Rain Man

Adapted for the stage by Dan Gordon.

Based on the MGM motion picture story by Barry Morrow.

Directed by Robin Herford

 Reviewed by Sue Marks at Milton Keynes Theatre on Monday 14^th September 2009.

A flier for this play quoted the Sunday Telegraph as saying “guaranteed tears as well as laughter”. I did not find this was the case, true there were some poignant moments but I found this the most “feel good” play I have seen in a long time. The play opens with a brash Charlie Babbitt wheeling and dealing in his office and barely breaking stride when told of his father’s death. He then attends the funeral of his estranged father and is shocked and angry to learn that the multi millionaire has left his fortune to someone else. There is another shock in store when he discovers the beneficiary is his elder brother, Raymond, an autistic savant who has lived in an institution for many years. Charlie was unaware he had a brother but in an attempt to recover his lost inheritance checks his brother out of the home he has lived in for the past twenty six years. The play illustrates the interaction between the brothers which forges a bond between them. Eventually Charlie, who was initially motivated by financial gain, finds a relationship with his brother more rewarding.

Charlie Babbitt is played by Oliver Chris who is excellent in the role, allowing his character to gradually change during the course of the play. Initially he is brash but with a reasonable smattering of charisma. However, one’s opinion of him deteriorates as he goes through the episode of pulling his brother out of his home for financial reasons, reaching a low at about the same point that his girlfriend leaves because he’s a user. Having assassinated his character in the first half of the play it is rebuilt in the second half when his more human side is displayed starting with the events from his childhood. Revelations about his past explain some of his apparent lack of feeling. Oliver was also very amusing and interacted well with the other characters.

Raymond Babbitt is played by Neil Morrissey and I found his performance stunning. His portrayal of an autistic savant was not only realistic but displayed a sensitivity which added something to the role. He illustrated the reliance autistic people have upon their rituals and routines to cope with even minor changes in the world around them.  Although Neil is one of our best known actors he was still able to be believable in this part, immersing himself entirely in the character. The gestures with his arms were particularly convincing and effectively maintained throughout the performance.

The scenery was minimalist but effective.  It seemed appropriate not to distract the audience from the powerful interaction between the actors. However, whilst not intrusive it held greater complexity than would appear at first sight and effects ranged from photographic backdrops through offices, palatial portals, airport lounges to Vegas hotels.

I thought this was a particularly enjoyable play and judging by the applause at the end the rest of the audience agreed.

Rain Man plays Milton Keynes Theatre until Saturday 19^th September 2009. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee). The tour then continues playing His Majesty’s Theatre Aberdeen from Tuesday 22^nd to Saturday 26^th September 2009.

www.miltonkeynestheatre.com www.rainmanonstage.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 14^th September 2009 on behalf of Catherine Brian.

Porridge

Theatre Royal, Newcastle

The popularity of Porridge is a phenomenon that cannot be disputed. The classic television series, created by Dick Clement and Ian La Frenais, ran for 20 episodes over a period of nine years from 1974 to 1977 and became a cult hit. In 2004, it was voted seventh in a BBC poll of The 100 Greatest British Sit-Coms. The success of the programme spawned a feature film, two Christmas specials and a 1978 sequel series, Going Straight.

Now thirty-five years after the series was first transmitted, Calibre Productions have brought Porridge to the stage. This formula has proven successful with recent revivals of both Dad’s Army and Allo, Allo.

Of course, Ronnie Barker, Richard Beckinsale, Fulton Mackay and Brian Wilde, the stars who created the roles of Fletcher, Godber, Mackay and Barrowclough are no longer alive so the weighty task of recreating and breathing new life into these iconic characters rests on the shoulders of a new cast, starring Shaun Williamson as Fletch, Daniel West as Godber, Nicholas Lumley as Mackay and John Conroy as Barrowclough.

