UK Theatre Network

Death Of A Nightingale is a thought provoking play that questions the government policy of closing special schools in favour of sending their pupils to mainstream institutions.

Alan Share’s play offers a passionate defence of special schools and challenges the validity of  government policy for inclusion. Share was a governor of a special school in NE England between 1988 and 2004, and helped it’s parents fight against the school’s closure. During this time 100 other special schools were closed, and Share’s play is based on what he documented. Death Of A Nightingale is a fictional story of the attempt to close Brighouse School. It looks at the complexities of the issue, and argues that parents of special needs children should be able to choose between mainstream and special schools. Share states that the scales are weighted against special needs children in mainstream schools, and highlights that attempted suicides by SEN children are high in mainstream education due to bullying and an inability to keep up academically. 

Share’s play is a mixed bag. The quality of writing although generally very good, lacks consistency. Some scenes (especially the school closure decision scenes), are extremely well written, while others meander. The music scenes are far too repetitive, and the main one involving every religion seems to go on forever.

However the main problem with this production is the pedestrian direction by Tom Scott. Even the exceptionally talented cast are unable to drag this play out of first gear due a lack of imaginative leadership. The pace is not helped between scenes by the tedious and unnecessary repeated moving of chairs from one side of the set to the other, and the bringing on and off of props

What holds things together are the strong performances. Melanie Ramsey is superb as Head teacher Margaret Williamson, and is well supported by her on stage partner Ian Targett as John Errington.  Pupils from Oak Lodge special school in East Finchley act along the professionals, and Max Lewis plays the part of mischievous student Terry to perfection.

The timing of Share’s play aligns well with new developments about the ongoing debate around the provision of special schools. A Green Paper on SEN may now offer parents a real choice of schools for their children and make Share’s play a little redundant. Not that Share would mind, that is what his play argues for after all.

In these times of cutbacks where vital services now seem especially vulnerable, Death Of A Nightingale offers a stimulating night of theatre that is as relevant as it is moving.

OLIVER VALENTINE                                                               

                                        Run until 3^rd April. Box Office: 08700332733

The New Hippodrome & Palace of Varieties was formally opened on Monday September 2 1907. Its first Managing Director was Signor Rino Pepi, an Italian ex patriot who was originally a quick-change artist (or protean) and impersonator, whose love of theatre took him into a management career. George F Ward of Owen and Ward of Birmingham, a firm specialising in theatre building, designed the theatre and Owen and Ward were responsible for the building of the theatre. It is constructed from local Middlesbrough red brick with terracotta dressings. Above the Parkgate entrance is a 64foot high pyramid-roofed tower (housing a water tank) that gives the theatre's distinctive appearance and was used to provide high-pressure water for aquatic scenes that were popular at the time. The ornamental canopy is a replica of the original iron and glass structure, which was destroyed by a traffic accident in the 1960s.

The theatre flourished during the 20 years Signor Pepi ran it but following his death in November 1927, its future became uncertain. Competition from cinema became a real threat and a succession of different managers struggled to balance the books. Indeed at one stage the theatre was equipped with a film projection box at the rear of the Upper Circle, this can be seen above the name on Borough Road side of the building. In 1966 after much hard work and enthusiasm from members of the community, especially Darlington Operatic Society, the Borough Council of Darlington assumed full financial, administrative and artistic responsibility for the theatre on behalf of the town. The ‘New Hippodrome’ became officially known as Darlington Civic Theatre.

Darlington Arts Centre began its life as Darlington College of Education, which was founded by the British & Foreign School Society. From 1876 to 1978 it was used as a teacher training college. In 1978 it became Darlington Arts Centre funded by Darlington Borough Council. On July 10, 2001, ownership of the building was officially handed over to Darlington Borough Council.

Now, as a direct result of the coalition government’s Strategic Spending Review, Darlington borough council have announced that both venues shall no longer receive any funding and will be closed in the summer of 2011 unless they can be sold as going concerns. The news has prompted angry reaction – not only from residents of Darlington, but also from actors who have performed there.

Denis Lill (right) in 'Witness for the Prosecution' at The Civic.

Denis Lill

“I’d be surprised if the council would be allowed to close the Civic because it’s an historic theatre and a beautiful place to play and these theatres are getting fewer and further between. Would it later be replaced by a ‘one size fits all barn’ which can host a rock concert, a panto or a play?

From an actor’s point of view, it’s far more satisfactory playing a theatre that was designed for the acoustic of the human voice rather than a barn. I’d be very sorry if the Civic was to be closed. I’d campaign very much in terms of it staying open. It’s a joy and a privilege to perform at these old theatres.”

