West Side Story reviewed Tuesday 14^th July 2009

As soon as the first bars of the music are heard we are transported to New York’s Upper West Side. This musical, based on Shakespeare’s Romeo and Juliet, explores the rivalry between two teenage gangs; one white, the other Puerto Rican. It is chillingly apt, dealing as it does with the social issues of gang culture and racism. Tony, a reformed member of the Jets falls in love with Maria, the sister of Bernardo, the leader of the rival gang the Sharks. The feud between the gangs escalates and violence and hatred eventually overshadow love and devotion. There is no happy ending here.
Originally created in the 50’s by the combined genius of Leonard Bernstein’s musical score, Stephen Sondheim’s magnificent storytelling lyrics, and Jerome Robbins’s groundbreaking choreography this musical is regarded as the pinnacle of its genre.
Joey McKneely, director and choreographer of this production has been handed one of the best known and loved musicals of all time. No one would thank him if he fiddled around with it too much. And he doesn’t. What he does do is keep the energy of the piece constant throughout so that the story is dynamically driven forward. This is aided greatly by the Paul Gallis’s set, which glides in and out of position without interrupting the flow and energy of the overall production. Add to this the huge backdrop photosof 50's New York, Peter Halbsgut’s atmospheric lighting, and costumes only very slightly adapted from the originals by Renate Schmitzer, and all the elements are all in place for the performers.

It has to said that most of the performances are strong. Most notable though, are the two female leads, Sofia Escobar, as Maria, recently awarded Best Actress in a Musical, has the physical look of a fragile young girl and a voice that can be sweet and light but amazingly strong and powerful at the same time. She was note perfect and her performance of ‘Tonight’, moved many to tears.


Equally strong is Jayde Westaby, who plays the sexy, funny Anita with serious attitude and confidence. She manages the transition to grief-stricken lover after Bernardo’s death and subsequent rape victim with great proficiency. The tragic ending of the story is as much about her as it is about Maria and Tony.

The male leads are convincing generally. Dan Burton as cocky, aggressive Bernardo, matches the strong performance of his counterpoint Westaby, and Ed Post standing in as Riff in this evening’s show was excellent. However, something about Daniel Koek as Riff just did not ring true. Despite having a superb voice and clearly being an experienced and accomplished performer he just did not seem strong enough to be the linchpin of the show.
 
Having said that, the part of Tony is a difficult one. He is the good boy who has escaped the gang, has a job, a sense of responsibility and the foresight to see where continuing violence will take his gang member friends. All this perhaps calls for a more subtle performance than the other male leads and this is possibly the issue.  

The dance scenes continue to be fresh, exciting, sharp and unchanged from the original and the unforgettable songs, Something’s Coming, Maria, I Feel Pretty, Somewhere, 'Gee, Officer Krupke' and 'America'  among them are so well known that some of the audience couldn't help but quietly sing along!

This audience clearly loved this production – I have never heard such loud and prolonged clapping in Milton Keynes – and the performers on stage seemed blown away by the audience response. An exhilarating, exciting, passionate evening!

Winner - Best Musical
M.E.N. Awards 2008

Winner - Best Musical Revival
Winner - Best Actress in a Musical
Whatsonstage Awards 2008

2 Olivier Award Nominations 2009
Best Musical Revival
Best Actress in a Musical

West Side Story plays Milton Keynes Theatre until Saturday 18 July 2009

Milton Keynes Theatre Box Office on 0844 871 7652 (bkg fee) or www.ambassadortickets.com/miltonkeynes  (bkg fee)

21^st-25^th July 2009, The Lowry, Salford. Box office 0870
787 5780 (bkg fee) or book online www.thelowry.com (bkg fee)

IN THIS UPDATE:-

INDIE FILM NIGHT
SKY NEWS
UK RADIO BLOG
REGIONAL THEATRE REVIEWS

It's been a good week. I've been on Sky News Live, closed the deal on the Indie Film Night, watched an early Quentin Tarantino film and had a good old laugh in a comedy club.

