UK Theatre Network

Always a favourite, bold, brassy, colourful, Bizet sure knew he was doing, and so do the team at Opera Holland Park with their latest offering in their summer season.

The popularity of this opera endures because of the striking characters, wonderful chorus sections and of course the music. The first act and second acts contain some of the most famous pieces, the women leaving the tobacco factory, Carmen and love, and the tavern at Lillias Pastia's.

So its a lot to live up to - there have been so many productions.

Tara Venditti takes this role by the scruff of the neck. She is fiesty, she sings wonderfully and she imbues everything that Sean Ruane's Don José  desperately tries  to resist.  Ruane demonstrates the mad and murderous jealousy Don José  can't control. Julia Sporsen as Micaela performed with great delicacy, and was very much an audience favourite.  David Stephenson as Escamillo the bullfighter was dignified and simply delightful.

A minimal yet functional set does not invade your concentration and works perfectly, with lovely touches of colour and pomp in the fourth act.

A strong chorus lead by Hannah Pedley as Mercédès  provides the depth and richness that Bizet intended. Sevillian urchins sprawl and dart around the stage emulating a bullfight, the changing of the guards, the procession of the    Toreadors and first class perfomances City of London Sinfonia conducted by Matthew Willis.

Simply Wonderful.

Opera Holland Park

June 2, 4, 5, 7, 8, 10, 12, 15, 17, 18, 19

A mysterious girl weeping in a forest, an older prince lost while hunting, this is the story of Pelléas et Mélisande. The atmosphere couldn't be more perfect for this production of Debussy's tragedy of fairytale adapted from a Maeterlinck play written in the 1890s.

There are some lovely performances here Anne Sophie Duprels as Mélisande to Palle Knudsen's childlike lover Pelléas  complement each other as their fates play out.

Alan Opie as Golaud displays the right of menace mixed with despair as the  cuckolded husband.

There are however competing and some what confusing  interests within this staging.

The wonderful City of London Sinfonia is deftly conducted Brad Cohen, but the score does not deliver a memorable solo or chorus piece. I suspect  this because of the trend in early 20th century music to have many waves of sound instead of following traditional opera formats.

The look of the land of Allemonde reminded me of an Edina Monsoon quip 'Surfaces darling, surfaces.'

Abstract, white and all sharp or cylindrical lines, pieces of set required a great deal of moving about by a chorus that remains mute, carries cushions and mimes sheeplike behaviour.

It's a shame that the chorus had a no opportunity to sing on stage,  I suspect more of an issue with Debussy than the team behind the production.

Opera Holland Park

June 1, 3, 9, 11, 16 at 7.30pm

Curve, Leicester and Headlong Theatre present : Salome by Oscar Wilde at Richmond Theatre

Running time: 1 hr, 25 mins (no interval)

Published by: Tremayne

Wilde began to write Salome in Paris, in French, around the end of 1891.  Salome’s character represents lust and greed, in jewels attire.

Wilde cleverly delves into tragic form. For him, tragedy is “to walk in purple and to be remote”.  The first dramatic form of the work arose in a prose story, then in a verse.  The scenery surrounding the palace grounds echoes those of a Greek Tragedy, such as Aeschylus and Oresteia, with its chorus and descriptions of Herod ‘slipping on blood’. 

The myth of Salome can be found represented in both European art and literature.  For Wilde, his main influence, was Huysman’s – A Rebours, where the aesthete Des Esseintes has purchased two masterpieces for Gustave Moreau, one denoting Salome’s dance, the other, the reaction to John’s severed head.

In this particular production of Salome I struggled from writers’ block, which came down to the fact that, for the most part, I did not believe the actors.  They appeared disconnected from their bodies.  The only time I felt moved was when female lead, Zawe Ashton (Salome) was cradling the severed head of John The Baptist.  We, the audience, have an innate understanding of grieving over the death of someone we love.  Although Salome had been the one to grant the execution, it is only through it being carried forth that she realises how strong the love she held for him was.

I have recently come to the conclusion, after having seen two pieces of what one can only be described as ‘studio theatre’ that I am not a fan.  The other studio theatre piece I saw was Enron.  But as for Salome, I would much rather it had been performed in a more traditional style, instead of attempts being made on it for it to look like the next Jerry Springer – The Opera!

Fawlty Towers

Whitley Bay Theatre Company at The Playhouse, Whitley Bay

Whitley Bay Theatre Company have lovingly brought back to the stage one of the most classic situation-comedies of all-time, Fawlty Towers. Yes, that’s right, prepare to reacquaint yourselves with Basil, Sybil, Polly and Manuel once again as they invite you to be their guest at the infamous Torquay hotel.

Four memorable episodes – two from the first series and two from the second – comprise the evening’s entertainment: The Builders, Communication Problems, The Hotel Inspectors and Basil the Rat.

Jason Fenn and Joanna Wingate reprise their roles as Basil and Sybil Fawlty, respectively, having played the characters in previous productions at the Playhouse, and they are supported by a cast of twenty-two. The standards demonstrated within this production are outstanding and no detail has been overlooked.

The impressive set, designed by Robin Herron, makes extremely clever use of the stage space and is dressed with an acute eye for detail by Karen Knox. Filmed inserts are utilised effectively to depict exterior scenes, whilst also facilitating the necessary scene changes.

However, the most impressive aspect of the show is, without doubt the performances of the cast. Jason Fenn’s portrayal of Basil is a magnificent example of physical comedy and his characterisation is eerily accurate, resulting in a performance that is an absolute tour-de-force. Similarly, Joanna Wingate brilliantly brings to life Basil’s ‘toxic midget’, Sybil, complete with the catchprase, ‘Oooh, I knooow’, and braying laugh. Special mention must also be made of Danny Patterson who gave a fantastically comedic performance as Manuel, despite taking over the role at very short notice.

Aside from the principals, a number of supporting characters managed to steal entire scenes. Elizabeth Purcell, as the intermittently deaf Mrs Richards, and Diane Legg as Mrs Carnegie, the public health inspector, were two notable examples.

Congratulations, though, must be extended to each and every cast member (as well as the production team) for delivering a side-splitting show that was rapturously received from the audience. Make your reservations now and enjoy your stay!

Steve Burbridge.

Runs until Saturday 5^th June 2010.

Spirit Production's production of 'Dancing Queen' is most definitely not going to make you dance in the aisles. 

Haphazard dancers who appear to have just learned their steps mark out routines which are amaturely  choreographed. There is none of the slickness and professionalism that one would expect from a show touring major venues and charging west-end prices.

Four principle performers lead the troupe. There are some excellent vocal performances from them, but also some poor ones; showing they just aren't of a consistent standard to be able to front a large-scale show. Jonathan de Mallet Morgan looked embarrassed to be on stage, and uncomfortable in his body in this performance.
It took the cast almost the entire first-half (consisting of some hugely popular Abba numbers) to get the audience clapping along.

Costume designs are uninspired, and do nothing to enhance the production. The costumes have all the quality and craftsmanship of a show at a caravan park in Cleepthorpes.

For a show with no narrative, it relys entirely on it's adaptation and execution of Abba's vocals and dance routines; and these just aren't up to scratch. At times they are almost laughable. During one number- 'Gimme Gimme Gimme'- dancers appear in lingerie posing on chairs. It has all the class and sophistication of a strip show at a gentleman's club.

If you are a major Abba fan and are just looking for a fun night out with the girls; then maybe this is suitable for you. However, if you are expecting to be wowed by vocals and see slick and perfected dance routines that one would expect from a show like this; then this isn't the production for you.