"It is very sad news to hear that the authorities are actually thinking of closing the historic Civic Theatre and the important Darlington Arts Centre! One wonders who makes these decisions and have they really thought out the implications of such a move. I doubt it. I do hope the residents of Darlington will fight hard to keep these important venues and that allowing them to be closed will be a blow not only for Darlington but to the wonderful North East population in general."

Top North East entertainer, Steve Walls.

Steve Walls, actor, presenter and comedian

"It would be sad to see such a beautiful theatre with such tradition go dark. The North East is proud of its theatre's, it would be a blow to the region."


Elkie Brooks, who has performed in concert at The Civic Theatre.

Elkie Brooks

"I am shocked to hear about the possible closure of Darlington's glorious Civic Theatre.  I have played here on many occasions and always had a very warm reception from both the audience and the theatre staff.  I do hope a positive decision can be made which allows this most elegant of theatres to stay open and continue to attract high quality productions and performers."


Kim Hartman has appeared at The Civic in productions including 'Keeping Up Appearances' and 'Daisy Pulls It Off'.

Kim Hartman

"I think it's shocking that the Darlington Civic should have had its funding withdrawn. Recreation is vital for us all and the enjoyment of every form of art and sport should be available to all society, wherever they live. The Civic has a flourishing group of Friends, supporters and helpers; the building is beautiful, comfortable and historic and we should be investing money into it with the view to it becoming a producing house again, not taking funding away. With love to you all and good luck. Kim"

Don’t be cruel to a heart that’s true…” – Elvis Presley

Elvis Presley is perhaps one of the best-known musicians in recent history. His records have sold many millions of copies worldwide. According to American Demographics eighty-four percent of Americans say that their lives have been touched by Elvis in some way. Well. That’s good to know. I have to say that I have never really been a fan of ‘The King’ and this show does nothing to change that state of affairs.

Walking into the theatre at the New World Stage, “Elvis People” seems a little out of place before we even start. The NWS building is modern and rubberised, purpose-built from the shell of an old movie theatre – perhaps which showed some of Elvis’s movies years ago. Elvis is a relic of a bygone era, and the set highlights this with a various Elvis-style ‘suits’ hanging on the wings along with some cutesy dresses, and what maybe records covering the entire back wall. The juxtaposition of kitsch and modern does not do well here, and I found myself a little unsettled – especially as the rest of the set is glaring white. Things improved a little as the opening music kicked in, and some interesting video projections ensued on the record wall. However, the transitions dragged on and I found myself thinking, just get on with it already.

Henry Wishcamper’s production of Doug Grissom’s new play comes only two years after “All Shook Up”, another Elvis-based musical which did little more than vibrate the audience a little, and unfortunately also fails to really excite. The blame should not be levelled entirely at Wishcamper however, who does a serviceable job with the materials available. In the same vein, the ensemble of actors in this production have fine heritage and there are some interesting performances, but I feel that Grissom’s overly sentimental script and the tedious design does them no favours. There are some nice moments though, and I certainly found myself engaged by Ed Sala in the ‘Elvis in Vietnam’ sequence. Likewise, there are not many laughs in this show, but mention should be made of the ‘Robbery’ sequence which, though a little clunky, brightens a murky second act.

“Elvis People” will close on Saturday, June 23, 2007 after a very limited run at the New World Stages (barring a massive upturn in ticket sales) and I cannot help but think this is a good thing. Separately, the elements of the show promise much, but the vehicle they inhabit when united fails to live up to the hype. I certainly left not so much ‘all shook up’ but feeling more like I was checking into the ‘Heartbreak Hotel’.

“It’s rare when an artist’s talent can touch an entire generation of people. It’s even rarer when that same influence affects several generations.” - Dick Clark

Cast: Jordan Gelber, Jenny Maguire, David McCann, Nick Newell, Nell Page, Ed Sala

Director: Henry Wishcamper

For more information on the show, please visit: www.elvispeople.com orwww.newworldstages.com

