UK Theatre Network

Inside Job

Darlington Civic Theatre

Brian Clemens, perhaps best known as the creator of cult classic The Avengers, Bergerac, The Professionals and Bugs, is the author responsible for penning this latest thriller to be presented by theatre impresario Ian Dickens.

Set on the Costa Del Crime, in a remote Spanish villa a mile or so outside Marbella, the plot revolves around the ludicrously named Dutch Holland (Matt Healy). Enjoying a hedonistic life in the sun, under the alias of ‘Larry’, he encounters the stunning Suzy (Michelle Morris), a femme-fatale who makes him an offer he finds impossible to refuse . . . until he later meets her violent, alcoholic husband Alex (Christopher Villiers), who presents an even more tempting proposition.

Ostensibly, Inside Job is a typical stage thriller, complete with dodgy deals, despicable double-crosses and double-bluffs aplenty. What could have been a tense and taught three-hander degenerated somewhat into something of a comedy due, for the most part to some rather stagey over-acting.

Matt Healy’s crook, on the run from Interpol, started off charismatically enough but his tendency to over-exaggerate every gesture, movement and facial expression resulted in his character becoming more of a caricature.

Christopher Villiers’s portrayal of Alex made the character seem as camp as a row of fluorescent pink tents, whilst Michelle Morris, as Suzy, failed to compellingly convince as a woman who is the lust object of many a male desire.

The true star of this production was the set. The Mediterranean converted farmhouse, with its conservatory-style furniture and focal-point chimney breast, evoked a real sense of place. Although the programme notes do not credit a specific ‘set designer’, I can only make an educated guess that it is ‘technical director’ David North who should be applauded.

On the whole, the production is an enjoyable affair that could be transformed into something far more special if the director, Giles Watling, instructed his actors to bring their performances down a little. Nevertheless, Inside Job will undoubtedly appeal to all those theatre-going amateur sleuths out there.

Runs until Saturday 24^th July 2010.

 

SHAKESPEARE’S GLOBE

 

A good  rogering to be had  by all!

Roger Allam plays Falstaff in the Globe premiere of

Henry IV Part 1

Part 1: 6 June – 2 October

 

Published by: Tremayne

 

Roger Allam, a firm RSC and National Theatre actor, takes on the role of Falstaff in the Globe’s Premiere of Henry IV Parts 1 and 2.

 

Part 1: 6 June – 2 October

Part 2: 3 July – 3 October

 

Artistic Director, Dominic Dromgoole, is in his fifth season at the

Shakespeare’s Globe.

 

The full cast: Roger Allam, Jason Baughan, Patrick Brennan, Daon Broni, Phil Cheadle, Oliver Coopersmith, Oliver Cotton, Sam Crane, William Gaunt, Christopher Godwin, Sean Kerns, James Lainey, Danny Lee Wynter, Kevork Malikyan, Barbara Marten, Jamie Parker, Paul Rider, Lorna Stuart, Joseph Timms, Jade Williams.

 

Director: Dominic Dromgoole.

Designer: Jonathan Fensom.

Composer: Claire van Kampen.

 

 

An ostentatious display opens Henry IV Part I as the actors make good use of the playing space. I find this is often the case with performances I have seen  at the Globe. They smoothly weave themselves amongst the audience and into the main area of the stage, all the time cleverly allowing  people to take up their seats.

 

The historical portrayals can prove to be quite confusing and it is when you see them  performed that they begin to make sense.  The backstory to Henry IV Parts Iand II is in Shakespeare;s Richard II. Henry Bolingbroke, Duke of Lancaster, later Henry IV, forces the abdication of King Richard with the support of the powerful Percy family, the Earls of Northumberland and Worcester.  Richard is subsequently murdered. At the end of the play, Henry promises to make a pilgrimage to the Holy Land’.

 

Roger Allam, who plays Sir John Falstaff,  reminds me of a cross between Oliver Reed and Brian Blessed, with his continual strong presence immediately setting us at ease.  A quality actor who is not set off course when the heavens open  wide but,  instead, takes it onboard as his given set of circumstances..  As the heavy downpour  envelops us, he gives a quick glance, a glimmer of reality appears on his face as if  to say, ‘can you believe this!’, which goes down a storm, quite literally!

The performance he gives is very different from the one given by Michael Gambon in the 2005 version of Henry IV Parts 1 and 2. that was put on at The National Theatre, and I question whether or not I  preferred  Allam’s interpretation instead.

Jamie Parker is a delight to watch as Prince Hal and makes smooth transitions through the different changes in mood of his character.

Finally, Kevork Malikyan  plays multiple roles but  stood out for me the most as the Servant.  He is, of course, instantly recognisable to many from the hit Channel 4 sitcom, The Inbetweeners.  Notably a natural mover, he shows this  in a dance-up which occurs at the brewery.

And when the back-drop curtain falls behind Roger Allam as he exits the stage at the end of Part I, I felt truly uplifted and thrilled .  A thoroughly capitivating performance by Roger Allam.