Hope you had a good one too.

Douglas
http://www.uktheatre.tv
http://www.ukfilm.tv

>>>>INDIE FILM NIGHT

UK Film Network and Raindance have teamed up to bring you the best in independent film.

The opening night will be 2nd September at a venue which is near London Bridge/Tower Bridge, so easy to get to if you are London based.

We are still finalising the programme of what's on that night but feel free to register your interest at this stage.

 
Host: UK Film Network
Date: Wednesday, 02 September 2009
Time: 19:30 - 21:30
Location: Shortwave Cinema
10 Bermondsey Square, London, SE1 3UN
Entrance fee: £5

Join us here:- http://www.ukfilm.tv/events/profile/9

Or email here:- editor@ukfilm.tv
 

>>>>SKY NEWS

Twitter Joke Falls Flat On US Star

Uktheatre.net's Douglas McFarlane chews the online fat with Martin Stanford. The pair discuss the stories garnering the most interest online, including how a Twitter fake wound up a movie star.

Watch on Sky:- http://tinyurl.com/lquhbx

>>>>UK RADIO BLOG

Britpop mixed with theatre and film. On air. 

Listen on Live 365:- http://www.live365.com/ukradioblog

>>>>REGIONAL THEATRE REVIEWS

The reviews just keep coming from our fantastic regional review team. We have a carefully selected and talented review team in Edinburgh, Dublin, Glasgow, London, Manchester, Milton Keynes, Newcastle, Southampton and New York. And we’re coming soon to a city near you.

 
Read them all here: http://www.uktheatre.tv/magazine or select your favourite from below.  

>>>>>>>> 

Deceptions – 6th July 2008, Richmond Theatre

Published by: TREMAYNE (Potter) on Saturday 18th July 2009 05:07pm

Deceptions – 6th July 2008, Richmond Theatre

Scene 1 opens with a wall with bricked-in windows, suggesting a mental asylum.   A central pillar, almost tube-like in shape, has stark white light shining through it.  The scene is between the only two characters of the play, the therapist (Julia Smythe) and her patient ( Adrian Wainwright).  She realizes why her patient has impotency issues.  The love he holds is channelled through to his mother with whom he still lives because of her suffering from depression and the fact that she receives no attention from either her husband (an MI6 Agent) or her daughter.

Read more >>

http://www.uktheatre.tv/magazine/read/deceptions-%EF%BF%BD-6th-july-2008-richmond-theatre_248.html

>>>>> 

Theatre and Performance Summer School

Published by: Douglas McFarlane on Saturday 18th July 2009 12:07pm

TAKE PART IN THEATRE SUMMER SCHOOL AND PERFORMANCE PROJECT

 "STRANGE VOYAGES YOUTH OPERA"

 The Regent Theatre & Victoria Hall's CREATIVE LEARNING DEPARTMENT is currently looking for young people (between the ages of 10 and 16) to take part in its Summer School and Performance Project, "STRANGE VOYAGES TWO", which takes place between MONDAY 3 and SATURDAY 8 AUGUST 2009.

Read more >>

http://www.uktheatre.tv/magazine/read/theatre-and-performance-summer-school_246.html

>>>>>>> 

"The Norman Conquests" is a wry sophisticated comedy, in the inimitable Ayckbourn style. By Lucy Komisar

Published by: Lucy Komisar on Saturday 18th July 2009 12:07pm

Alan Ayckbourn's "The Norman Conquests" is an ultra-sophisticated comedy that verges perilously close to sitcom, then skirts around it. The round-robin of three plays is what the clever British author posits against the normal sequential serial, a "Rashomon" style retake of the same events from the viewpoint of different locations rather than different people. The Old Vic Theatre Company gives the tri-part event an engaging revival, returning it to Broadway after 35 years. It is not the slightest bit dated.