Best known for his role as the android Data on Star Trek: The Next Generation, Brent Spiner is a versatile and multi-talented performer who started his career in the theatre. Born in Houston, Texas, Spiner first began pursuing his interest in acting while in high school, where his inspirational drama teacher, Cecil Pickett, started the careers of a group of young actors and directors including Spiner, Randy Quaid, Dennis Quaid, Thomas Schlamme, and Trey Wilson. When Pickett went on to teach at the University of Houston, Spiner followed, but he quit university before completing his degree and moved to New York. Brent then appeared in various Broadway and off-Broadway productions, such as A History of the American Film (1978), The Seagull (1980) at the New York Shakespeare Festival, Sunday in the Park with George (1984), The Three Musketeers (1984),and Big River (1985). After starring in the play Little Shop of Horrors, he moved to Los Angeles, where he played a number of character parts in television films and series such as Hill Street Blues, Cheers, and the recurring guest role of Bob Wheeler (1985-1987) in the popular NBC sitcom Night Court. In 1987, Spiner landed the role of Data in Star Trek: The Next Generation.Following a seven-year run on television, he appeared in the Star Trek feature films Generations, First Contact, and Resurrection, and appeared in and co-wrote the story for Star Trek: Nemesis. He also co-starred with Halle Berry inIntroducing Dorothy Dandridge (1999), for which he was nominated for a Golden Satellite Award, and appeared in films like Independence Day, Out to Sea, Phenomenon, and The Aviator. On stage, he played Ivanov in the touring production of Every Good Boy Deserves Favour (1992) and was nominated for a Drama Desk award as Best Actor in a Musical when he returned to Broadway playing the role of John Adams in the Roundabout revival of 1776 (1997).  A few years later, Spiner co-starred in Yasmina Reza’s play Life x 3 (2003) at the Circle in the Square Theater and played the title role in Man of La Mancha(2009) at the Freud Playhouse. In 2008, Spiner developed a new concept for a “musical of the mind” and released the intriguing CD Dreamland, an audio “film” beautifully performed by Spiner and Maude Maggart. Recently, Brent has done voice work on The Simpsons and Young Justice and has appeared inAlphas and The Big Bang Theory. He is currently filming ten new episodes of the web series Fresh Hell, which Spiner describes as a “sit-trag”—a comedy with elements of tragedy, highly comical but also touching on very serious issues: http://www.youtube.com/user/freshhellseries?blend=13&ob=5 

I talked to Brent Spiner at the Star Trek convention in Chicago in October 2011.

CK: First of all, I’d like to thank you for your time because I know you’re busy.

BS: Never too busy to do this.

CK: That’s very nice. Right. What is the most beautiful thing you’ve ever seen?

BS: The most beautiful thing I’ve seen. (sings to the tune of “Maria,” West Side Story) The most beautiful thing I’ve ever seen…. (talks) It’s really hard. You know, it’s like “What’s your favourite food?” in a way.

CK: Let’s change it to “one of the most beautiful things you’ve ever seen”. That might be easier.

BS: Well, my son. He looks just like me. He’s incredibly beautiful. (Ponders the question.) I like Clare Danes a lot too, by the way.

CK: Ah! So let’s talk about something related to your career.

BS: All right.

CK: You’ve done so much, so many different things, on stage, on TV, films—Star Trek, Threshold, The Aviator, Independence Day; in the theatre, 1776. What was your best experience about doing 1776?

BS: It was actually being on Broadway again. There were many wonderful experiences doing that show. I worked with some amazing people. Everyone connected with the show was just great - Peter Stone, who wrote it, Pat Hingle and Tom Aldrich, and all these other wonderful people. Working at the Roundabout, which is a great organization. It was a magic experience. But I hadn’t been on Broadway at that point in twelve years.

CK: How did you cope with the fact that that you were being back on stage? You have to project on stage, it is a different medium.

BS: Right. Particularly that show, which requires a lot of volume because it’s all about arguing. You’re debating the entire show and it’s a long show, it’s three hours. My character, I played John Adams, had eight songs and lots of debate. There is a time in the show, forty-five minutes without a song because this debate is going on and I’m at the centre of it. So I was really worried about my voice. It got to a point in rehearsal where Paul Gemignani, who is the greatest conductor in the musical theatre now, he was doing the show, came up to me and said: “Be careful of your voice.” And I went: “What?” He said: “You could lose your voice, I can hear it.” And I thought: “Oh my God.” So I got really scared. It was at a point when we’re just going into the theatre, when we’d been given dressing room assignments. I was in the dressing room with two guys, Tom Aldrich, who just passed away, he was a fantastic actor, and Jerry Lanning. Jerry happened to be a voice teacher and I said to him, “Jerry, I am really worried I’m gonna lose my voice.” He said, “You’re not.” I said: “Really?” And he said: “Your vocal chords are really challenged right now because every day you wake up you’re stronger than you were the day before. Don’t worry, you’re getting stronger, you’re not getting weaker.” Everything turned for me at that moment. I knew I wasn’t going to lose my voice. I knew I was fine. He was dead right and I got stronger every night. I did the show for eight months and I never missed a performance. I did 250 performances. And I never came close to losing my voice. By the end I was stronger than I was in the beginning. It was just a psychological thing.