Although billed as a ‘new play’, this first production for the theatre stage is essentially a selection of the best scenes and storylines pulled together. Nevertheless, the writing is good, the characters are well-drawn and the performances are convincing.

It is a testament to the superb writing of Clement and La Frenais that the humour stands the test of time so well, despite the fact that references to power cuts, IRA bombings and industrial unrest place the piece very firmly in its set period.

Obviously, all eyes were on the performance of Shaun Williamson as Fletch. Nobody could replace the legendary Ronnie Barker or aspire to better his portrayal of the crafty con, but Williamson does a sterling job, managing to bring out the warmth and likeability of the character. His scenes with Daniel West are played well and their performances contained just the right amount of mannerisms to reflect those of the original actor.

The supporting roles are played with aplomb, too, and there are a number of remarkable likenesses to the original cast.

HMP Slade is effectively recreated with a set depicting the main landing throughout the show, whilst other locations including Fletch’s cell, the infirmary and the visiting area are recreated with various other props which are added and removed by members of the cast accordingly.

If you’re a fan of great sit-coms and looking for an evening of gentle nostalgia, then a ‘stretch’ at the Theatre Royal is highly recommended.

Porridge runs at Theatre Royal Newcastle until Saturday 19^th September 2009.

Production Image: Matt Jamie (c)

The Lady Boys of Bangkok: Mile High

Although it may seem hard to believe, a tiny slice of Bangkok’s exotic nightlife has been transported from Thailand to Tyneside. Nestled in the heart of Newcastle city centre is the Sabai Pavilion, the venue that, for the next four weeks, is playing host to The Lady Boys of Bangkok.

Back to wow the crowds for a fifth year, the show is sassier, sexier and more sensational than ever before. Inspired by the world of aviation, the Mile High show even boasts its own plane.

The cabaret show encompasses elements of burlesque, revue and variety and is performed by sixteen of the world’s most beautiful showgirls – all of whom just happen to be men.

It is a raunchy, risqué and riotous party night that is packed full of the feel-good factor. Where else could you expect to see divas including Shirley Bassey, Kylie Minogue, Girls Aloud and the Nolan’s sharing the same stage?

The thing that puts this drag show above all others is the sheer professionalism that is evident throughout. From the show-stopping choreography to the stunning costumes, the painstakingly applied make-up to the well-drilled routines, the Lady Boys are masters of their art and know just how to give their audience exactly what they want.

The atmosphere is electric, particularly during the numbers that are performed to disco anthems including ‘It’s Raining Men’, ‘Dancing Queen’ and ‘I’m In The Mood For Dancing.’

The production is, quite simply, a dazzling display of glitz, glamour and great entertainment that has the crowd whooping, screaming and cheering their appreciation.

‘The Lady Boys of Bangkok: Mile High’ runs at The Sabai Pavilion in Newcastle upon Tyne until Saturday 10^th October 2009.

Mixed Up North, a co-production between Bolton Octagon and Out Of Joint, is set in Burnley and is about attempts to heal the rift between the town’s communities in the wake of the 2001 disturbances. 

Trish (Celia Imrie) is an experienced youth arts worker who has set up a theatre group with the aim of fostering social cohesion among Burnley’s British Asian and white British teenagers.  What we see is a fictional account of a play being staged by the group - we spectators are having a privileged preview of the dress rehearsal.  Of course the real drama lies in the complicated inter-racial relationships between the young actors and the conflicting political agendas of the assorted youth workers: even referring to the 2001 events as “riots” is an incendiary act.

Director Max Stafford-Clark and writer Robin Soans visited Burnley with students from LAMDA, and together they conducted numerous interviews to create this unusual example of verbatim theatre - nearly all the words spoken on stage originate from these interviews, or from the work done with the LAMDA students while the piece was being developed.