Written by Alan Ayckbourn, directed by Matthew Warchus.

The Old Vic Theatre Company at Circle in the Square, 50th Street between Bway & 8th Avenue.

212-239-6200

Opened April 23, 2009; Closes July 25, 2009.

Round & Round the Garden reviewed by Lucy Komisar April 13, 2009.

http://www.uktheatre.tv/magazine/read/andquot;the-norman-conquestsandquot;-is-a-wry-sophisticated-comedy-in-the-inimitable-ayckbourn-style.--by-lucy-komisar_247.html

>>>>>>>>>>>>>>>>> 

THE SHAWSHANK REDEMPTION - now a smash hit stage play

Published by: Douglas McFarlane on Saturday 18th July 2009 12:07pm

BOOK NOW OPENS 4TH SEPTEMBER

The new smash-hit play The Shawshank Redemption tells the gripping story of Andy Dufresne, who is sent to the notorious Shawshank Prison for murdering his wife and her lover. Stripped of his life, family and freedom, Andy is forced to endure a spirit-crushing routine, but with his quiet strength and inner courage, there is one thing he never loses - and that is hope.

Based on the short novel 'Rita Hayworth and Shawshank Redemption' by Stephen King, this iconic story also inspired the ever popular film. This unforgettable tale of courage, friendship and daring to hope stars Kevin Anderson (Sleeping with the Enemy, member of the acclaimed Steppenwolf Theater Company) and Reg E. Cathey (The Wire, OZ).

Don't miss this uplifting story full of drama, humour and salvation

PREVIEW PRICES JUST £10 - £35

(valid 4 - 12 September only)

TO BOOK
http://www.lovetheatre.com/uktheatrenet/whats_on/london/shawshank_redemption_the

OR CALL 08707 60 60 33

WYNDHAM'S THEATRE, LONDON

>>>>>>>>>>>>>>> 

DUET FOR ONE

Last chance to see the talented Juliet Stevenson and Henry Goodman in Duet For One. Ends 1st August.

DUET FOR ONE follows Stephanie Abrahams, a brilliant concert violinist, who seemingly has it all, but is forced to re-evaluate her life when struck down by an unforeseen tragedy

http://www.lovetheatre.com/uktheatrenet/whats_on/london/duet_for_one

>>>>>>

God Only Knows

Published by: Steve Burbridge on Monday 13th July 2009 06:07pm

The Customs House, South Shields

(Sunday 12th July, 2009)

After bluffing his way into a highly-paid teaching job at the Christ Church Academy, funded by a local millionaire and former criminal, newly-qualified biology teacher Simon, played excellently by Sean Kenney, finds himself becoming further embroiled in a web of deceit that soon spins out of control and threatens to ruin everything that he holds dearest.

http://www.uktheatre.tv/magazine/read/god-only-knows_242.html

>>>>>>>>>>>>>>> 

The Tart and The Vicar's Wife

Published by: Steve Burbridge on Monday 13th July 2009 01:07pm

 The Tyne Theatre & Opera House, Newcastle

 Although the title may conjure up images of a traditional farce, ‘The Tart and The Vicar’s Wife’ is much more than just that. It is also an often harrowing and heart-rending drama.

 Glenda and Robert Parry were the typical successful couple – him an affluent executive, her the glamorous ‘trophy wife’ – until Robert emerges unhurt from a potentially fatal car crash and decides to devote his life to God and become a vicar.