 

 

Booking: Phone 020 7401 9919 or 020 7087 7398

In person: Mon-Sat 10 am – 6 pm (8 pm on performance days).

Sundays 10 am – 5 pm ( 7 pm on performance days.)

On-line: www.shakespeares-globe.org

Tickets: £5 - £35.00

Keeping Up Appearances

Darlington Civic Theatre

Staging a theatre production of Roy Clarke’s classic television sit-com, Keeping Up Appearances, is an ambitious undertaking. Already our theatres have been swamped with a plethora of such shows, including Dinnerladies, Dad’s Army, Porridge, ’Allo, ’Allo and Last of the Summer Wine, and one wonders how long this appetite for gems of the small screen transferring to the stage will last.

Yet, The Comedy Theatre Company’s production has a lot going for it. Firstly, the original writer, Roy Clarke, has written an entirely new script especially for the stage. This is a big advantage over many of the others, which are merely four half-hour episodes performed in succession. Secondly, a stellar cast has been assembled and the characterisations are as near as you could possibly hope to get. Indeed, there are no weak links to be found in this production.

Rachel Bell has the daunting task of stepping into the shoes of Patricia Routledge as the social-climbing supersnob Hyacinth Bucket (pronounced Bouquet, if you don’t mind!). From the instant she appears, from the rear of the stalls, she nails the part and has the audience in the palm of her hand.

Former ’Allo, ’Allo star Kim Hartman is superb as nervy next-door-neighbour Elizabeth and Brookside’s Steven Pinder is a suitably highly-strung Emmet. Gareth Hale only needs to shuffle onto the stage, as Onslow, to generate laughter, whilst Christine Moore is great as the slovenly Daisy. Debbie Arnold completes the line-up of principal characters as the lascivious Rose. Her performance should, perhaps, carry a government health warning as I’m sure she had an extraordinary effect on the blood pressure of more than a few men in the audience.

Two new characters appear in the play – Mr Milson (David Janson), a computer geek and plaything for Rose, and Mrs Debden (Sarah Whitlock), the formidable chair of the local charity committee.

Fans of the original television series will not be disappointed by this hugely enjoyable production, And for that matter, neither will anyone else.

Steve Burbridge.

Runs until Saturday 17^th July 2010.

Bill Kenwright presents Alan Ayckbourn’s

Bedroom  Farce

Directed by Peter Hall

At Milton Keynes Theatre

 

As I had anticipated from its name this play was very amusing. It features four couples at different stages of their relationships. The set consisted of three different bedrooms side by side. Each had a different bed and decor. Lighting was used to illuminate the bedroom(s) where the action was taking place and to plunge it into darkness when the focus was on a different room.

The first couple we saw were the mature Delia (Juliet Mills) and Ernest (Bruce Montague). They were getting ready to go out for an anniversary meal and   were chattering about different things; Delia was concerned about their son Trevor’s marriage whilst Ernest was more interested in their leaking roof and damp patches.  Juliet Mills was excellent in the role and although Bruce Montague was amusing, at times he seemed to mumble and I found it difficult to hear what he said.

In another bedroom Maxwell Caulfield’s character Nick was confined to bed with an injured back, and was complaining to his wife Jan (Clare Wilkie) that he was bored. Jan’s patience was clearly being tested but her decision to attend Kate and Malcolm’s party gave her some respite.

We then see Kate (Julia Mallam) and Malcolm (Ayden Callaghan) in their bedroom preparing for their party. They appear to be the happiest couple we have seen so far and are engaged in horseplay. The first guest arrives early before Kate has had time to get dressed after her bath. It’s Trevor, (Oliver Boot) and he’s come to leave his coat in the bedroom. Other guests arrive and the coats are piling up. Trevor’s wife Susannah, (Natasha Alderslade) arrives and it is soon clear that the rumours about their marriage problems are true. Having disrupted the party, Trevor and Susannah individually impose themselves on the other couples, causing more friction and discord. They seem unaware their behaviour is self centred and inconsiderate.

The first half of this play was a little slow in places but the pace improved in the second half. It got funnier as the play progressed, the characters were plausible and the timing was excellent. I found Malcolm’s attempt at assembling a flat pack and the end result particularly hilarious. Another favourite was when Nick had fallen asleep in an awkward position.  I also liked the way Nick refused to be drawn into lengthy discussions with Trevor. Jan’s attempts at getting Nick back into bed after he had fallen on the floor were hilarious. I also found the neurotic Susannah’s nightmares very amusing. In fact her character was quite comical generally, but I don’t think you’d want to live with her. I found this production very enjoyable and amusing and well worth seeing.

Bedroom Farce plays Milton Keynes Theatre from Monday 12^th July to Saturday 17^th July 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Everyman Theatre Cheltenham from Monday 19^th July to Saturday 24^th July 2010.

www.miltonkeynestheatre.com www.kenwright.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 12^th July 2010.