One of the most beguiling and involving aspects of the staging is the way the audience and auditorium are weaved into the narrative: Colin the technician (Matthew Wait) does the lighting from the back, tea and cake are handed around by Jen (Mia Soteriou), the fire exit at the rear of the stage is opened so a van (in full view) can be loaded.  In some ways with its site-specific nods and attempts at creating a totally immersive experience it resembles Everybody Loves a Winner at the Royal Exchange last July, but with less audience participation and a far less naturalistic feel.

However the traditional verbatim theatre moments, where characters tells their stories directly to the audience in their own words, are easily the most compelling.  Tamsin (Lorna Stuart) explains how she was deceived by a charming married Asian boy and how her young sister was groomed and prostituted by another; Wendy (Rose Leslie) confesses that she was recently raped but her past experience of sexual abuse has prevented her from seeking help; Uday (Muzz Khan) describes a violent attack that led to a prison sentence. 

A large number of the original LAMDA students who worked on the piece are in the current cast and give very convincing performances as street-wise northern working-class teens with shocking tales to tell.  Max Stafford-Clark directs the 13-strong ensemble with his customary verve and energy, making for an entertaining and thought provoking evening of theatre.

Mixed Up North is on at Bolton Octagon until Saturday 26 September 2009, then touring

Tickets: from £9.00

Evenings: Mon-Sat at 7.30pm

Matinees: Sat 12 & 19 & Wednesday 23 @ 2pm

Box Office: 01204 520661

www.octagonbolton.co.uk

www.outofjoint.co.uk

Steve Burbridge In Conversation With . . .

THE SCIENCE OF ACTING

Written by Sam Kogan, edited by Helen Kogan

 Published by Routledge on Thursday 22^nd October 2009, priced £16.99 pbk

 Ever noticed how your mood can change throughout the day even when you are just spending time by yourself? Or, do you have a friend that makes the same relationship mistakes, but does not recognise the pattern reappearing each time? In The Science of Acting Sam Kogan explores the notion that there is undetected thinking, which seemingly controls many parts of our everyday lives. This concept is known as ‘invisible thinking’.

In The Science of Acting, Kogan uses his theories on the relationship between neuroscience, psychology and acting to help people identify their invisible thoughts; thoughts which they may have been thinking over a number of years that they no longer realise are being thought. He goes on to explain that it is these thoughts which shape our presents and our futures, but not necessarily the futures we want. The Science of Acting is more then a new milestone in acting technique, it presents the reader with a groundbreaking understanding of thinking and how it can be applied to their everyday lives. These changes can be easily implemented and can yield positive changes on a daily basis and for the long term of one’s personal life, or in one’s acting ability.

 The Science of Acting is written in a user-friendly style making its chapters on topics such as Complexes, Awareness, Actions, Attention and Imagination accessible for all types of readers. Kogan explains how personalities are formed from Mind Erosions and how these occur. Consider the thought ‘I can’t belong’ – you may have first had this thought when you did not have the same trainers as everyone else at school. You walked the path of thinking this thought every time you wore those trainers, but then weeks, months or even years later when you happen to find out you were not invited to Jane’s birthday party when everyone else in your class/gang/department/social circle was; again you thought, ‘I can’t belong’. Over the year that path became so well trodden it got deeper, until eventually it became a ditch – you had formed a Mind Erosion. Now when you go to parties you are slightly anxious when you walk into a room full of people that you do not know, as the thought you are still thinking is: ‘I can’t belong’.  

Fortunately, Kogan goes on to describe the process of ‘Finishing-Off Thinking’, the knowledge that fills in the ditches and helps people see life from a different perspective, one which puts them back in control. The reader is encouraged to question what it is that they think will make them happy; what are their purposes? These vary from individual to individual and can be anything from they want ‘to be cared for’ or ‘to be admired’, or even ‘to be rejected’. Kogan explains that once people start to see the thoughts that are getting in the way of them living the life they want, they can start to unravel them. This process creates space which can then be filled with thoughts that will make them happy – thoughts of their choosing rather than thoughts of the past playing over and over.