Click for more details and tour dates

http://www.uktheatre.tv/magazine/read/the-tart-and-the-vicarand39;s-wife_241.html

>>>>>>>>>>>>>>> 

Turkish Delight - The Opera , Battersea Barge 23rd June 2009

Published by: TREMAYNE (Potter) on Saturday 11th July 2009 11:07pm

Last year’s original version of Turkish Delight – The Opera had an anti-climatic ending, in contrast to what was a strong first half.   The writers were advised to balance the plot out.  They have quite clearly taken this suggestion on board but the level of intensity is still hard to sustain. This is partly due to its very few quiet, reflective moments.  It is like a thriller made up solely of car chases, comedy with jokes every few seconds or a sexual film containing no foreplay.  In short, there is too much light and not enough shade, making the piece hard to recognise as a whole. However the  individual songs are made up of some great harmonies.  There is a plot, we just can’t see it ,partly because of the way it’s staged but also because the audience needs to be exposed to the quiet, reflective parts to make sense of the high-octane action that has just taken place.

 http://www.uktheatre.tv/magazine/read/turkish-delight----the-opera--battersea--barge-23rd-june-2009_240.html

Deceptions – 6^th July 2008, Richmond Theatre

Scene 1 opens with a wall with bricked-in windows, suggesting a mental asylum.   A central pillar, almost tube-like in shape, has stark white light shining through it.  The scene is between the only two characters of the play, the therapist (Julia Smythe) and her patient ( Adrian Wainwright).  She realizes why her patient has impotency issues.  The love he holds is channelled through to his mother with whom he still lives because of her suffering from depression and the fact that she receives no attention from either her husband (an MI6 Agent) or her daughter.

They talk about his girlfriend, Anna from Balarus about how often they make love and where, and how she has dealt with his problem.

He admits to having sex with a prostitute to see if it would make a difference.  With this, Michelle Collins’s character suggests masturbation.

Collins’s heightened/RP accent is not always convincing, occasionally slipping back in to the East End accent for which we know her for best.

When Rupert Hall’s character compares his ‘chopper’ to a ‘ coffee perculator’, he displays a great surge of energy.

One theory the therapist puts forward is Wainwright may be homosexual, commenting, “every avenue must be explored.”

Then come the references to smells, old factory vocabulary, etc., which prompt him to tell her, much to her dismay, that he is a greengrocer by trade, despite having been to university and that his father has a high powered job.

More references follow.  He refers to the shape of ‘a fig’, saying licking the inside out reminds him of being with a woman, in particular, his girl friend.  He also mentions‘a banana’, his new obsession, on which he exits the scene abruptly.

Scene 2 begins with the therapist speaking into a dictaphone. A man in disguise walks into her office revealing himself to be the patient she counselled 2 months prior.  He plays back to her their last session together which he has recorded on his own machine and questions why she was so adamant in reaching a conclusion.

It is brought to our attention that he merely used the session to prove the point that patients are there to serve the therapist.  He adds that his father is, in fact, an accountant and not an MI6 Agent but that he still continues to find figs sexy!

Strong lines feature towards the end of this scene, such as:

“Why didn’t you let me go when I thought I was cured?” (patient),

“I don’t cure. I think I help…” (therapist)

and:  “lying is easier than telling the truth.” (patient),

 “I can use my imagination without lying.” (therapist)

The alarm clock sounds and the therapist becomes aware that she has been the one to complete the session, and not the patient!

Scene 3 is set on the street.  A telephone call is taking place held between the therapist and Charles : “you called to see if there might be a fuck on for tonight!”. This leads us, the audience, to believe that she has been having an affair with a married man.  Their conversation is interrupted with an incoming call.

Therapist: “how did you get my number?!”, obviously talking to someone related to the patient.

In Scene 4 half of the central pillar on the stage has been turned into a brick wall to give the impression of the patient’s apartment.

The therapist reads out his suicide note to her bed-ridden patient whose neighbour, Carlos, apparently found him and saw her name mentioned in it.

She is deeply affected to think that she may have played a part in his attempted suicide after their 2^nd session.   She had beaten him then at his own game and managed to be the one to bring the session to a close, expressing how violated she had been made to feel, almost like being raped.

He believes Morrissey saved his life after Carlos knocked down his door when the cd became stuck.