(A couple of teenagers approach Brent.)

Teenage Boy: We have a question.

BS: You know what, we’re really right in the middle of an interview. We’ve got a recorder going.

Teenage Boy: Sorry.

CK: You’re on it now. You’ll be online, you know.

Teenage Boy: Me and my friends were wondering. What would Data eat at McDonalds?

BS: This is the stupidest thing anyone has ever asked me. The single dumbest thing anyone’s ever said. Would Data eat at McDonalds? Data wouldn’t be so stupid to eat at McDonalds. Data would go, “I want something nutritious. I don’t wanna kill myself, I wanna live, right?”

Teenage Girl: What if you were starving?

BS: He would just starve.

Teenage Boy: Sorry to bother you.

BS: Don’t worry about it. See you in a bit.

(The teenagers leave.)

BS: There you go. It was interesting that you were taping and involved in that. If you say to somebody: “I’m sorry, I’m in the middle of an interview”, they barrelled right through that as if I hadn’t said anything. People have their own agendas. If they want something, they will go for it. It does not matter what you said.

CK: That’s really rude.

BS: Rudeness is just, you know, it’s part of the human condition, right?

CK: I think you enjoy doing new things and challenges. You are doing Fresh Hell, which is very different because it is an online series on YouTube.  

BS: Right.

CK: Why did you choose to do it online? To reach a new audience? Because more young people will watch things on YouTube?

BS: No, not really. I would love to have a television series, but nobody has offered me one and so the Internet allows you to do whatever you want.

CK: That’s true.

BS: If you’re creative.

CK: It’s an interesting idea to do it on YouTube.

BS: It’s not staying on YouTube. We’ve a got a new website that’s been designed for the next episodes.

CK: Oh yes, I saw that. But to do it online, in this format….

BS: There are people who say to me, why would you do that, and my answer would really be, why not do it? Everyone was saying, “Do a web series ,” years ago, “that’s the future.”

CK: Yes, that’s what I think. You think there’ll be TV forever?

BS: There will be TV but it will come off the Web.

CK: Fresh Hell, it’s about celebrity. What are your experiences when people meet you for the first time? Do they project ideas onto you because they don’t really know you?

BS: Right. Certainly.

CK: I expect many people think you’re like Data.

BS: That’s right. And of course I’m not. Because I’m an actual person from Texas. So obviously I’m nothing like Data except that I’m incredibly brilliant….

CK: That goes without saying.

BS: Exactly. I mean, we do have some similarities. I look a bit like him, too.

CK: Yes, you do.

BS: But I do have emotions.

CK: When you first met your fans and they approached you as if you were Data, how did you react?

BS: I tried to be nice about it, but….

CK: What did you feel?

BS: Well, it’s not like I’m not a fan of other people. I like a lot of actors, I like a lot of performances. When I met William Shatner or Leonard Nimoy for the first time, I didn’t talk to them like they were Spock and Kirk, I didn’t think they were. I kind of got the idea they were actors who were playing those parts. It is kind of peculiar. Even to this day, if I write something on Twitter that is so counter to what Data would have been, if it’s ironic or if it’s sarcastic, whatever, the things that I am, people think: “Oh man, I don’t really like you. You’re not like I thought you were.” And my reaction is: “That’s too bad! You know, you’re not like I thought you were either! I thought you were an adult.” (Laughs.) 

CK: Well, I think, just because you don’t know anything other than the character you play and some of the interviews you give, people have a certain image of you and….

BS: Right. But I’m not responsible for that. I’m responsible for being me. And being honest. And you know what? You can’t please all the people all the time.

CK: Of course not, who wants that?

BS: Exactly.

CK: But, let’s get back to the theatre. Would you like to do something in England?

BS: I’m dying to do something in England. I’ve wanted to forever. I’ve had a couple of opportunities. Didn’t work out at all. When I was 24 years old, 23 years old, I auditioned for a play in London and the producers wanted me for the part and British Equity wouldn’t let me do it. And then, years later, I was offered a play in London and I couldn’t go because I’d just bought a house. It was in the middle of being remodelled so I couldn’t leave. And so I’m waiting. I’m ready to go.

CK: Do you like London?

BS: Love London.

CK: What do you like about it?