Kogan once asked, “How can an actor understand a character if they do not understand themselves?” This was one of the fundamental catalysts for this work. The Science of Acting takes the reader on a fascinating journey of understanding, which ultimately explains why people think the way they do and how to change it.

Before Sam’s death in 2004, his daughter Helen promised that his life’s work would be published. Using transcribed videotapes, draft chapters, and class notes from previous students, together with help from teachers from The Academy of the Science of Acting and Directing (of which Kogan was the founding principal), Helen pulled together the book The Science of Acting. 

For more information about The Academy of the Science of Acting and Directing, please visit www.asad.org.uk/actingschool

Steve Burbridge In Conversation With . . .

Katy Setterfield

It’s been a hectic time for Katy Setterfield since she won BBC1’s competition to find ‘The UK’s Ultimate Tribute Act’.

‘The One & Only’, hosted by Graham Norton, was a huge success at the beginning of 2008, attracting over 7 million viewers for each of its 7 weekly live broadcasts. Katy emerged triumphantly as a thoroughly convincing and accurate Dusty Springfield as she stole the final show with superb renditions of the soul diva’s best-loved hits, ‘You Don’t Have To Say You Love Me’, ‘Son Of A Preacher Man’ and ‘All I See Is You’

The prize was a 3-month contract to perform in the world famous ‘Legends In Concert’ at the Imperial Palace in Las Vegas. Again, her Dusty wowed the masses and the production can’t wait to get Katy back on their show.

But wait they must. Since returning to the UK last autumn, Katy has barely had time to draw breath between performances and recording a CD to accompany her first solo UK tour which, entitled simply ‘Katy in Concert as Dusty Springfield’, was a huge success around the country, selling out much of the gruelling 50 venue circuit over 10 weeks.

Since the autumn tour Katy has spent much of the time working throughout Europe and as a resident artist at Berlin’s acclaimed ‘Stars In Concert at the Estrel’ as well as several cruises and many corporate events. This level of non-stop work may appear daunting, but to this High Wycombe girl it’s nothing out of the ordinary. Starting out as a Cher tribute artist in the 90s, Katy went on to join Trevor Payne’s “That’ll Be The Day” – the UK’s hardest working touring show – where, during 8 happy years, she discovered her ability to sound like many more vocalists. There, with a schedule of more than 200 performances a year, Katy learned how to deliver any song to maximum spine-tingling effect and also how to put together a wholly entertaining show of her own.

The product of all this experience and expertise is Katy’s current show, ‘Here Come The Girls’, featuring Katy’s incomparable Dusty. Alongside her equally brilliant Cher and Tina Turner impressions will be the songs of Annie Lennox, Bette Midler and the greatest hits from Motown and much more in an exceptional evening of music and song.

Katy spoke exclusively to Steve Burbridge for UK Theatre Network.

Your last tour involved a pretty demanding schedule. Has that experience dulled your enthusiasm for touring?

No, not at all, I can’t wait to start touring with my new show. I had a huge amount of fun with my first UK tour, and I still can’t get over the nation’s reaction to the show. Every performance is another opportunity for me to thank so many people for voting me the winner on the BBC show. The more live shows I do in the UK and throughout the world the more I realise how well-loved both Dusty and ‘The One & Only’ were.

Tell me what the past year has been like for you, since winning ‘The One & Only’?

Well, it’s been amazing. The minute I finished the tour I went to work in Berlin in ‘The Stars In Concert’, which is basically the best worldwide tribute show there is. I was very lucky to be asked to perform in that and spent all of Christmas there before coming back to have a little rest and going back out again from March until June. I’ve been very fortunate to work on cruise ships as well so it’s just been non-stop, really.

Do you still have to pinch yourself, occasionally, to make sure you’re not dreaming?

