Spring Awakening

The People’s Theatre, Newcastle upon Tyne

Reviewed by Steve Burbridge & Ian Cain

‘Spring Awakening’ is a vibrant and poignant story, set in the late nineteenth century, about a brilliant young student, Melchior (Dylan Stafford), his troubled friend Moritz (Thomas Whalley), and Wendla (Bethany Walker), a beautiful teenage girl – all on a voyage of personal discovery and sexual awakening. Along with their class mates and friends, experiencing changes and urges for the first time in their lives.

Inspired by Frank Wedekind’s 1891 masterpiece of repressed emotion and adolescent passion, which was banned in its native Germany for about a century, ‘Spring Awakening’ explodes onto the stage once again, driven by a thrilling contemporary score which was written by Steven Sater.

This magnificent production is presented by Nice Swan Theatre Company, a student based group in Tyne and Wear, which provides a stepping stone between amateur and professional theatre for young talent from all over the region.

The production values associated with Nice Swan’s staging of ‘Spring Awakening’ are first class. The young cast play their parts with an exuberance that is raw, fresh, honest and untainted. The principals are astoundingly good: Thomas Whalley, in particular, is fantastic as the gangly Moritz and he looks like a cross between Erasure’s Andy Bell and Johnny Depp’s Edward Scissorhands. Dylan Stafford and Bethany Walker are equally as compelling as the young lovers, Melchior and Wendla, and the scenes that they share are genuinely tender and touching.

Jane Hutchinson and Lee Rosher both convincingly portray a variety of ‘adult’ roles and really get the opportunity to demonstrate their versatility as performers. The rest of the company, consisting of Carl Beeley, Dale Jewitt, Rebecca Withers, Ruth Hilton, Michaela Forbes, Lewis Jobson, Jess Brady, Sean Bell and Mahsa Bahary, are a tight and cohesive ensemble.

Director Ben Hunt and Producer Jamie Gray have bestowed this production with the standards that one would normally expect from a production in London’s West End. Not even the smallest of technical details has been overlooked: the acting is top notch; the choreography is slick and precise; the set is functional yet quirky and the sound and lighting effectively reflect the atmosphere and mood of the proceedings on stage.

Indeed, it is refreshing to see talented youngsters performing in work that is artistically stimulating. Surely, it must be far more culturally enriching to hone their considerable talents in live theatre than it would to enter into the sausage factory that is ‘X-Factor’ or ‘Britain’s Got Talent’?

‘Spring Awakening’ is an intense, gripping and enthralling production that is beautifully executed by a young Theatre Company who are destined to have a very bright future ahead of them.

Runs until Saturday 2 October 2010.

 

I’m always rude to people I like.

Noel Coward's plays epitomize the sophisticated wit of the era between the two world wars, and Hay Fever, a comedy of no manners at all about a family whose theatrical excesses and egotism drive their unsuspecting guests to despair, epitomizes the Coward play. Inspired by a weekend he spent at the house of the actor Laurette Taylor, Coward wrote this play in just three days. Upon its 1925 London debut, it was an instant hit with both the audience and the critics.

The eccentric Blisses—Judith, a recently retired stage actor who is already planning her triumphant return to the stage, her husband David, a self-absorbed novelist, and their two equally unconventional children Simon and Sorel — live in a world where reality often slides into fiction. Upon entering this world, the unfortunate weekend guests—a Foreign Office diplomatist, a shy girl, an athletic young man, and a fashionable sophisticate — are repeatedly thrown into melodramatic scenes wherein their hosts profess emotions and react to situations that do not really exist. The resulting comedic chaos ends only when the tortured visitors tip-toe out the door never to return.

Stephen Unwin’s fast paced direction and his excellent cast make this highly entertaining production a joy to watch. Celia Imrie is perfect as the flamboyant Judith Bliss who will use any opportunity to stage a performance. As she finds her husband David (a commanding performance by Stephen Boxer) in a passionate embrace with the seductive Myra Arundel (the intriguing Alexandra Gilbreath) Judith, at her melodramatic best, immediately agrees to a divorce so her husband and Myra can be happy while she retreats to her lonely country home to live in seclusion. The incredulous Myra finally exclaims: “You’re artificial to the point of lunacy!” Adrian Lukis gives an unforgettable performance as the rigid diplomatist who develops nervous tics as a reaction to the absolute lack of protocol or any kind of consideration. Georgia Maguire and Holly Jones make impressive professional debuts as Sorel and the shy Jackie, Joshua McGuire gives a fine performance as the spoiled artist son Simon, Sam Swainsbury is delightful as the naïve, star struck Sandy Tyrell, and Katy Secombe is charming as Judith’s former dresser who proves quite incompetent in her new role as house maid.

