken Stott, and definitely shone for me in this piece. Mr Stott had probably the most difficult of tasks as the character of Eddie is required to show huge shifts in emotion over very short periods of time. This could easily look “over-the-top” or forced, but the grounded performance from this diminutive actor ensured that it never crossed that line.

The story opens with the arrival of two immigrant Italian cousins, who are each met with different responses from the family (and also from this critic). Gerard Monaco as the hardworking family man Marco drew the audience into the likeable and humble side of his nature, while giving brief glimpses of the strength (both in character and physicality) which lay beneath. Harry Lloyd however, as Marco’s brother Rodolpho, was a different matter. Again, little production errors (like not dying the roots for someone who is supposed to be playing a natural blonde in a period piece!) didn’t help with the continuity of this character. The expressiveness and vivaciousness of this character was shown a little too excessively, and again I believe this may be down to direction more than the actors portrayal.

Over and above the performances mentioned above, Allan Corduner as the choric character of Alfieri. Although playing a part of the story as the Lawyer, it’s in the sections of narration where his authoritative tone makes it’s mark.

The scaling down of the set for this tour works well and the main living room set, design by Christopher Oram, works extremely well. The lighting design, by Peter Mumford, complements both the set, and the acting superbly, despite their being a few technical glitches on the opening night.

Although there were a few negative points, these were far outweighed by the positives in this production. As this is it’s only Scottish venue, they have luckily been able to add some extra seats this week, and they will be needed, as the chance to see these two leads deliver such strong performances should not be missed.

Listings

Mon 1:    7:30pm

Tue 2:     7.30pm

Wed 3:    7.30pm

Thu 4:     2.30pm, 7.30pm

Fri 5:       7.30pm

Sat 6:      2.30pm, 7.30pm

Tickets: £

Box Office: 0870 060 6647 (bkg fee)  web: www.theatreroyalglasgow.com

Unreal

The Customs House, South Shields, Tyne and Wear

Two of the North East’s leading ‘new writing’ producers have teamed up for a three year partnership to offer playwrights in the North East region various opportunities to develop and showcase their work.

The Customs House, South Shields and Cloud Nine Productions launched the project, last night, with a trio of brand new one-act plays from aspiring Northern writers, collectively entitled ‘Unreal.’

Each of the three plays are directed by Jackie Fielding and performed by members of a cast of four: Christina Berriman Dawson, Chris Connel, Tracy Gillman and Louis Roberts.

The overriding theme that runs through each of the plays is that things are not always what they seem.

In Second Most Disappointing by Alison Carr, a bickering step-father and daughter receive some ‘divine intervention’ at the foot of The Angel of the North and their relationship is changed significantly for the better with the help of an eccentric con-woman.

Double Nuts, by Louise Gallagher, sees a paranoid schizophrenic planning her escape from a mental health institute and finding love along the way.

And Mind Games, by Joe McLaughlin, chronicles a confrontation in a gent’s loo between two apparent strangers.

All three plays are original and engaging, as well as being extremely well-written. The performances are consistently excellent and completely believable and the direction is slick, skilful and pacey.

The set, designed by Molly Barrett, is simple and easily interchangeable to suit each of the  plays.

This innovative partnership has kicked off with a great deal of style and promise, and every indication is that the future of new theatre in the North East is in safe, capable and very talented hands.

Steve Burbridge.

‘Unreal’ continues at The Customs House, South Shields until Thursday 4^th June 2009.

STUDIES FOR A PORTRAIT                OVAL HOUSE THEATRE

Studies For A Portrait, at the Oval House Theatre follows the last few days of Julian Barker, a highly successful artist in the ranks of David Hockney, Francis Bacon and Andy Warhol.

The dying artist retreats to his East Hampton beach home with his much younger partner Chad. The latter is a hard-faced but efficient gold-digger who is determined to take sole control of Barker's estate once he is dead. However Barker’s previous long term boyfriend Marcus, appears on the scene broke and believing he has also a stake in the painter’s work. Along for the ride is also Justin, Chad’s cute twenty-three year old underwear model boyfriend who wants Chad’s full attention but is also willing to share his time with Barker as his new muse. As the battle for inheritance, heart and legacy begins amongst the ménage a trios, the best and worst of human nature is seen.