I do. It’s been a very interesting journey since winning the show and I don’t suppose it has really sunk in yet. My life changed so quickly and so dramatically that it was like being hit in the face by a juggernaut, really. I suppose, I’m only just beginning to come to terms with it now and I love the opportunity I’ve been given, I feel so lucky and so blessed and I’m grateful that I’ve managed to achieve so much.

When did you discover that you had the ability to make your voice sound like other people. Was it as a youngster or more recently?

It was as a youngster. Going back to when I was about four, I used to tape The Top 40 and, throughout the week, I’d listen to it again and again and try to emulate the voices. I think, over time, it actually taught me to sing and how to use my voice. For instance, doing a Tina Turner voice is only a few steps away from Anastacia, which is also a few steps away from Amy Winehouse. So, once you start recognising what you need to listen for, you begin to imitate the different voices.

Have you had any feedback from any of the artists that you impersonate? If so, what did they say?

Many years ago, when Cher first released ‘Believe’ I started performing that song, probably about three months before it hit Number One. One day, I actually got a letter from her manager, on behalf of her, saying ‘Thank you very much for helping ‘Believe’ get to Number One.’ I’m very proud of that.

During extensive tours, how do you keep your energy up and your performance sharp?

It’s all about getting the balance right. You don’t want to be doing gigs so far apart that every time feels like the first time because you have to keep the momentum up. But it is really tough and I’m very proud of myself for doing 52 gigs over ten weeks without a hiccup. And, ironically, because Dusty Springfield had so many problems with her voice, I managed to fulfil a regime that she would never have been able to.

Katy Setterfield will be bringing her brand new shoe, Here Come The Girls, to The Customs House, South Shields on Tuesday 22 September 2009.

TOUR DATES

September:
13th, Grove Theatre, Dunstable
17th, Pavilion Theatre, Rhyl
18th, Beck Theatre, Hayes
20th, Garrick Theatre, Lichfield
22nd, Custom House, South Shields
25th, Corn Exchange, Kings Lynn
27th, Wyvern Theatre, Swindon

October:
1st, Playhouse Theatre, Weston-Super-mare
4th, Roses Theatre, Tewkesbury
25th, Central theatre, Chatham
28th Swan, High Wycombe

Nov:
16th, Gordon Craig Theatre, Stevenage

Colder Than Here

By Laura Wade

Venue:

The Courtyard Theatre, 40, Pitfield Street, London, N1 6EA.

www.thecourtyard.org.uk

Dates:

1^st September – 19^th September 2009-09

(Tues – Sat at 7.45 p.m.)

As Myra dictates the arrangements for her own funeral, her family get on with life’s little disasters: the boiler refuses to be fixed, the cat’s moved out of its own accord and Jenna, her daughter (the reluctant head of the burial site committee), has a long awaited epiphany.

‘Colder Than Here’ was first produced in the West End five years ago.  It has gone on to tour across America and is currently being adapted for the BBC.

Act I, Scene I opens on a picnic area where we are introduced to mother, Myra and her eldest daughter, Jenna.  After much small talk on Myra’s part, she suddenly comes out with: “do you think we should bury me here?!”  It is then that we establish, as an audience, that she does not have much time left.  Jenna moodily shakes off what has just been said, obviously not yet willing to accept it.

Although minimal props are used to create the idea of the characters being in a park, Jenna’s descriptive speeches help us to imagine the setting.

Scene II takes place in a lounge, where we are introduced to the youngest daughter, Harriet and, as Myra describes her scan, pools of emotion well up in her eyes.  Actress Clare Davenport (Harriet) does this most convincingly.  My only criticism of this scene would be the sightlines, which prevent us from seeing the mother’s reactions to her daughter’s distress.

Alec, the father, walks in at this point and is shortly followed by Jenna who is carrying a suitcase. Jenna awkwardly hugs her mother before taking her case upstairs.

During this scene we hear of Jenna’s cat who has decided to set up home elsewhere. Here I felt Jane Dodd’s (Jenna’s) movements were somewhat stiff, when they could have been less obviously thought about and just naturally fluid.