BS: Well, I like that there is so much history. I’m a big history buff. I’m not too much into the future. My preference is not sci-fi or even fiction, for that matter. I like history, documentaries…I am reading David McCullough’s book about Paris in the 1830s right now. I love the book. I love the idea that people experienced in 1830 the same thing I do when I go to Paris, how beautiful it is. And London for me is the same. We did a convention in London, at the Royal Albert Hall, and I walked out on stage, and I thought about the people who had walked on that stage before me. Unbelievable! I love the theatre; I love just the whole feel of London. I love the way London smells. It smells different than most towns.

CK: Yeah.

BS: I like it.

CK: What kind of play would you like to do if you had the choice?

BS: I’m not that picky. I’d just like it to be good.

CK: Yes, that’s the first thing. Are you interested in doing modern plays? For example, this “in-yer-face” kind of theatre, like Sarah Kane, or Jez Butterworth, or Anthony Neilson?

BS: Do people enjoy those plays?

CK: It depends on the people. I like them.

BS: Well.

CK: But…I mean, you have the audience that goes to the West End and the audience that goes to the alternative kind….

BS: Yes, but there is the audience that goes to both. I think I like just interesting theatre. If you look at what I’ve done in my life, it’s all kinds of things. There are musicals, there are straight plays, there are old plays, there are new plays. It doesn’t matter as long as it’s interesting and involving.

CK: Do you go to the theatre often?

BS: I don’t go that often. I go occasionally in Los Angeles. Whenever I’m in New York I go to the theatre. Whenever I am in London I go to the theatre. Well, not whenever, but most of the time.

CK: You, as a member of the audience, what do you like best?

BS: I like it if it’s short. (Laughs)

CK: No four-hour plays….

BS: No, a nice hour and a half, no intermission.

CK: That’s rare.

BS: A play that I really enjoyed. Did you see Red? Red was John Logan’s play? It was at the Donmar Warehouse? Alfred Molina and Eddie (Redmayne)….

CK: The play about Rothko.

BS: Yes, about Rothko. Eddie was great. A two-character play, an hour and twenty minutes, but it did its job efficiently and it left you provoked by the whole thing, thought provoked, interested in art and the nature of art. It was fantastic!

CK: What is one of the biggest challenges as an actor?

BS: To get hired is the only challenge, really. You have to think, if you get hired, it’s because the people who hired you think you can do the job and that’s pretty reassuring.

CK: That’s true. But once you have the job what was….

BS: What was the challenge?

CK: For example. It’s always difficult….

BS: Yeah, it is always difficult, I think. It is a series of problems to solve and that’s how I approach things. How do I solve this and turn it into something that people can receive, understand and relate to?

CK: If you went to London to do a play, would you just do it in the West End or would you be interested in doing it in other venues?

BS: I would like to work at some place where people would come. My friend Saul Rubinek wrote a play that Scott Bakula is doing right now at the Menier Chocolate Factory, that’s a fine venue.

CK: Yes, they do a lot of musicals.

BS: This is not a musical they’re doing, though. I know they do musicals. They do a lot of Sondheim.

CK: You were in Sunday in the Park with George.

BS: I was.

CK: Is Sondheim one of your favourites?

BS: Sondheim is the only genius in the last forty years working in the theatre. There are some young guys coming up that are really good but in terms of Broadway and Broadway musicals, Sondheim is the only true genius. He is an amazing man and a once-in-a-life-time talent.

CK: How much influence do you think theatre has? Say, if you do a political play to make people aware of something? Do you think this is preaching to the converted or do you think it actually….

BS: Changes minds?

CK: Yes.

BS: I don’t think any minds change ever, by anything. I think occasionally somebody will change their mind. But I think it’s very rare that you can actually change somebody’s mind about something. How many times have you been in an argument with someone and they stopped and said, “You know what, I think you’re right. I’m wrong.” Almost never.

CK: It depends. If it’s politics….

BS: If it’s politics they never change their mind.

CK: There is going to be a fight.

BS: Yes.

CK: What about verbatim theatre? Do you think it’s a good thing? Because it can be dangerous if it’s selective. I saw a play called Lines about a verbatim play that led to the death of an actor because he was making fun of a real person. He didn’t have anything to work with so he tried that, the director was an idiot, so he ended up getting knifed. Because this person who he portrayed was not a public figure and he was made fun of on stage every day, every night.

BS: Well, I guess you have to be careful, but that’s kind of silly to kill somebody for any reason.

CK: Somebody who was disturbed already.

BS: Then you have to be really careful. I don’t know that theatre influences anything. Maybe young people go to the theatre and think: “Oh my God, that’s illuminating to me.” But that it changes everything that I ever thought….

CK: Maybe not to that extent but to a certain extent….

