UK Theatre Network

Rocky Horror’s Richard O’Brien presents a new musical based on the work of Pulp Fiction novelist, Carter Brown.

 

Breaking new ground in the world of musical theatre is a tough gig in the 21^st century.  We’ve already covered everything from Cats to Vietnam and cartoons to the Wild West in this popular theatre genre.   Lyricist Richard O’Brien, of Rocky Horror Show fame, has been inspired to put pen to paper with The Stripper to bring the world of the ‘dime novel’ to the musical stage, though, so that alone should be enough for us to sit up and take notice!

 

Lt. Al Wheeler (Jonathan Wrather) struggles to solve the mystery of the death of a wannabe actress.  He is drawn (not unwillingly) into the seedy world of strip joints and lonely hearts clubs as he tracks down the killer.  His key informant is night club stripper, Deadpan Delores (Emma-Jayne Appleyard) but he has no shortage of suspects including club boss, Miles Rovak (James Earl Adair) and dating agency owner Mr Arkwright (played by Richard O’Brien himself).

 

Despite moments of genius, the show didn’t quite hit the mark.  Establishing so many characters as suspects took a great deal of time in the first act.  Music was lively but the atmospheric 6 piece band often drowned out Mr. O’Brien’s lyrics where, I’m sure, lots of comedy value could have been found.  The first act finale, “A Man of Steel”, however, lifted the tempo and left us in no doubt about how firmly the tongue should be placed in cheek.  The improved pace continued into the second act with fabulous numbers like “Let’s Hear It For The Tough Guys”, “I Confess” (hilariously presented by Jack Edwards) and “Planning My Big Exit”.

 

The Pulp Fiction genre was well observed and the 1961 atmosphere was preserved by a catchy score, the practical set and sympathetic lighting (featuring particularly effective blackouts – a long lost art in my book!).  The show was reminiscent of “City of Angels” with its Los Angeles backdrop, gumshoe storyline and (sadly) its lack of broad appeal as the audience was a little thin.  Worthy of the ticket price but could do with a snappier first act.

 

LISTINGS

The Stripper

Tue 29 Sep – Sat 3 Oct

Tue – Sat eves 7.30pm

Wed & Sat mat 2.30pm

Tickets: £12 - £25.50

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

Spider’s Web

UK TOUR

Reviewed at Darlington Civic Theatre

It goes without saying that Agatha Christie is ‘Queen of the Whodunnit’ and a literary force to be reckoned with. Only the Bible is known to have outsold her collected sales of roughly four billion copies of novels. The Mousetrap is now the longest-running play in the world and it has been performed at St. Martin’s Theatre in the West End of London since 1952.

Although much of her work is laced with wit and humour, would most people associate her with farce? Probably not.

However, with her first foray into the comedy genre, she proved herself to be a versatile and skilled writer. Spider’s Web was originally written as a vehicle for Margaret Lockwood to avoid becoming typecast as a dark or menacing character.

The plot revolves around the newly-married Clarissa Hailsham-Brown, who is something of a fantasist. When she discovers a dead body in the drawing room of her country home, Cobblestone Court, her over active imagination is put to the test as she must come up with a way of getting rid of the body, thus avoiding a scandal for her husband who is a Foreign Office diplomat.

In the process she has to persuade her house-guests to help her, convince the local constabulary that no such body ever existed and catch the killer before she becomes the prime suspect.

A consummate cast, led by Melanie Gutteridge as Clarissa, deliver polished performances and suit their parts perfectly. Bruce Montague has an authentic air of authority as the aristocratic Sir Rowland Delahare, Mark Wynter bumbles and barks brilliantly as Hugo Birch, the local JP, and Catherine Shipton wholeheartedly hurls herself into the role of Mildred Peake, the gardener.

Indeed, all the production values of this piece are absolutely top-notch. Simon Scullion’s set is a visual treat that is complimented by Mark Howett’s lighting and Brigid Guy’s costumes. Director Joe Harmston has pitched the pace of the action perfectly and scene changes are executed to pieces of period music selected by sound designer Ian Horrocks-Taylor.

Spider’s Web weaves a wonderful evening of sheer enjoyment that is incredibly easy to get caught up in.

Steve Burbridge.

‘Spider’s Web’ continues at Darlington Civic Theatre until Saturday 3^rd October 2009.