Because of film committments Celia Imrie will not be able to play the entire run. Her role as Judith Bliss will be played by Nichola McAuliffe from 11 October 2010.

Wed 20 Oct, 7.30: STAGETEXT captioned performance
Sat 23 Oct, 1pm:Touch Tour
Sat 23 Oct, 2.30: Audio-described performance with William Clancy

TIME TO TALK with CELIA IMRIE
Tues 5 Oct, 5.30
£5, £3
Matinee(s) Thurs & Sat 2.30pm, Evening(s) 7.30pm

The Rose Theatre, 24-26 High Street, Kingston

www.rosetheatrekingston.org

 

 

Dundee Rep Ensemble return to Glasgow for the third time with the smash hit Scottish musical, Sunshine on Leith

 

Having seen this show in it’s original incarnation, I had fond memories and was slightly worried that I was now viewing my memory of the show through rose-tinted spectacles. However my fears were quickly laid to rest from the powerful opening number. This show had retained all it’s charm, heart and wit, and with a few changes in the prinicipal line-up there seemed to be a very fresh feel about this current production.

 

For those who haven’t seen it, Sunshine on Leith follows Ally and Davy on their return from the Army to their lives in Leith. Ally dates Davy’s sister Liz, a nurse, who sets her brother up on a date with her (English) colleague, Yvonne. These two love stories are joined by that of Liz and Davy’s parents, Jean and Rab who are due to celebrate 30 years of marriage. Unlike many jukebox musicals, there is a strong script from Stephen Greenhorn which is typical of his credentials – heartfelt and convincing dialogue along with dramatic misfortunes and timing of a soap opera. However the songs are no afterthought. Using the back catalogue of The Proclaimers, the songs are expertly placed and arranged to fit the story dramatically and musically. From the comedy of marriage proposal advice in a Hibs supporters bar, to the heartbreaking pared back version of Sunshine on Leith the music covers all emotions and, thanks to the work of Hilary Brooks, is expertly handled by the musicians and the cast.

 

And what a cast – with so much stunt casting in touring productions these days, the sight of Lord Of The Rings actor Billy Boyd’s name attached to this musical did cause a little chill in me before entering the theatre. However he proved to have an excellent voice which blended beautifully in his duets with West End favourite Zoe Rainey, joining the cast from her recent stint as beauty queen Amber Von Tussle in Hairspray. Ann Louise Ross reprises her role as matriarch Jean, and was still as exciting in the role as her first performance, with comic timing sharp enough to cut through steel.

 

With the exception of Our House or Buddy , there are very few “jukebox musicals” that can make a decent emotional impact on the audience, however Sunshine on Leith trumps them all. With a great script littered with humour, pathos, politics and love and with a soundtrack of music that can both bring an audience to tears or to their feet this show has it all. Tickets have sold out on both previous tours, and I see no reason why this won’t be the case again this time. This is one show I’d definitely be happy to walk (well ok, maybe take the car) 500 miles to see!

 

Performances:

 

Tue 28 Sep:    7.30pm

Wed 29 Sep:   2.30pm & 7.30pm

Thu 30 Sep:    7.30pm

Fri 1 Oct:         5.30pm & 8.30pm

Sat 2 Oct:        2.30pm, 7.30pm

 

Tickets: £11-£28

Box Office: 08448 717 648(bkg fee)
web: www.ambassadortickets.com/glasgow

The Naked Truth

Darlington Civic Theatre

REVIEWED BY IAN CAIN ON BEHALF OF STEVE BURBRIDGE.

I must admit that I am becoming rather accustomed to being one of only a sprinkling of men in the theatre auditorium. Having previously reviewed ‘The Vagina Monologues’, ‘Women On The Verge of HRT’, ‘Menopause: The Musical’, ‘Hot Flush!’ and ‘Mum’s The Word’, I can now add another female oriented show to the list – ‘The Naked Truth’.