Myra persuades Jenna to take control of the powerpoint programme she has set up to show them how she would like her funeral proceedings to be carried out.  She tells her she will say “Jenna” whenever she wishes her to click on to the next page.

They are all baffled by the first image which appears to be more like that of a film director, her response is: “it doesn’t have a funeral director, it’s a first draft.”

The next page reads: ‘Cardboard coffin’.  Myra says: “you can order them ahead of time.” Alec, who is not amused, says: “that’s not the point!”

He walks off shortly afterwards, followed closely behind by Harriet.

Scene III: The two daughters in a probable funeral ground.  “If we see it about the place, we’ll get used to it” is Jenna’s positive take on the speedy delivery of their mother’s flat-pack cardboard coffin.

Jenna continues to speak saying “I felt like, I want my mummy, coming back after a shit day at work”, already beginning to imagine the void that will be left behind when their mother departs.

On hearing this Harriet picks her up, saying “and now mum’s disappearing, it’s not about your disaster”, becoming angry with Jenna and her selfishness over moving back home when their parents need to spend some quality moments together.

The subject is broken by a new topic.  Boyfriends.

Curious, Jenna enquires how long after she has had an argument with her boyfriend does she leave it till they make up, obviously relating it to the row she has just had with her own boyfriend.

“same day?” (Jenna, stunned)

“always.” (Harriet)

Scene IV.  Father kicks back to listen to Brahms.  His silence is soon broken when his youngest bursts into the room complaining how all the food is dying in the fridge.

Mother enters, awoken by the squeaky pipes.

Harriet tries to shock her over the state of the fridge by saying “There was bacteria in there” but she responds back positively with “Beautiful. Circle of life.”

When the father has left the room mother and daughter go through a keep/chuck process, sifting through all their old herbs.  Something I could relate to in my own family!

Harriet exits and Alec comes back into the room with a mended heater.  Myra, realizing she is cranky, says to him “Am I horrible?”, he responds with: “You’re ill.  Now, get out of the way!”

Scene V, Father and daughter Jenna meet at another prospective funeral ground. Myra has had a funny spell, so Alec takes her place that day.

“Well, it’s colder than the house!”, his reaction to resting place.

Not relevant to the play itself but I found the performance that was going on above us most disturbing!

Richard Woolnough, who plays Alec, plays the scene very naturally, particularly when the focus is shifted on to Jenna and her troubled relationship.

Jenna says “Dads aren’t supposed to like your boyfriends”, as she describes her boyfriend spending less and less time with her and more time with his new found college friends.

(Father continues with his crossword.)

“We don’t even have sex any more”, Jenna says, to which she gets a response back, “No need to tell me about that!” (from her father, whose physical relationship with his wife we can assume is now non-existent).

“..don’t do problems”,is a mumbling, realistic response back when you think that most conversations like this are held between a mother and daughter.

The haunting music that runs throughout the play at the end of each scene, although pretty, is beginning to get on my nerves by now!

The final scene of Act I, the 2 sisters are sitting in the lounge room in front of the cardboard coffin.

“It looks big”, says Jenna.

“Sometimes fat people die!” (Harriet)

Harriet, not able to handle the situation, exits as father enters and reacts to coffin by saying “well, that’s it then? Do the more expensive ones look less like a cardboard box?!”

“It won’t do once we’ve drawn on it” (Jenna replies).

(Father goes to fetch mother as the daughters continue to draw.)

They chuckle together when Jenna comes out with: “My clouds look like turds.”

“I’d have learnt how to draw if I’d have known.” (Harriet)

Jenna intrigued to know what it is like inside a coffin, lies down inside it, quickly jumping out as she hears her mother’s footsteps creeping up upon her and saying to Harriet “This didn’t happen..”

“It doesn’t look how I expected.” (Myra)

She continues to speak: “I’d like to be buried on my side.. ..like I’m sleeping.”