Daniel Reitz’s witty and often moving play is an observation of the complexities of relationships, power-games and self-preservation. He cleverly gives each character enough dimensions so it is not always clear cut what their motivations are. Is it simply the legacy of the artist? Or is it greed, control or even love?

The artist himself is a whirlwind of emotions as he faces death from pancreatic cancer. Co-dependent on Chad both practically and emotionally, he is perhaps the only person who sees the people around him for what they really are. Chad himself is not particularly a likeable character, having schemed his way into Barker’s life and chased away the threat of Marcus, he is determined to cling on to what he has gained. But again Reitz gives Chad unexpected edges, he may also genuinely love Barker, and not just for his money. Marcus the ex-lover who never quite got over his relationship with Barker, is a showcase of passive-aggressive behavior. Playing mainly victim yet more than able to turn to persecutor when needed. And Justin proves he is not just a fabulous body, he has brains and sensitivity, and is possibly more genuine than any of the men in the house.

The play takes a while to get going with the first half sometimes lacking energy and pace, but once it takes-off it hooks the audience as the charged atmosphere builds.

Adam Spreadbury-Maher's direction is generally focused, and Sophie Mosberger’s arty set a delight. The choice of sixties music is an ideal soundscape for the play. Martin Bendel is splendid as the acerbic Barker, Brodie Bass convincing as the ice queen Chad and David Price hits the mark when he finally lets go in a furious rant against his rival Chad. Michael Parr displays fine acting as Justin, and brings a much needed lift to scenes that sometimes dip.

Studies For A Portrait deals with important legal issues still facing gay couples in America. Barker realizes after his death anything left to Chad would be subject to inheritance tax, and creates a foundation to provide a tax-shelter for his lover when he is gone. It is essentially a gay play for today, but this is not just a play just for gay audiences.  It is a tale which has an emotional core that reflects the general human condition when dealing with issues of relationship and conflict. It is really a study of what makes people tick in times of emotional crises, and in this sense has a universal connection for all theatre goers. This is not to be missed.

OLIVER VALENTINE                                                  Box office: 020 7582 0080

 Les Chaises is the latest production from the Lumenis Theatre Company and consists of three new short plays which all involve chairs.

Clearance, written by Fiona Whitelaw and directed by Sharon Enav tells the story of a woman who struggles to sell her late father’s chair because of the emotional baggage attached to it. Ingrid Evans (Jean) paints a moving picture of spinsterly loneliness. The play really comes into its own in the scenes in which Jean and Alfie, the antiques dealer arranging the sale of the chair, engage in growing flirtatious banter through an exchange of emails.

Foreplay, written by Sue Lernier and directed by Amy Skilling follows a couple seeking advice from a sex therapist: Alistair wants a baby but Janey’s not so sure. The increasingly violent behaviour of the middle class couple is reminiscent of Yasmine Reza’s God of Carnage. Paul Innes (Alistair) steals the show with his comedic skill.

Attempts on a Missing Chair, written by Mary Mazzilli and directed by Mark Huhnen (who also performs in the piece), is described as “an absurdist and whimsical play” about an elderly couple whose grandson has disappeared. The elderly couple is played by young actors in heavy make-up and stylised costumes. Both the writing and the direction are deliberately alienating. This play appears to be the one closest to Lumenis’ philosophy and approach to theatre: this is not a play that seeks out to be liked or even fully understood by its audience.

The staging of short plays is inherently challenging. Clearance and Foreplay in particular suffer from containing too many short scenes intercut with blackouts which disrupt the flow of what are otherwise engaging and very human stories, supported by some good performances.

Les Chaises will be performed at the Southwark Playhouse 28 July at 1.15pm and as part of the Camden Fringe Festival, at the Camden People's Theatre 10-15 August. For more details about the summer tour, go to www.lumenistheatre.co.uk.

Thriller: Live

UK National Tour

Reviewed at Darlington Civic Theatre

In a career that has spanned forty years, Michael Jackson has sold an unparalleled 750 million records worldwide, with his Thriller album still the world’s best-selling record of all time. Love him or loathe him, his impact upon 20^th century pop music cannot be denied.

So, it would seem, the time is right for musical theatre to pay tribute to his achievements in a production that is dedicated to his career. After all, Queen has We Will Rock You, Madness has Our House, Boney M has Daddy Cool, Barry Manilow has Can’t Smile Without You . . . you get the point, right?