Set in a pole dancing class, it tells the stories of six very different women. There’s rough and ready Rita (Claire King), sweet and sympathetic Sarah (Maureen Nolan), big and bubbly Bev (Leanne Jones), tactless Tricia (Julie Buckfield), dippy and ditzy Faith (Alison Young) and gorgeous Gabby (Michelle Heaton), the class instructor.

Each of the women has their own reasons for taking up pole dancing – whether it be to restore confidence in their body, get a guy, keep a guy, lose weight or embark upon a potential new career. However, when one of the women receives some devastating news, the others soon pull together and decide to turn their new skill into a fund raising event.

Director Stephen Leatherland has assembled a rock solid cast, consisting of all the right elements to draw throngs of women into the theatre for an evening of raunchy, risqué and raucous entertainment. There’s a former soap superbitch, an ex-Liberty X pop princess and even a Nolan sister!

The entire cast deliver top notch performances and are equally as good with the scenes of poignancy and pathos as they are with the ones that contain the comedy and capers.

Writer Dave Simpson has succeeded in carving well crafted characters that are not only rounded and three dimensional, but also totally believable, whereas a less talented playwright may have fallen into the trap of regurgitating tired old stereotypes.

The script crackles along at a rip roaring pace with the laughs coming thick and fast. As you might expect, there are plenty of dirty jokes, suggestive comments and double entendres, but they are received in good humour by the audience and are not included with the intention to shock or offend. Indeed, with the obvious exception of the more tender moments, the auditorium rang with the sound of long and hearty laughter.

The entire evening seemed to be one great big girls’ night out and even scene changes were interspersed by diva anthems by the likes of Shania Twain, The Weather Girls, Lisa Stansfield and Gloria Gaynor.

Yet, for all its frothy frivolity, ‘The Naked Truth’ is a production that genuinely has heart and soul. It’s no surprise, then, that it is now enjoying its fifth national tour and still playing to packed houses. Although it is a show that is about women and for women, it is also one that men must see, too.

Indeed, ‘The Naked Truth’ is a show that is even more uplifting than a Playtex bra. Don’t miss it!

Ian Cain.

Runs until Wednesday 29 September 2010.

 

 

 

Hairspray
Milton Keynes Theatre
Wednesday 22nd September 2010

I believe that Hairspray is one of the best book musicals of modern times.  It has everything – great story (for a musical), great songs, great set, great costumes and wigs.  And this production of Hairspray has all that, plus great production values.  It’s light-hearted, fun, take-me-away-from-it-all entertainment.  So why didn’t I enjoy it as much as the two times I saw it in the West End?

The biggest disappointment for me was that although Laurie Scarth is undoubtedly a good Tracey Turnblad and a good musical theatre performer, I was sitting at the side of the upper circle and Laurie doesn’t know that the auditorium goes higher than the first few rows of the dress circle.  Laurie, look up to the cheap seats once in a while.  Play to the house, dear, not just the people in the best seats.   Consequently, I might as well have been at home watching on the television during the first number, “Good Morning Baltimore” as not once was I played to or engaged by Laurie.  In fact, during the entire opening number, I believe it was only “the flasher next door” who took in the entire house and included me in his performance.

I’m sad to say, this was a common theme amongst the principals and most, but not all, of the company.  I am surprised at this from the more experienced members of the cast.  Also, I do not believe that Milton Keynes Theatre is in any way one of the larger theatres the tour is visiting.  Les Dennis and Brian Conley rarely looked to the top of the house – not even at the end when taking their bow did they acknowledge the applause from the dizzy heights of the third level.

I therefore remember the performances of Carl Sanderson and Danny Bayne the most, as they brilliantly played to everyone.  Sanderson plays a variety of characters – the flasher, the owner of the hairspray company, the male authority figure, to mention just three.   He is a very funny character performer and no one missed his gags as everyone saw them. 

Bayne plays Corny Collins – an integral but could be forgotten character.  Again, well performed - and he played to the entire house!  There was no forgetting him as he made sure everyone saw his performance.