Her reasoning behind it explained when she says: “I think I’ll be scared of the earth coming down on me.”

“Oh would one of you, for a change, know what to do?”, frustrated by their apparent lack of input.

Act II, Scene I includes the 2 sisters at burial ground.

They are considering the irony underlying the cardboard coffin.

“.. I walk in and she’s sitting in the coffin watching Have I got news for you, laughing..” (Harriet)

Distraction once more from the performance upstairs, argh!

When they are both sitting Jenna informs Harriet: “I finished with Mark, when I realized I didn’t want him at the funeral.”

(They get up to go, exit laughing, having somehow been brought closer together by the news.)

Scene II has to be my favourite scene in the entire play for its emotional warmth.  Alec, the father, is on the phone to the electricity board, who have left them without heating for 5+ months.

“Can I call you mate, I feel we know each other well?..

 ..Good God, it’s no wonder you’re not worried about my problems when you’re in Glasgow!”

“..You actually don’t have the power to do anything.”

“I tell you my wife’s dying.  No, it’s not your problem” (the person on the other end of the line concerned they may be held liable.)

He continues “The very least you can do is to let her die in the warm.”

(The wife enters the room.)

She remarks “I’m going off baths. Too much thinking time.”

 Then she makes it clear she has something important to discuss with him.

“You might meet someone else..”, she says.

She continues with her spiel, despite his reluctance for her to do so.  “You might hold back.  And I don’t want that for you..

..You’re not expecting it now.  You might fall in love.”

(Alec gets up from his chair.)

“You should switch to paper hankies.  Women don’t like those”, she says as he puts his handkerchief back in his pocket.)

“The funeral isn’t for you..”, he says.  “.. people need something to do..”, allowing himself to get more upset and thumping himself down on the couch beside her.

(They snuggle up close.)

“..weeks left..”, she says, trying to ease his pain.

“..lots more awkward talks”, after he admits he is only human and does cry.

Myra resists being helped to bed, preferring to continue to snuggle up and decides she wants to sleep in his room tonight, using the excuse of it being tidier than her’s.

The Final Scene, Jenna with her mother in yet another burial ground or is it the same one as before?! Ending is in a similar space to where the play first started.

“Should have died last Thursday, as it’d got to 6 months”, the mother says.

“It’s easier to be open in summer.”(Myra, referring to the time of year her funeral is likely to fall.)

“..I don’t know if we’ll do it without you, sorry”, Jenna concerned that the family may not be able to express their emotions in public.

The mother spots one of Muggins’ (Jenna’s cat’s) hairs on her top and tells her to make a wish as she blows it away, even though a wish is normally made on an eyelash.

Jenna speaks of her new boyfriend who isn’t ‘a wanker’.

What is lovely about this scene is the dialogue between mother and daughter which had always been a bit of an issue before.

She is hardly able to restrain herself from sharing her sexual experiences with her but realizes that her mother is in need of her tablets and that she must quickly nip back and get them before she continues her story. As she goes she ironically says: “Try not to die.  I haven’t finished telling you”.  Myra lies back, finding a comfortable position, falling into a deep, deep sleep, from which we know she will not this time wake up.

I was surprised to see the play end quite so soon in to the second half. Having said this, it did seem an appropriate place to. We had seen the eldest daughter, Jenna, come to terms with her mother’s imminent death and find solace in her new found love. I feel it  would have just been rather nice to have also seen what happened with the youngest daughter, Harriet.  If a little irritating, perhaps this was truer to life where not everything is always resolved.

However, this bears no reflection on the acting. I think it fair to say that Lily Ann Green (Myra) and Richard Woolnough (Alec) come across as the actors with the most experience behind them, including that of life. This is reflected in their natural, effortless and true to life performances.