However, the difference is that Thriller: Live does not present the audience with a musical play based around Jacko’s hits. It is an all out, no-holds-barred concert tribute to the ‘undisputed King of pop.’

Taking the audience on a toe-tapping, finger-clicking musical journey from his time as one fifth of the Jackson 5 right up to the present, the show is certainly something of a spectacle. All the hit songs are there including ABC, I Want You Back, Ben, Blame It On The Boogie, Don’t Stop Till You Get Enough, Can You Feel It, Beat It, Bad and Black and White. The crowd enthusiastically sing and dance along for all they are worth.

 Thriller: Live has many plus points to its advantage -  breathtaking choreography, brilliant vocal performances, multi-media effects and pyrotechnics and the back catalogue of the man who, arguably, has made the biggest impact upon contemporary music from blues, jazz and Motown to rap, disco and pop.

Former Pop Idol contestant, Hayley Evetts is the headliner and she can certainly sell a song. She is supported by an array of talented singers including Ian Pitter, Peter Murphy and eleven-year-old Tyler McLean as the young Jackson.

Backed by a truly gifted group of dancers, the show is an eye-popping extravaganza of vocal and physical brilliance. I must make particular mention of Daniel Uppal, whose performance was a captivating combination of physicality, charisma and star quality.

A few minor points marred what might have been a truly triumphant evening’s entertainment. Firstly, the production provided a totally one-sided version of Jackson’s life and career that was firmly focused on the positive and that completely skimmed over the negative elements. This was epitomised when Jackson was compared alongside Martin Luther King, Nelson Mandela and Barack Obama.

Additionally the title number, Thriller, was badly mimed to a recording by Jackson, therefore it was not Live.

Despite these disappointing flaws, this production is an uplifting, invigorating theatrical experience that you cannot help but enjoy.

Steve Burbridge.

‘Thriller: Live’ runs at Darlington Civic Theatre until Saturday 6^th June 2009.

GOODBYE: THE AFTER LIFE OF COOK AND MOORE             

Goodbye: The (After) Life of Cook and Moore, at The Leicester Square Theatre offers an hilarious review of the sometimes bumpy working relationship of iconic British comics Peter Cook and Dudley Moore.

It's 2002 and Dudley Moore has died. Moore finds himself in a bar run by his ex-comedy partner Cook. The booze is free and never gives a hangover but all is not perfect. The comics are in Limbo, and they have an eternity to settle old scores. In death Cook and Moore face divine judgment for ‘Derek and Clive,’ and are forced to face their past, present and future with performers whose paths they crossed - not always favorably, before they are allowed to enter heaven or hell. With them in Limbo are a whole host of comics like Kenneth Williams, Tony Hancock and Charles Hawtrey who despite successful careers were deeply unhappy on earth.

This darkly surreal comedy written by Clive Greenwood and Jonathan Hansler, shows an in-depth knowledge of their subjects, and is an inspired tribute to Cook and Moore which is as equally moving as it is humorous.

For someone like myself who knew nothing about Cook and Moore before entering the theatre it is quite a revelation to learn at how debased their language is. By today’s standards Cook and Moore’s work is not moderately obscene but for their time they were quite ground breaking. However apparently they were not the first.  In Limbo the comics are approached to co-write with John Wilmot, the dead second Earl of Rochester, (1647 -1680) whose play Sodom gave rise for prosecutions for obscenity.

The production is tightly directed by Michael Eriera, and scenes pass smoothly from one to other with ease. The clever use of sound by Mark Jefferis adds an extra dynamic to the production.

Jonathan Hansler is excellent as the bile spouting Cook and Adam Brampton-Smith endearing as Moore. But it is Clive Greenwood who steals the show with his brilliant impersonations. All are spot-on but my favorites were Frankie Howerd, Kenneth Williams and Charles Hawtrey. He also brings a lift to scenes between Hansler and Brampton-Smith when there are occasional dips in pace and energy.

Following sellout performances, Goodbye: The (After) Life of Cook and Moore, - continues it's extended run at the Leicester Square Theatre Studio each Tuesday until June 16^th. Get a ticket while you can.

OLIVER VALENTINE                                                     Box Office: 0844 847 2475