I didn’t like Brian Conley in the role of Edna Turnblad. Of course, with Michael Ball’s God given  talent, it is hard for any performer to take over a role he has played, but Conley seemed to be playing it for laughs and as Brian Conley wearing in a dress, whereas, the truth of the character, is playing it for real, and is far funnier.

The last time I saw Les Dennis was in the hilarious Eurobeat not Eurovision, when Les was brilliant.  It was one of the funniest shows I have ever seen.  Sadly, Les didn’t shine for me in Hairspray as Wilbur Turnblad.  I don’t know why.  Is it because both Dennis and Conley are comedians and neither had a straight man?

A review of this production of Hairspray would not be complete without a mention of the fabulous Sandra Marvin who plays Motormouth Maybelle.  She is brilliant.  She has the vocals of a goddess.  More please.


A couple of local girls in the cast – Seliza Sebastian who hails from Wellingborough and played a good Inez, the negro wannabe and Motormouth’s daughter, and Shakira Akabusi who plays Pearl, one of the Dynamites.  Liam Doyle was also pleasing as Link Larkin.

As would be expected from a musical of this calibre Hairspray has great costumes, fabulous wigs, high production values, perfect set, lights, band and sound.  I just needed the cast to engage with me more.

If you’ve never seen it, go and see it.  It is a treat – if only because you will come away humming the tunes.  If you haven’t got a ticket, I believe the run at Milton Keynes is nearly sold out.  However, Hairspray moves to Oxford immediately following Milton Keynes, where I understand seats are still available.  Just make sure you’re not too high up!

Hairspray plays Milton Keynes Theatre until Saturday 9th October.   Box Office number: 0844 871 7652 (bkg fee).  www.miltonkeynestheatre.com.

It then plays The New Theatre, Oxford, from 12th October to 23rd October.   http://www.newtheatreoxford.org.uk/prod-productions_details.asp?VenueID=103&pid=2229.
 
The tour continues into 2011 with the part of Edna being played by Michael Ball and Michael Starke in various venues. More information can be found at www.hairspraythetour.com.

Reviewed by Catherine Brian on 22nd September 2010.

Simon Callow gives a towering performance as Shakespeare - the Man from Stratford in his engrossing one-man show at the Theatre Royal, Glasgow.

Cleverly structured to include myriad quotations from many of the bard’s best known works, this piece tells his life story through the Seven Ages of Man.

Callow is, unsurprisingly, immense throughout, handling the serious stuff with power and pathos. His portrayal of Bottom, as the weaver strives to play every part in ‘the most lamentable comedy’, had the audience bouncing with laughter.

The play also provides an interesting window on the England of 400 years ago with its very different morals and mores, as well as the relationship between the Royalty of the times, Elizabeth and then James, and Will’s players.

Callow’s energy and humour ensure a stimulating evening of entertainment, information and joy.

I should have never let you out of my sight.

 

This musical looks at the complexities of relationships between brothers and sisters and mothers and sons. Set against the background of a changing America between 1952 and 1990 this two-person tour-de-force follows John's and Jen’s changes from childhood to adulthood and beyond.

 

Six-year-old Jen Tracy welcomes her newborn brother John into the world, with a warning about the way things work and a promise to protect him from his abusive father. Jen does her best to shield John from life’s disappointments and their father but not long after John’s seventh birthday Jen discovers a bruise on his face. Jen vows that their father will never hurt John again and the two siblings make a deal to always be there for each other. This deal ends when Jen moves on to New York City to attend Columbia University and changes into a peace loving Hippie whilst John stays home and falls under the influence of his father - he joins the Navy to fight in Vietnam.

 

The storyline is fairly predictable and the sweetness factor is a bit too much in some scenes but this is a very touching and at times extremely funny story about an older sister – younger brother relationship. The two young actors are outstanding. I was particularly impressed by Tom Keeling who effortlessly changes from an infant to a teenager to a young adult but Kendra McMillan was equally convincing as the older sister and later, in the second act, as the mother who loves her son too much. Thanks to the talented performers and the beautiful music (cello played by Clare Graham, piano and musical direction by Sonum Batra) there is not a dull moment in this production.

 

The book for this show was written by Andrew Lippa and Tom Greenwald. Andrew Lippa, who also wrote the music, won the Outer Critics Circle Award for his Off-Broadway musical Wild Party and the 2000 Drama Desk Award for his contribution to the hit musical You Are A Good Man, Charlie Brown.