Molière’s ever popular comedy returns to Manchester in a new version by Robert Cogo-Fawcett and Royal Exchange Artistic Director Braham Murray.  While famed as a study of avarice, The Miser is also a hideous portrait of abusive relationships in a dysfunctional family.

The aged Harpagon - wealthy, covetous, and determined not to spend a single penny of his fortune - thinks of his grown-up children not merely as chattels but as long-term gilt-edged investments, and plans to marry them off for his own profitable ends.  Cléante and Elise however have already fallen in love with, respectively, their impoverished neighbour Mariane, and Harpagon’s insinuating steward Valère.  But there’s little hope for a happy ending because their father has arranged to marry Elise to a rich elderly widower that very evening, and he intends to wed Mariane himself.

The play is set in a ruined mansion, and the dilapidated interior contains nothing but bleached bare floorboards, plastic sheeting suspended from the collapsing ceiling, and a litter of dust sheets, step ladders and buckets.  The dress is early 80s New Romantic, allowing the costume department to flaunt their best frocks and frock-coats - but then designer Ashley Martin-Davis rips them up in a post-punk down-at-heel gesture totally in keeping with the stately hovel’s faded glamour, while wigs are all teased bleached tresses or over-gelled spikes, and the young men sport Adam Ant-style makeup.

Helena Kaut-Howson’s production contains two really special elements.  One is Derek Griffiths as Harpagon, a bedraggled tyrant whose frail frame is frequently shaken by monstrous and unjust passions, but who nevertheless has the audience laughing with him as well as at him.  The other cherishable ingredient is the clowning, particularly the physical comedy of Simon Gregor as a frenetic valet, and a beautifully judged turn by Julian Chagrin as Jacques, the put-upon cook-cum-coachman. 

In spite of its overtly depressing themes of thwarted love, impoverished lives, wasted youth, and a father metaphorically consuming his own children’s flesh, there is a bounce and energy underlying this show which is truly life-enhancing.

The Miser is on until Saturday 3 October 2009

Prices: £8.50-£29.50

Evenings: Mon-Fri @ 7.30, Sat @ 8pm

Matinees: Wed @ 2.30, Sat @ 4pm

Box Office: 0161 833 9833

www.royalexchange.co.uk

       ALADDIN

A magical tale of madcap mayhem and family fun, only at  The Journal Tyne Theatre & Opera House, Newcastle.

The most mystical pantomime of them all will fly into The Journal Tyne Theatre & Opera House on Friday 11 December 2009 to enchant and mesmerise audiences.

Aladdin promises to be a gem of a pantomime filled with adventure, mystique, stunning sets and fabulous costumes, comedy, song and dance – plus lots of audience participation!

Former Emmerdale and Doctor Who star Frazer Hines tops the bill and will be playing the role of Aladdin’s brother, Wishee Washee. He will be reunited with award-winning comedians Maxi & Mitch, with whom he last starred in pantomime twenty years ago.

Director Brendan Healy, who also stars as Aladdin’s wicked Uncle Abanazar, said: ‘We’re thrilled that Frazer is able to join us for this year’s pantomime.

‘He is a real trouper and remembered fondly by fans of Emmerdale as Joe Sugden. He adores panto and will make a great Wishy Washee, who is a friend to all the kids in the audience.’

Maxi & Mitch will be playing bumbling Chinese policemen, Ping and Pong. Kevin O’ Keefe will be Dame for a laugh as Aladdin’s mum, Widow Twanky and Catherine McCabe will appear as the Princess.

So, why not take a magic carpet ride to The Journal Tyne Theatre & Opera House this Christmas, where you are certain to find some real treasure of the Orient in this magical tale of madcap mayhem and family fun.

Aladdin appears at The Journal Tyne Theatre & Opera House from Friday 11 December 2009 – Saturday 9 January 2010.Tickets are priced at £8.50 - £20.00 and can be purchased from The Journal Tyne Theatre & Opera House Box Office on 0844 493 9999 or online at www.thejournaltynetheatre.co.uk