BS: Yes, I hope it changes minds and enlightens. But I’m really of the mind primarily to entertain and if it happens to enlighten, well, that’s nice, too. But like Star Trek, for example, there’s a—I wouldn’t call it cult, necessarily, but there is a large number of people who take it very, very seriously and build their lives around it. It’s a religion to them almost.

CK: I met a guy who told me that The Next Generation was the Bible to him.

BS: Well, there you are. To me, it’s basically a western set in space and we’re trying to entertain people. And, yes, there is a little bit of a kind of philosophy running through it that’s kind of tame.

CK: You’re accepting everybody, the way a person is, which I like.

BS: I do, too. I like that about it, too. But I think there is an illusion about it. You know, if you ask somebody, why has Star Trek lasted so long, they always say the same thing: because it has a positive vision of the future. But to tell you the truth, I don’t know what is so positive about it. We are still blowing people away. We carry guns. It’s a joke. It’s like that illusion that it is somehow all about peace. It’s really not. It is a western, it is a shoot’em up. But it does have elements that are nice, like the fact that all people are celebrated for who they are, their differences rather than their similarities, and I think that’s a very positive thing. The positive thing about it is just that it depicts a future, and that is somehow reassuring, that there is going to be a future. I don’t think it necessarily depicts a future that’s better or worse than where we live right now.

CK: But people think if you don’t have the blowing people away there probably isn’t any conflict.

BS: There is conflict. Again, that’s what they say, but there is conflict. How is it that we are always blowing people up and blasting our phasers?

CK: I don’t like that, either. That’s my least favourite part of the show.

BS: That’s the shoot’em up, that’s the western. They asked Gene Roddenberry, he said, “Well, it’s ‘Wagon Train to the stars’.”

CK: That’s why it’s called “Trek.”

BS: Right, that’s what he designed. He did not design something that he thought would become a religion of any sort.

CK: Thank you very much for your time.

BS: I’m delighted. Okay. This is Brent Spiner signing off.

The interview was conducted by Carolin Kopplin. 

Being an actor – in opera

By Gráinne Gillis

It actually came about by chance that I auditioned for the Royal Opera House.  One Friday afternoon, I got a call from the assistant chorus manager, Ruth Mulholland, asking me if I would be interested in attending an audition for an obscure (to me) opera called Die tote Stadt.  Funnily enough, just that week I had decided to take a year out from acting and focus on singing, which was always my first love – so my initial reaction was “Why not?”

Having read Music at University College Cork, and subsequently done a Diploma in Opera Performance at Birkbeck College, I was somewhat acquainted with the medium.  When I first came to London, I spent my last £20 one month to go and see one of the most amazing theatrical productions of my life, which was Der Rosenkavalier, starring the “dream team” of Renée Fleming, Susan Graham and Christine Schaefer – it was worth a month of beans on toast afterwards!  And I also occasionally had coaching sessions with one of the repetiteurs there as well, so it was not a complete novelty to go through that hallowed stage door.  Nonetheless, the day of the audition, the longer I was there, the more I knew I wanted the job.

You see, the Royal Opera House isn’t just an opera house.  In the days of Garrick, it was one of two great theatres in London, the other being Drury Lane.  Actors like Garrick and Charles Macklin would perform in both the rival houses, sometimes even on the same night; and in fact, the original house was funded by John Gay’s The Beggar’s Opera, commissioned by John Rich, which was a satire on opera seria. (Coincidentally a production of The Beggar’s Opera was playing recently at the ROH, with a further production retitled The Convicts’ Opera being performed in March at the newly opened Rose Theatre in Kingston).  The glorious history of British theatre was one of the reasons that, as an Irish actress, I wanted to train and work in the UK, and so I hoped that I might have the opportunity to appear on the great stage, which I had so often read about in the biographies of great actors and singers.

The audition itself was quite simple for this particular production – it basically consisted of walking across the room like nuns in a procession.  This became relevant to us later, as odd a request as it seemed at the time. We were told by Chris, one of the assistant directors, that it was not so much about acting skills per se, but the ability to work as an ensemble, and also to fit the costumes, as this production had been previously performed in Salzburg and Vienna.  The audition process in total took twenty minutes, and culminated, X-Factor style, with those who had been chosen being lined up and told on the spot.  Suffice to say, I was one of the lucky few, and totally delighted with the whole process – not the agonizing wait that one is accustomed to enduring as an actor, but a decision made on the spot.