 

7.30pm 21 - 23 September
5.30pm & 8.30pm 24 September
3.00pm & 7.30pm 26 September

Tickets: £ 12 / £ 10 (concessions)

BOX OFFICE: 020 7704 6665
The Rosemary Branch, 2 Shepperton Road, London N1 3DT

 

In The Pipeline

Live Theatre, Newcastle upon Tyne

In collaboration with Òran Mór, Live Theatre has launched A Play, A Pie & A Pint, a programme which sees new writing company Paines Plough commission work by the UK’s leading and most important writers, including April De Angelis, David Harrower, Marie Jones, Linda McLean and Gary Owen, and tour the 45 minute plays to venues in Edinburgh, Dublin, Belfast and, of course, Newcastle.

The five-week season commenced last week with the first play, ‘Fly Me To The Moon’ by Marie Jones, being performed in the Studio Theatre. This week sees the world premieres move to the Main House, with ‘In The Pipeline’ by Gary Owen.

‘In The Pipeline’ opens the doors on three residents who are caught in the path of a massive liquid gas line as it tears through the Welsh countryside. The play takes the format of three monologues – one from each of the characters – and although each of them are carefully crafted and beautifully written, the connection to the subject matter is tenuous at best.

Rhodri Lewis plays Andrew, a train refreshment trolley operative who strikes up a complex relationship with his neighbour, Ali, and her young daughter Louisa. Essentially, the character is a loveable buffoon and Lewis successfully strikes up a rapport with the audience.

Grahame Fox is Dai, a former power plant employee who struggles to cope with institutionalised ageism in the workplace and his soaring stress levels. Finally, Meg Wynn Owen plays Joan, a kindly but rather eccentric old woman.

The concept of A Play, A Pie & A Pint is a good one and I genuinely hope it catches on. It provides an ideal opportunity for busy people to take in a bite-sized chunk of culture on their way home from work, without breaking the bank. Tickets are priced at £10 each, which includes a meat or vegetarian pie (made by Dickson’s Family Pork Butchers who, along with Fosters UK, are sponsoring the event), and a pint (or a glass of red or white wine or a non-alcoholic beverage).

However, my one concern with ‘In The Pipeline’ is that the actors seemed somewhat under-rehearsed and there were one or two fluffed lines too many. I hope this niggling point will be addressed in the weeks to come.

Steve Burbridge.

Runs until Friday 24 September 2010.

Forthcoming plays are as follows:

‘The Uncertainty Files’ by Linda McLean             Mon 27 Sept – Fri 1 Oct

‘Calais’ by April De Angelis                                   Mon 4 Oct – Fri 8 Oct

‘Good With People’ by David Harrower                Mon 11 Oct – Fri 15 Oct

 

 

 

 

Blood Brothers

Darlington Civic Theatre

“So, did y’hear the story of the Johnstone twins?”

Well, if you haven’t you must! The phenomenon that is Blood Brothers has been captivating audiences for 25 years now and, although this musical is celebrating its silver anniversary, it can only be described as pure gold. Willy Russell’s moving tale of two twin boys who are separated at birth and grow up on opposite sides of the social-class spectrum, only to meet up again with devastating consequences, has established itself as a contemporary classic around the globe. From the West End of London to South East Asia the multi-award winning musical plays to sell-out theatres every night.

Having seen the show numerous times before, the characters and plot are familiar to me but, despite that, Blood Brothers grips me each and every time with its poignancy, humour, tenderness and tragedy.

The role of Mrs Johnstone is surely one of the most coveted in musical theatre and the struggling single mother “with seven hungry mouths to feed and one more nearly due” has been played by such well-known actresses as Barbara Dickson, Petula Clark, Kiki Dee, Stephanie Lawrence, Helen Reddy, Carole King, Lyn Paul, Marti Webb, Melanie Chisholm and four of the Nolan sisters. Niki Evans is the actress who is currently wearing the care-worn smile and cross-over pinny.

Evans presents the audience with quite a different ‘Mrs J’ – although she is maternal, understanding, compassionate, earthy and warm-hearted, she also displays a nervy vulnerability. In addition to a phenomenal acting performance, she delivers her musical numbers with meaning and conviction and her voice is clear, rich and full of emotion.