 The patient offers to make her a cup of coffee, he steps out of bed, quite forgetting he has no clothes on, and quickly apologises.

Patient says, “All great humour is rooted in cruelty”, appearing to quote from the film Baby Jane.  Then, the therapist finds a quotation from a films’ book stashed underneath the mattress, proving he is not really a film buff.

Patient says: “you’re very anal, aren’t you?”, observing how therapist washes her coffee cup out. She responds: “don’t use words you don’t understand!”

Act I closes with the therapist confidently walking out of the flat saying: “ you failed, you didn’t die!”. His attempt to take his life was also an attempt to jeopardise her career.

Once she is out of sight, he reaches for his mobile and we hear him speaking to whom must only be Carlos saying: “it worked like a dream”.  He seems content with how his plan is panning out.

Act II takes place in a much neater apartment with the therapist storming in.

Patient enquires: “Is the meter running on this session?!”

Therapist responds: “I want to know if you’re who you say you are..

..your mother doesn’t get a mention in your suicide note.”

We are reminded of the therapist promising to cure him the last time she saw him whilst leaving him screaming on the floor.

Since then she has found out from Carlos that it was all a ploy after threatening him with The Immigration Services.

The patient is forced to come clean and reveal he is seeking to get his book published, concerning a relationship between a therapist and her patient. He continues to speak about his book and the climactic point which he feels she could help him with.  This leads to them trying out a role play.  In this they reverse roles.

He starts to question her, ‘what would she see herself doing if money were no object?’

Response: ‘university, friends.’

She appears to be disillusioned with the present.

Follow-up question: “do you have a history with your parents?”

Conclusion: that she gave up on her friends so as not to be exposed to family life from which she is trying to escape.

In Scene 2 obvious affection is shown between the two characters to tell us they have become ‘an item’.  This seems to have developed rather quickly, although some time may have passed between them.

“.. I process people, then hand them a crutch”, remarks the therapist on her particular line of work.

The therapist reveals she was brought up as a Catholic when she brings fish round to cook.

She comments:“men are hopeless when it comes to writing Romance..

..with a novel, you have to dress it up a bit” (it seems the therapist is quite  willing to lie in such circumstances.)

“since I’ve stopped lying, you’ve started!” (patient’s response)

He wishes  his novel to reflect real life by not dressing it up.  He explains how character Sophie is proposed to and accepts .  Now he asks his now ex-therapist the same question.  She is hesitant to accept as she is  20 years his senior.

He goes on to reveal that his mother genuinely suffers from bouts of depression and that Anna, his girlfriend, was in fact Russian but that his father, convinced she was a spy, had her deported.

She exchanges information, telling him that her affair with the married man had lasted ten years and how possessive she is when it comes to sex. They decide to put this to the test by playing ‘Therapy Game!’

Michelle Collins tended to slip up on her lines throughout the play but she covers herself well. It could be seen to show the more uptight side of her character.

In Scene 3 they have wed.  More revelations follow as he admits to her that both him and his sister were adopted, how they have the same father but that their two mothers were surrogates.

“Your father is Charles Barton?!” (Julia, therapist, when it dawns on her that he is the married man she has been having an affair with for all these years.)

“I was selected (as the surrogate), like a prized heffer! The only reason you and I met was for you to find Emma’s mother.” (Julia)

Adrian (the ex-patient) replies: “I came to see you as one of my father’s victims.”

She goes to leave, then returns saying: “I think there’s something I must do for the very first time, take a chance.”

She suggests making a real go at their marriage and for her to give his father a call to rub his nose in it.

Powerful lines bring the play to a close.

Adrian: “where did you learn to be so cruel?!”

Julia: “time has come to minimise hatred.”

What stole the show for me though was a cleverly thought out script by writer Paul Wheeler.  Deceptions is his first stage play and he has written extensively for the television, as well as for several feature films.

"The Norman Conquests."