Hi all

Hope you're having a great week.  I'm pleased to say that this week's newsletter has the first review from Wales !  I've been trying to get someone reviewing over there for a while as it was the only part of the UK where we didn't have representation. 

I was also delighted when I got news this week that MAKING IT IN HOLLYWOOD, the documentary I've been making for two years, has been accepted in SHEFFIELD DOCUMENTARY FESTIVAL on the 4th-8th November.  The delegates listing is like a Who's Who of the UK and International Film Business, with commissioning execs from BBC, C4, Sky and lots of people with the word "acquisition" in their title. Fingers crossed they have a look at Making It In Hollywood. I'll keep you posted.

Have a great week and don't forget to book up for Indie Film Night below to help me support Independent Filmmakers.

Douglas McFarlane
editor@uktheatre.net
UK Theatre Network
http://www.uktheatre.net

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Support YOUR INDIE FILM NIGHT

In association with Raindance and Shortwave Film

Wednesday, October 7th at 7:30pm

http://ukfilm.eventbrite.com/

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THE YORK REALIST RIVERSIDE STUDIOS

Published by: OLIVER VALENTINE on Saturday 26th September 2009 08:09pm

THE YORK REALIST                             RIVERSIDE STUDIOS

Their could be no better 70th birthday present for Peter Gill, founder and director of the Riverside Studios, than this superb revival of his 2001 Oliver-nominated play, The York Realist. This tribute is also a gift for the audience too.

It’s 1961 and George is part of a dying breed of traditional farmers, living in a rural farm on the Dales. He is a down to earth bloke whose world is turned upside down when he falls in love with John, the assistant director of The York Mystery Plays for which he is rehearsing for. He is torn with leaving his mother, and the possibility of marriage to local lass Doreen, for an illegal affair with another man (homosexuality was not decriminalised until 1967), and a career as an actor in London. But when his mother dies, and he is free to pursue his own pathway, the realist in him makes him doubt his ability follow his true desires.

Read more >>>>>

http://www.uktheatre.net/magazine/read/the-york-realist-----------------------------riverside-studios_336.html

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Blood Brothers

Published by: Steve Burbridge on Monday 21st September 2009 05:09pm

Blood Brothers

The Sunderland Empire Theatre

There seems to be a common misconception – particularly amongst less accomplished theatre critics – that the future of ‘Blood Brothers’ depends, predominantly, upon the continued casting of a Nolan in the lead role of Mrs Johnstone. This, in my opinion, is completely wrong.

Having seen three of the sisters (Bernie, Linda and Maureen) play the part, I am the first to emphatically acknowledge and applaud their significant contribution to the success of the show over the last twelve years. However, I do not consider it necessary or fair to be ‘wary’ or ‘concerned’ if one of the aforementioned siblings does not occupy the position of leading lady in Willy Russell’s modern masterpiece.

Read more >>>>>

http://www.uktheatre.net/magazine/read/blood-brothers_333.html

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”Three of the Best from 24:7” to land in London!

Published by: Douglas McFarlane on Sunday 27th September 2009 08:09am

”Three of the Best from 24:7” to land in London!

For six years now our annual 24:7 Theatre Festival has been a springboard for new writing and acting talent in the North West.

Just last week the Octagon Theatre, Bolton, hosted “Three of the Best from 24:7” to appreciative audiences.

Now, supported by The Co-operative (and for one day only: Thursday, 15 October!), the Three will transfer to London’s Young Vic as part of our drive to put regional work on a national stage.

Read more >>>>>

http://www.uktheatre.net/magazine/read/%EF%BF%BDthree-of-the-best-from-247%EF%BF%BD-to-land-in-london!_337.html

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Richard Parker

by Douglas McFarlane on Sunday 27th September 2009 08:09am

Richard Parker Review by Rick Allden

An hour long play consisting of two actors and two benches might sound like the typical small scale, wry-smile, nice but forgettable production that theatre is so often deluged with.   Not so.  Richard Parker is a genuinely stand-out work that shows us how theatre should really be.

http://www.uktheatre.net/magazine/read/richard-parker_338.html 

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A Christmas Carol

FAMILY TICKET AVAILABLE - SAVE £35!

2 ADULTS AND 2 CHILDREN JUST £95.00

This enchanting, feel-good musical version of Dickens' much-loved timeless tale of Scrooge is set to delight young and old alike this Christmas.

http://www.uktheatre.net/magazine/read/a-christmas-carol_339.html

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UPCOMING EVENTS

Summer Holiday (5-10 October 2009)....8 days to go...