A month later, on the 29^th December, the company of actors, in total 20 male and 8 female, met in Opera Rehearsal Room 2 (ORR2) to rehearse.  Not knowing what to expect, I decided just to observe as much as I could on that first morning.  The boys were up first, to rehearse what in the opera is known as “Vision 2”.  Die tote Stadt (or The Dead City), to explain, tells the story of Paul, who cannot come to terms with the death of his wife Marie.  He is visited by an actress called Marietta, who is similar to his wife, and through various visions, he comes to believe that it is his wife. To give away the ending would be unfair – it is showing till February 17^th.  It is also the first fully-staged production of this opera in the UK – another good reason for coming to see it. Korngold (the composer) is best known for having revolutionized film music, and there are cinematic flourishes a-plenty in this opera, in addition to heavy influences from the Richards, Wagner and Strauss.  It is a sublime piece, both musically and visually, and hopefully not the last time it will be seen in the UK. 

 Going back to Vision 2: this consists primarily of the character Marietta transforming herself and being held aloft by the company of actors.  One of the actresses, Holly Walters, stood in for Nadja Michael, who was yet to arrive for rehearsals.  Not knowing that some of the actors had already worked several times at the ROH, I was completely blown away at how quickly they picked up what had to be done, and how already, within an half hour, this scene was taking shape, under the watchful eye of Adrien Mastrosimone (choreographer) and Karin Voykowitsch  (the assistant director to Willy Decker, the great German opera director).  What was clear was that, although the ensemble playing was important, so too was the fine detail – which was confirmed for me later when I had the opportunity to watch this scene from the auditorium.  It seems to me just from this one experience, that being a director of opera must be a little like being a great artist who paints moving pictures on a huge moving canvas.  There is very little theatre anymore that does that, even musical theatre; and the sumptuousness of opera lies in the daring of these grand concepts.

That first morning, we also rehearsed a scene, which for us as a company is one of only two scenes when we are on stage together.  It has caused great hilarity, as the male actors are transformed from handsome young rakes in top hats and tails into – nuns.  And not any old nuns, but nuns in white habits (so likely novices).  For some reason, there is a proliferation of Irish accents backstage just before going on (I can’t think why), and then we push a huge white cross which is on its side, with the wonderful British mezzo-soprano Kathleen Wilkinson, singing while lying on her side on the cross, while we look reverentially (or as reverential as a bawdy company of actors can ever hope to be!) on.  

That first day also, I was asked to stand in for one of the singers in another scene.  Eager to acquiesce, I agreed to do it – little did I know that I was to be held aloft, on another, smaller wooden cross, on the set which was on a rake – and I have a dread of heights! It is no exaggeration to say that even going up a ladder can cause my knees to buckle!!  It was at that point in time that I realized the superhuman creatures that great soloists are – not only do they have to sing, and act, but they also have to have stamina to cope with the demands that opera productions require to make a great spectacle for the audience.  Later on, in rehearsals, when I watched Nadja Michael cope with what is a huge “sing” and all the stage business that she performs incredibly, I felt totally humbled – there is a huge difference in being an actor in a show and remembering lines and moves, and being an opera singer, who has all that, and more, to deal with.  In the end, I took a deep breath, and quite enjoyed the experience of being on the cross – which, even for a lapsed Catholic, was quite a strange sensation….

They are like great athletes, these singers; and yet, despite their huge talent(s), it seems like they are generally very sweet and humble and just willing to do what it takes to get on with the job in hand.  In fact, I would say that is an attitude that generally pervades the Royal Opera House, and one feels like a small yet important cog in the wheel of a greater enterprise.  In fact, when occasionally something or someone didn’t work in rehearsals, it did stick out quite conspicuously – as opposed to straight theatre, where to keep it interesting, one is always trying to develop ideas and try new things.  That is not to say that I think that opera is a static art form – but there have to be certain things set in place to highlight the spectacle and sheer grandeur of it.  And despite our fleeting walk across the stage, the nuns have garnered rather a lot of mentions in the reviews of the production that I have seen – which shows there are no small parts in opera….

As a place to work, the Royal Opera House is second to none.  It is a  sprawling labyrinth of a building, filled with people who are hugely enthusiastic about what they do, enormously friendly, and surprisingly egalitarian.  You are likely to sit next to someone like Carlos Acosta (Principal with The Royal Ballet) or Ingo Metzmacher (Conductor of Die tote Stadt) in the canteen, and not bat an eyelid (well, I maybe fluttered my eyelashes a little….) It also seems the ROH is very loyal to those it employs on a freelance basis – some of the actors have been there 20-30 years, as have the extra chorus.  What is striking as well is that the actors and singers tend to be skilled in more than one area: among our company of actors alone, there are several dancers, acrobats, models, singers, musical theatre performers, some writers – and that is just a very generalized overview of the talents that I am aware of.  Speaking to some of the permanent staff, their starting point in working there seems to have been a passion for either music or dance or both, and in fact, the house seems to actively encourage the development of talent, with signs in their practice rooms inviting their staff to use them unless they have been booked in advance. 