Written by Alan Ayckbourn, directed by Matthew Warchus.
The Old Vic Theatre Company at Circle in the Square, 50th Street between Bway & 8th Avenue.
212-239-6200
Opened April 23, 2009; Closes July 25, 2009.
Round & Round the Garden reviewed by Lucy Komisar April 13, 2009.

Living Together reviewed by Lucy Komisar May 7, 2009.
Table Manners reviewed by Lucy Komisar May 8, 2009.
http://www.normanconquestsonbroadway.com/

TAKE PART IN THEATRE SUMMER SCHOOL AND PERFORMANCE PROJECT

"STRANGE VOYAGES YOUTH OPERA"

The Regent Theatre & Victoria Hall's CREATIVE LEARNING DEPARTMENT is currently looking for young people (between the ages of 10 and 16) to take part in its Summer School and Performance Project, "STRANGE VOYAGES TWO", which takes place between MONDAY 3 and SATURDAY 8 AUGUST 2009.

Anyone wishing to take part can pre-book a place with the Box Office on 08448 717 649

The closing date for applying is FRIDAY 25 JULY

Places are £40 or £25 for families receiving benefits

The project is supported by funding from Arts Council England, Make Some Noise the Youth Music Action Zone for Stoke-on-Trent and Staffordshire, Stoke-on-Trent City Council and The Barracks Trust.

Following last year’s wonderful premiere of Strange Voyage One by a talented young company we continue our focus on youth opera with this summer’s opportunity for you to join Lem (Gulliver) once more in the curious and enormous community of Wallyhood in Armonica, where characters as rich and entertaining as Charity Linlon - the Queen of Squawk, Dr Shin-Toe and the Cockroach Chorale reside!

A very intensive week for creative young people who have an interest in singing, acting and dance and will be prepared to work hard during the day and occasionally at home, too. Working with an enormously experienced and supportive creative team, this landmark project is truly one not to be missed.

The week will end with a world premiere of "Strange Voyages Two" – and we would like you to be part of it! Performance for family, friends & guests – all welcome!
 

God Only Knows

The Customs House, South Shields
(Sunday 12th July, 2009)

After bluffing his way into a highly-paid teaching job at the Christ Church Academy, funded by a local millionaire and former criminal, newly-qualified biology teacher Simon, played excellently by Sean Kenney, finds himself becoming further embroiled in a web of deceit that soon spins out of control and threatens to ruin everything that he holds dearest.

This script-in-hand production by North-Eastern writing partnership Ed Waugh and Trevor Wood is a satirical examination of religious fundamentalism and faith schools. The controversy that a play of this nature may attract is tempered by the trademark Wood and Waugh comedy that is skilfully integrated throughout the piece.

The provocative and profound issues, including the abstinence of sex before marriage, are explored alongside lighter and more barmy ones, such as the development of ‘a bible-based theme park – The Garden of Eden.’

The cast, including The Bill’s Mark Wingett as Martin, delivered a totally committed performance despite the fact that they had only had one day’s rehearsal. Local actors Vicky Elliott, Louis Roberts and Christina Dawson were living proof of the fact that the North East has a veritable smorgasbord of talent and should be as culturally significant as London or Manchester.

Judging by the reaction of the audience, God Only Knows looks set to become yet another Wood and Waugh classic.

Steve Burbridge.

The Tart and the Vicar’s Wife

The Tyne Theatre & Opera House, Newcastle

Although the title may conjure up images of a traditional farce, ‘The Tart and The Vicar’s Wife’ is much more than just that. It is also an often harrowing and heart-rending drama.

Glenda and Robert Parry were the typical successful couple – him an affluent executive, her the glamorous ‘trophy wife’ – until Robert emerges unhurt from a potentially fatal car crash and decides to devote his life to God and become a vicar.

Glenda consequently finds herself thrust into a complete role transformation from wealthy executive’s wife to impoverished vicar’s wife, struggling to make ends meet and solving the problems of all who arrive on her doorstep.