Sean Jones, as Mickey, and Paul Davies as Eddie are outstanding. It can’t be easy to convincingly play a seven year old child but both of them achieve it admirably, capturing every childhood nuance accurately. The transition to teenager, then man, is equally convincing. Both actors display great skill with the many poignant scenes that they share and the contrast between ‘posh’ Edward and ‘scruffy’ Mickey manifests itself perfectly in their performances. Jones makes the most of Mickey’s comedic qualities without ever over-playing them and Davies gives Eddie an endearing charm and vulnerability.

Kelly- Anne Gower plays Linda, the girl both boys fall in love with. She, too, gives a fine performance throughout, especially in the scene where she tries to persuade Mickey to stop taking the anti-depressants that have transformed him into an empty shell of a man.

Robbie Scotcher plays the significant role of the Narrator, a spectral figure who personifies the moral consciences of Mrs Johnstone and Mrs Lyons, and his performance is as strong and sinister as it should be. His ominous presence hovers around like a dark storm cloud on a sunny day and his strong and powerful voice is hauntingly beautiful.

The strong supporting cast includes Tracy Spencer and Poppy Roe who play Mrs Lyons and Donna-Marie respectively. Daniel Taylor is bad-boy Sammy and Tim Churchill is Mr Lyons.

Blood Brothers is a production that goes from strength to strength, its appeal growing over the years rather than diminishing. It is so powerful a play that it can be watched time and time again without ever losing any of its emotional impact or social relevance.

Wherever it is performed, Blood Brothers receives a standing ovation from an approving audience and last night was no exception. This production is heart-warming, tear-jerking, uplifting, devastating and, above all else, brilliant!

Steve Burbridge.

Runs until Saturday 25 September 2010

 

 

 

 

 

 

Brace yourself for the sultry atmosphere of summer in New Orleans as Bolton Octagon stages Tennessee Williams’s modern classic about sexual power play between the faded remnants of America’s effete southern aristocracy and a new wave of unromantic European immigrants.

 Blanche and her younger sister Stella are all that remain of the once wealthy DuBois family.  Stella left home ten years ago and has embraced a new life in a poor inner-city area as the wife of rough, working-class Stanley Kowalski.  But Blanche stayed loyal to her gentrified roots, and after a long separation of both time and space she arrives unexpectedly and incongruously on Stella’s rickety doorstep.

 Blanche’s self-centred behaviour and superficially refined ways rub up against Stanley’s extremes of vulgarity and machismo, and Stella’s loyalty to her past and present is constantly put to the test.  Aside from the domestic conflict, the play’s fascination lies in the gradual revelation of Blanche’s tragic past and the multi-faceted nature of her character.

 Director David Thacker’s focus on the characters is strangely unambiguous - the audience sees Blanche with Stanley’s harsh realistic gaze rather than through her own rose-coloured spectacles because Clare Foster’s Blanche is not ethereal and whispy but harsh and strident from the word off.  Amy Nuttall as her sister Stella is the most sympathetic character on stage, torn between the needy Blanche and her demanding husband, but Keiran Hill, although physically imposing, is too clean cut and plain nice to make Stanley into the archetypal he-man. 

 This production feels closer to the sharply defined realism of Arthur Miller than the woozy and feverish impressionism of Tennessee Williams.  Partly this is due to the challenge of staging these dream-like dramas in-the-round, as with the Royal Exchange’s production of The Glass Menagerie.  The playwright describes layers of rooms coming in and out of focus, their walls sometimes alive with reflections, lights and shadows - the design of the long-running Woman in Black is a brilliant example of how this can work - while Ciaran Bagnall’s set design can only offer us a floor plan and fixed furniture (although costume designer Mary Horan’s lavish frocks, furs and finery are to die for).  Even Carol Sloman’s music struggles to create any atmosphere.  In the end it is the sheer power of the story that carries the evening.

 A Streetcar Named Desire is on at Bolton Octagon until Saturday 9 October 2010

Tickets: from £9.50

Eves: Mon-Sat @ 7.30pm

Matinees: Fri 17 Sep; Sat 2 & Wed 6 Oct @ 2pm  

Box Office: 01204 520661

www.octagonbolton.co.uk