1867.....29 days to go...

Perseus and the Gorgon's Head.....34 days to go...

Romeo and Juliet....39 days to go...

To Have or Not to Have?......40 days to go...

http://www.uktheatre.net/events

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UK FILM

Now in cinemas.........

CREATION (The True Store of Charles Darwin)

http://www.ukfilm.tv/magazine/read/creation_48.html

Richard Parker Review by Rick Allden 

An hour long play consisting of two actors and two benches might sound like the typical small scale, wry-smile, nice but forgettable production that theatre is so often deluged with.   Not so.  Richard Parker is a genuinely stand-out work that shows us how theatre should really be.

A play concerning the nature of coincidence and one man’s absolute faith in it, Owen Thomas’ script is absolutely first rate.  His skilful crafting leads the two characters a merry dance between light and shade with never a word wasted.   The ability to flit between hilarity and tragedy is not an easy one to master, but with Richard Parker Thomas has proved himself extremely adept.

 

The actors, Alistair Sill and Gareth Bale (who also directed) make up the happy triumvirate, and both delivered exceptionally believable, and comic, performances; Alistair as the increasingly agitated victim, and Gareth as the menacing force controlling their fate.  The writing is skilful but that is not to do away with the complete knowledge and power with which these two actors wield it.

A palpable wave of excitement washed over the privileged audience at Richard Parker’s conclusion, and it would be folly to expect him to disappear. 

”Three of the Best from 24:7” to land in London!

 For six years now our annual 24:7 Theatre Festival has been a springboard for new writing and acting talent in the North West.

Just last week the Octagon Theatre, Bolton, hosted “Three of the Best from 24:7” to appreciative audiences.

Now, supported by The Co-operative (and for one day only: Thursday, 15 October!), the Three will transfer to London’s Young Vic as part of our drive to put regional work on a national stage.

 

These shows are guaranteed to delight, excite, entertain and provoke. Written by Alistair McDowall, the compelling, sometimes terrifying 5:30 is set on a train and charts the unlikely friendship between aggressive, manic Rob and the quiet, reserved Tim.

In Lub You, writer Eve Steele inhabits the mind and body of a two year old, as Charlie’s world is turned upside down by the birth of his baby brother.

Rounding off the Three is Richard Vergette’s memorable and moving As We Forgive Them. The writer himself plays an American Congressman who controversially saves his daughter’s murderer from the death penalty in order to educate the man on his wrongdoings.

A bit of background...

This showcase is the latest exciting development of an initiative that began in January 2004 as an unfunded showcase for undiscovered, under-resourced or under-utilised theatre-related talent. We persuaded bars, nightclubs and other non-traditional theatre venues to let us stage 17 premières of new one-hour plays.

Just six years later – having received industry awards and now supported by the Arts Council, Manchester City Council and The Co-operative – the Festival has showcased 113 plays by 89 writers, and around 20,000 people have seen a performance.

Scripts for 24:7 are selected by a panel of industry professionals and each writer invited to participate is regarded as executive producer – a system which has built the Festival’s reputation as a showcase for the highest levels of new talent.

A number of productions have gone on to perform at the Octagon Theatre, Bolton, Manchester’s Library Theatre and on tour across the country. Writers have won awards in the UK and Ireland and commissions from national and regional producing companies.

Showcase details:

Date: Thursday, 15 October 2009

Venue: Young Vic, 66 The Cut, London SE1 8LZ (near the Old Vic and Waterloo Station)

 Running order: 1pm 5:30, 2:15pm Lub You, 3:30pm As We Forgive Them; 6:30pm 5:30, 7:45pm Lub You, 9pm As We Forgive Them

 Tickets: £5 per performance from the Young Vic box office on 020 7922 2922 or book online at http://www.youngvic.org/whats-on

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 Click here to see a video montage of the 2009 Festival: There were 21 original 1-hour shows:

 5:30 • As We Forgive Them • Blinded by the Light • CELL • The Coffee Hour • Dancing to the Sound of Crunching Snails • Detaining Mr K • Donal Fleet: A Confessional • Exit Salford • Freshers • Frontline • The Last Chair • Lub You • Maine Road • No Wonder • Out of Dead Air • The Person Without • Phys-Ed • Remember Me • Temp/Casual • Working Title

 Click here to go to the 24:7 website. There are masses of reviews and videos. This year there was more coverage than ever!