When Robert leaves for a four-week course and a millionaire lottery winner turns up in the village to ask for the Reverends help in exorcising his haunted manor, the laughs really come thick and fast.

Linda Armstrong, better known to many as Sister Brigid in the ITV1 drama The Royal, gives an outstanding performance as Glenda. She is well supported by a host of familiar faces including Brookside’s Marcus Hutton, Emmerdale’s Matt Healy and Sarah Jane Buckley from Hollyoaks.

The comic capers increase when Glenda and three of her friends are offered an unorthodox way of solving their financial difficulties – temporarily become high class escorts!

This is the first time that ‘The Tart and the Vicar’s Wife’ has been on tour in almost thirty years, yet its topical ‘credit-crunch’ theme ensures it is not dated at all. Director Ian Dickens has cleverly made a few minor adjustments to the script to make it suitable for a twenty-first century audience, and the result is an hilarious evening’s entertainment.

Steve Burbridge.

Tour Dates

Wolverhampton Grand                       Tues 14^th – Sat 18th July

Blackpool Grand                                 Mon 27^th - Wed 29th July

Swansea Grand                                   Tues 4^th - Sat 8th August

Grand Opera House Buxton               Wed 2nd - Sat 5th Sept

White Rock Theatre Hastings             Tues 8^th - Sat 12th Sept

Lyceum Theatre Crewe                       Mon 21^st - Sat 26th Sept

Gordon Craig Theatre Stevenage       Tues 29th Sept - Sat 3rd Oct

Garrick Theatre, Lichfield                  Tues 6^th - Sat 10th Oct

Theatre Royal Lincoln                        Mon 19^th - Sat 24th Oct

Civic Theatre Darlington                    Tues 17^th - Sat 21st Nov

Last year’s original version of Turkish Delight – The Opera had an anti-climatic ending, in contrast to what was a strong first half.   The writers were advised to balance the plot out.  They have quite clearly taken this suggestion on board but the level of intensity is still hard to sustain. This is partly due to its very few quiet, reflective moments.  It is like a thriller made up solely of car chases, comedy with jokes every few seconds or a sexual film containing no foreplay.  In short, there is too much light and not enough shade, making the piece hard to recognise as a whole. However the  individual songs are made up of some great harmonies.  There is a plot, we just can’t see it ,partly because of the way it’s staged but also because the audience needs to be exposed to the quiet, reflective parts to make sense of the high-octane action that has just taken place.

This performance of Turkish Delight – The Opera is its first full-length version to be put on under the A Stage Kindly name, in the hope that it will launch it, along with its performers: Adam Bayjou, Julia Buckley, Arabella Rodrigo and Victor Sgarbi.

“Over the past few years, we have staged Turkish Delight- The Opera several times and each time we have approached the show differently; learning profusely through  both our mistakes and our achievements.  Not only is this production of Turkish Delight especially exciting because we are able to apply the ideas and wisdom accumulated over the last five years into a performance, but also because we have the most extraordinary and virtuosic cast…”
Giles Howe and Katy Lipson.

In the opening song Betsy Cohen awakes to her cigarette.  Singer Arabella Rodrigo’s voice manages to effortlessly glide between Opera and Rock, if a little warbly at times.
 

During the  next three songs, Julia Buckley duets with younger male vocalist Adam Bayjou, whose voice, a little forced at times, fades out as the voice of the maturer male vocalist, Victor Sgarbi, comes in and we feel somewhat more at ease.
 

Song 5 ‘Argument’ is a duet between Arabella Rodrigo and Victor Sgarbi, who play husband and wife.   We notice the fury in her eyes,  enhanced even more by the heavy, almost drag artist-type make-up she is wearing as she sings the closing line: “He’s forgotten that tomorrow is my birthday… romance is dead” Earlier lines are blunter, such as “why won’t you fuck me like you used to?!”, only emphasising just how loveless their marriage truly is. 