 

 

 

Eyes Front!

Darlington Arts Centre

Singer and broadcaster Isla St Clair has collaborated with film-maker Patrick King in an exciting combination of live performance and archive footage about the effect of music in wartime, Eyes Front!

Isla performed a selection of songs, some instantly recognisable and others which were less familiar, ranging from Napoleonic times through to the popular hits that were born out of two World Wars. The quality of her voice - which combined clarity and purity - not only did justice to each of the songs but also made the ballads, in particular, hauntingly beautiful. Her renditions of ‘The Scottish Soldier’ and ‘When The Pipers Play’ were two notable highlights.

In addition to performing the songs, with only her guitar for accompaniment, Isla also told the fascinating stories behind them. Tales of heartache and separation lay behind many, others were used to make political points and some clung to the promise of peace in the future.

Patrick King used film clips to illustrate the importance of songs and music during wartime, and explain their effect upon the everyday lives of both soldiers and civilians. His encyclopaedic knowledge of the methods employed in filming warfare through the ages provided a multitude of fascinating insights.

  Eyes Front! is a deeply affecting show that evokes feelings of pride and patriotism. Indeed, it is impossible not to feel humbled by the sacrifices made by all those who have fought in defence of the freedom and liberty of our green and pleasant land.

Steve Burbridge.

A  summers eve, an innovative setting and first-class singing - the scene is set for Stephen Barlow's production of Don Giovanni at Opera Holland Park.

Mozart's cautionary tale of a lothario that gets his just desserts never fails to entertain, and provides the operatic challenges for the sopranos through to the glossier tones of the Bass Baritones.

There are the distinctive string flourishes, lovely harpsichord interludes and beautiful arias that are as fresh under the conducting hands of Robert Dean as they must have been on first performance in 1787.

Nicholas Garrett as Don Giovanni performs a wily and obsessed character. He is driven by the notches on his bedpost. The action is focussed on a seduction that goes horribly wrong. Don Giovanni, dressed for masquerade in his attempt to seduce Donna Anna (Ana James), ends up killing her father, and a subplot of vengenance ensues. Meanwhile, Giovanni brushing off his crime tries to spirit away Zerlina  on her wedding day ( Claire Wild), but fails as his former conquest Donna Elvira ( Laura Mitchell) catches him out.

Yannis Thavoris has put together a production style all 1870s. The women wear bustles, silks and diamonds, the men velvet smoking coats and dressing gowns.  Using dark panelled benches, he is able to transport us from a public house, to a stately home within seconds.

The ultimate damnation scene for Don Giovanni has an innovative twist which to avoid spoilers encourages an interesting entry point for the ghost to test Giovanni's character. The happy ending sung with great gusto,  Garrett mock booed as a pantomine villian at his curtain call, all cast greeted with hearty applause-  yes, a definite crowd pleaser.

Don Giovanni

June 28, 30, July 2, 4 (matinee), 6, 8, 10, 12, 14

Don’t worry, pre-schoolers don’t remember anything.

 

Everyday we read about child abuse. Every other day the police secures pornographic photos of children and hopefully arrests the perpetrator. But are we really aware of what this entails? These are photos of children being raped, assaulted, battered, tortured and killed. Many of the children are abused by their families or carers, many are sold by their own parents to paedophiles.  

 

Raven Kaliana, herself a victim of extreme child abuse, wrote this autobiographical play to make people aware of what is happening to these children. She uses puppets to portray the children because it would not be possible for child actors to play these horrible scenes. Most of the adults are shown only from the waist down. Each of the adult characters is played by two actors – one is physically on stage, the other provides the voice.  

 

Sylvia, a little girl, is playing with her toy rabbit when her mother (Sue) interrupts her game to take her to a photographer. Sue is having lunch with her friend Jill while the photographer shoots pornographic pictures of Sylvia and Jill’s litte boy named Martin. Jill is somewhat concerned about the effect those photo sessions might have on the children but Sue tells her not to worry: "Pre-schoolers don't remember anything." After a few years Sylvia’s parents decide that they could earn a lot more money by going to Hollywood where Sylvia would make it big in the movies. But Sylvia is growing up.  

 

Raven Kaliana’s story is very powerful and deeply disturbing. The two children Sylvia and Martin are touchingly played by the puppeteers Sara Kirkpatrick and Kat Damvoglou. Neither of them has any text but a melancholy violin – played by the wonderful violinist Susanna Ferrar - sets the mood and translates the children’s emotions into music. I found the scene changes a bit too long but Raven explained that several video clips had been missing which should be included in future shows.

 

There will be a post-show talk.

 

Adult audiences only.

 

29 June – 11 July, Tue – Sat 7.30 pm, Sun 6.30 pm

Tickets: £ 10 / £8 (concessions)

BOX OFFICE: 020 7704 6665

The Rosemary Branch, 2 Shepperton Road, London N1 3DT