THE YORK REALIST                             RIVERSIDE STUDIOS

Their could be no better 70th birthday present for Peter Gill, founder and director of the Riverside Studios, than this superb revival of his 2001 Oliver-nominated play, The York Realist. This tribute is also a gift for the audience too.

It’s 1961 and George is part of a dying breed of traditional farmers, living in a rural farm on the Dales. He is a down to earth bloke whose world is turned upside down when he falls in love with John, the assistant director of The York Mystery Plays for which he is rehearsing for. He is torn with leaving his mother, and the possibility of marriage to local lass Doreen, for an illegal affair with another man (homosexuality was not decriminalised until 1967), and a career as an actor in London. But when his mother dies, and he is free to pursue his own pathway, the realist in him makes him doubt his ability follow his true desires.

Gill’s play is an observant piece about vanishing country life and the arising new moral dilemma’s of a changing society. The language is warm, realistic and endearing, and Elspeth Morrison’s dialect coaching is spot-on for the colloquialisms of  the period. The writing does however seem to lack depth when developing the major themes of the play.

Kate Guiness’s cottage  set is delightfully detailed right down to the old cooker and sink and Victorian ornaments, and with this production Adam Spreadbury- Maher proves yet again to be one of the most outstanding director’s on the fringe.

The play is excellently cast, with notable performances by Stephen Hagan as George, and Stephanie Fayerman as his mother. There is also superb comic character acting  from Sarah Waddell as Doreen, the ever present neighbour and George admirer.

With The York Realist, Good Night Out Productions goes from strength to strength.  This is a treat not to be missed.

OLIVER VALENTINE
The York Realist runs until 11 October at the Riverside Studios. Tickets: £14 (£12 concessions

 
Blood Brothers

The Sunderland Empire Theatre

There seems to be a common misconception – particularly amongst less accomplished theatre critics – that the future of ‘Blood Brothers’ depends, predominantly, upon the continued casting of a Nolan in the lead role of Mrs Johnstone. This, in my opinion, is completely wrong.

Having seen three of the sisters (Bernie, Linda and Maureen) play the part, I am the first to emphatically acknowledge and applaud their significant contribution to the success of the show over the last twelve years. However, I do not consider it necessary or fair to be ‘wary’ or ‘concerned’ if one of the aforementioned siblings does not occupy the position of leading lady in Willy Russell’s modern masterpiece.

After all, the list of actresses who have donned the care-worn smile and crossover pinny to portray the Liverpudlian single mother ‘with seven hungry mouths to feed’ reads like a ‘who’s who’ of popular music. They include Barbara Dickson, Kiki Dee, Petula Clark, Carole King, Helen Reddy, Clodagh Rodgers, Marti Webb and the current incumbent, Lyn Paul.

Having starred in both the West End and several touring productions of ‘Blood Brothers’, Lyn was hailed, in December 2008, as ‘The Undisputed Mrs Johnstone of All Time’ by fans of the show on the Blood Brothers Online website. She is also rumoured to be producer Bill Kenwright’s  favourite Mrs Johnstone, too.

No pressure there to deliver the goods then, Lyn!

Yet, from the moment she stepped out onto the stage, I felt certain that Miss Paul’s performance would live up to - and perhaps even exceed – my personal expectations.

She looks just right and is vocally impressive, too. Her voice is powerful without being harsh and it is strong enough to travel throughout the auditorium, raising hairs on the backs of necks as it goes. What differentiates Lyn Paul’s performance from most of her peers is her decision to play Mrs Johnstone as a much softer, more sensitive woman. This adds another dimension to the character and effectively stamps Paul’s own personal trademark on the role.

It seems futile, to me, to outline the plot of ‘Blood Brothers’ in this review. Suffice to say that if you don’t know anything about the show that is affectionately dubbed ‘Scouse: The Musical’ then the past quarter of a century has completely passed you by. Instead, it seems more appropriate to focus on the performances and the production.

Whilst I was greatly impressed by Lyn Paul’s depiction of Mrs Johnstone, I am not sure that I’d rate her as my all-time favourite. I’ve seen the role performed by Siobhan McCarthy, Helen Hobson, Marti Webb and the three members of the Nolan clan mentioned earlier. I also have cast recordings of Barbara Dickson, Petula Clark and Stephanie Lawrence.