In ‘Only Human’ when Victor Sgarbi begins singing the lyrics “a long time ago my marriage died”, I am put off by the fact that he is the only one in the cast who has to occasionally glance at the score.  One can only ask ‘Is this a sign that he does not know the part he is playing or was he brought in at the last minute as a stand-in?’

In ’16 Bars’ Julia Buckley and Victor Sgarbi duet together and I must say harmonise well.  Buckley also shows a great ability to act her way through the song. This is absolutely crucial but a lot of musical theatre actors still fail to do so.
 

I heard ‘Angel Delight’ (where Adam Bayjou’s character sings of his girlfriend who has left him, assuming he is gay) when it was featured in Encore, an acclaimed showcase of new musicals put on by A Stage Kindly back in March 2009.  Adam Bayjou’s version of it is beautiful but “I could love you”,in the last line, ends the song rather too abruptly.

I was not so keen on ‘Allegory’ but I can see that it is used as a tool to help glue the story together, with its explanation of how the two lovers first came to be together.  

In ‘Briturkey’ the young male sings of his fears of arriving in Turkey and not being able to speak the language.

The next  songs: ‘Can We Go Dancing?’, ‘My Heart Bleeds’ and ‘Do You Remember? are a mixture of duets and trios .One could compare the vocals of Victor Sgarbi to that of Jonathan Pryce and in ‘Believe’ Adam Bayjou’s voice is allowed to shine through.

In ‘The Confrontation’ and ‘Turkish Delight’ Julia Buckley sings whilst sobbing, showing great compassion after her lover’s stabbing. When she sings the words “I just cannot do it alone”, she picks up the pace as her voice becomes angrier and ends on “You are my Turkish Delight”. A well thought out close to Act I.

Act II opens with Arabella Rodrigo and the songs ‘Entr’acte’, ‘The Letter’’ and ‘Going Potty’ in which the higher notes are not well sustained and are quite wobbly, when hearing of her husband’s murder.

At The Funeral in ‘Kaddish’ the deceased plays the rabbi. This does not help the consistency of the piece.

Julia Buckley in ‘Over You’ questions why she ever allowed herself to get involved with a married man. She shows great spontaneity.  I am very impressed as she sings the lines “still I can’t get you out of my head” and can find a clear comparison between her and singer of ‘The Snowman’, Aled Jones. She impresses me again in ‘Jeremiad’.

The priest abruptly rushes in during the song ‘You Think I’m Stupid’, openly having forgotten his cue.

Victor Sgarbi also plays the judge in ‘The Trial’. During the chorus there is a rendition of “NOT GUILTY, GUILTY…” from all of the characters, to

put across the idea of there being many people there.

Arabella Rodrigo breaks down during ‘Then It All Stopped’ singing the lines

(the colouring of her husband’s mistress) but it is overly dramatic and painful to watch.

 All the voices are present in ‘The Poisoning’ where the wife reveals false elixir she intends to offer to the mistress with the true intent of poisoning her,( a reference to Romeo & Juliet).

After the mistress drinks the elixir, the wife sings “you’ve made your bed, now lie in it” in ‘Wife’s Doubt’.

Julia Buckley, the mistress, shows off her octave leaps in ‘Inside My Dreams’. Arabella Rodrigo,on the other hand, displays non-smooth vocal transitions in ‘Always In My Life’ when she sings “when you had an affair you drove me to despair”.

In the finale and for the reprise of ‘Turkish Delight’ all four singers take to the stage once again. The wife is being offered a sharp instrument to do away with herself and we are all thinking to ourselves ‘Just get on with it, would you!’

Anyone who just so happened to see the show feel free to e-mail your feedback to astagekindly@aol.com

You can keep up-to-date with future A STAGE KINDLY performances at: www.astagekindly.com