The Liverpudlian accent is notoriously difficult to mimic convincingly and if a performer is unable to master it perfectly, then it is prudent to underplay it rather than force it as Marti Webb did during her brief stint as Mrs J.  Lyn Paul chooses to err on the side of caution and only gives the merest hint of a Scouse twang.

Where Miss Paul really shines is in her portrayal of a torn mother. The scene in which she inadvertently reacquaints herself with the twin son that she gave away as an infant eight years earlier is heart-rending and played perfectly.

Sean Jones and Simon Willmont were billed as the twins, Mickey and Eddie, who are separated at birth and grow up on opposite sides of the social-class spectrum. However, an announcement made prior to the performance informed the audience that the role of Mickey would be played by the understudy, David Cooper.

As usual, Willmont was outstanding in his portrayal of ‘posh’ Edward. Unfortunately, though, Cooper – despite his seemingly obvious attempt to make the most of his opportunity – fell short as scruffy Mickey, and this affected the portrayal of the relationship between the two brothers.

Robbie Scotcher – one of the best narrators that I have ever seen – gave his usual polished performance. His understated portrayal of this sinister spectre from the shadows combined with the haunting beauty of his singing voice creates a lasting impression for all the right reasons.

Paula Tappenden, as the neurotic and paranoid Mrs Lyons, seems to deliver her lines through a mouthful of marbles, whilst Tim Churchill, as Mr Lyons, mutters and mumbles throughout his performance. You’d think that the middle-class couple, of all people, would have had elocution lessons in their youth. Certainly, though, something needs to be done about diction in both cases.

There is no disputing the status of ‘Blood Brothers’ as a contemporary classic. It has captivated audiences all over the world and won a plethora of awards. However, in my view, the production standards have been allowed to slide.

The relentless rigours of constant touring are beginning to show on some of the scenery. Whilst peeling wallpaper may add an air of authenticity if it were evident in the Johnstone household, it looks out of place and downright tatty when seen in the Lyons’ home.

Since producer Bill Kenwright took charge 21 years ago, the show must have made him a tidy sum. Well, Mr Kenwright, it is about time you started putting in instead of taking out. Failing that, pass the reins over to someone who is prepared to invest some time, money and effort into the phenomenon that is ‘Blood Brothers.’ Having recently celebrated its silver anniversary, it would be a travesty if the brand was allowed to tarnish now.

Steve Burbridge.

 

Blood Brothers runs at The Sunderland Empire until Saturday 26 September 2009.

The 25^th anniversary tour of Richard Harris’s “Stepping Out” opened at the King’s Theatre last night to a warm reception from an appreciative Glasgow audience enjoying a freshly refurbished auditorium.

 

The play is probably best known for its 1991 movie incarnation starring Liza Minnelli, Shelley Winters, Ellen Greene, Jane Krakowski and Julie Walters. The powerhouse nature of the movie cast indicates the ensemble nature of the piece where every character is equally important to the successful delivery of comedy and drama.

 

West-end dancer turned teacher, Mavis (Lucy Williamson), leads her mismatched adult tap class through the basics of dancing for fun and fitness.  She is a selfless character who enjoys teaching most when others enjoy being taught.  However, the class are an unruly (if well intentioned) lot formed from assorted misfits from varied backgrounds including overly eager Dorothy (Karen Traynor), overweight Lynne (Katie Kerr), larger than life Sylvia (Jessie Wallace) and largely silent Geoffrey (Brian Capron).  Pianist Mrs. Fraser (Rosemary Ashe) keeps mob rule at bay with carefully timed rubber bullets in the form of stinging one-liners!  The group are placed under pressure when Mavis accepts an invitation for the class to demonstrate one tap routine as part of a low key local charity event.  Bedlam ensues!

 

The play is highly entertaining as the witty script is delivered by well defined characters who each portray unique attributes that the whole audience can relate to.  The character of busybody Vera was particularly well played by Susie Fenwick who could clearly start an argument in an empty house.  Headliners Jessie Wallace and Brian Capron were highly entertaining employing physical comedy as much as sharp delivery of dialogue.  Director, Richard Baron, kept the play well paced throughout.

 

All in all this is a highly entertaining piece and well worth the ticket price.

 

Listings Info:

Tue 15 – Sat 19 Sep

Tue – Sat eves 7.30pm

Wed and Sat mats 2.30pm

Tickets: £11 - £25

Box Office 08448 717 648 (bk fee)

www.ambassadortickets.com/glasgow (bkg fee)