As an actor, it is an ideal job – the contracts are relatively short, unless one accepts several operas in advance, which is always an individual choice; and the conditions, both artistically and financially are fantastically rewarding.  It has been an immense honour and privilege to be part of a world-class company; and I can honestly say (with no disrespect to any previous work in the straight theatre) that it has been the most fun I have had professionally in a long while.  As an actor, this has been an experience to relish and recommend; and though it has been my first experience of working in this way, I am hopeful that it will not be my last.

COMPANY                           Ye Olde Rose and Crown, Walthamstow.

Company at Walthamstow’s Ye Olde Rose and Crown theatre pub is a must for all musical theatre lovers. It will delight Sondheim fans and may even convert those new to his work into avid disciples.

Modernised to the age of computer dating by All Star Productions, Company shows that finding the right companion is just as difficult now as it has ever been. The story follows the journey of Bobby, a single man just turned thirty five and under pressure by his friends to find a long- term partner. Various viewpoints on the subject are presented in a series of short scenes that generally show the less than ideal aspects of commitment.

Aaron Clingham’s musical direction is spot-on. In the intimate venue it was close-up and personal, and it was thrilling to hear stunning harmonies so near that they actually vibrated through your body. The cast are at their most effective when singing as an ensemble, and it was a joy to hear perfect renditions of songs likeSide By Side, Company and other classics that make this Sondheim musical so remarkable. Nevertheless sometimes the band were very loud, and occasionally the lyrics and vocals of solos were drowned out by the backing.

Sebastian Rex’s mostly tight direction showed an imaginative use of the oblong performance area, and there were some nifty moves for the livelier numbers. However Rex is clearly not a fan of the power of stillness or the economy of movement. At every opportunity he has the cast physicalising. His favourite move had the actors flailing their arms about their head and body in what looked like a bizarre fusion of voguing and the YMCA dance. And the intimacy of Barcelona was completely destroyed when a dancer suddenly appeared from under the bed doing a contemporary piece like a crazed fairy on Viagra.  I am sure it was meant to represent something deep and meaningful but it was often very distracting and contributed little to the numbers.

Company not only has exceptional songs but a great book by George Furth which allows the cast to showcase their acting skills. All performances are good but it is the women who really carry this production. Claudia Morcroft is brilliant as dizzy trolley-dolly April, Alix Dunmore gives a dazzling performance as Amy the manically reluctant bride and Julie Ross is utterly compelling as Joanne. Of the men Joe Scheffer is outstanding as Harry.

As a person who rarely goes beyond zone two the schlep to Walthamstow seemed tantamount to going to the outer Hebrides, and whoever planned the eight o’clock  start leading to a very late closing time clearly has no idea how difficult it is to get decent public transport from this venue at night. In fact I only got half-way home before the promised trains decided not to appear. During this emergency I was forced to stay over unexpectedly at friend’s house and spent the evening raving about the show, while singing badly the entire repertoire to him. Get a ticket while you can.

For the first time ever, comedy legend and the most senile member of Monty Python will be bringing his "An Evening with the Legendary John Cleese” tour to the UK. Best known for his idiosyncratic turns in Monty Python's Flying Circus and Fawlty Towers, John Cleese will bring his unique comedic perspective to Glasgow audiences for three nights only: Mon 6 – Wed 8 June.

Cleese has achieved a lot in his career which started as a sketch writer for BBC Radio’s Dick Emery Show and then The Frost Report. After this stardom beckoned, and Monty Python was created with Cleese co-writing and starring in four series and three films.

He went on to achieve further great success as the neurotic hotel manager Basil Fawlty in Fawlty Towers, which he co-wrote with his then wife Connie Booth. After huge UK success John went on to crack the USA with A Fish Called Wanda (which he wrote and starred in with Jamie Lee Curtis). The late 1990s saw the unstoppable Mr Cleese appear in the James Bond movie The World is not Enough and later Die Another Day. From writing to starring in plays, musicals, theatrical and comedy productions, to films and sitcoms, Cleese has done it all, and now it’s time for him to tell you about his jam-packed life.

Cleese says: "It is an evening of well honed anecdotes, psychoanalytical tit-bits, details of recent surgical procedures, and unprovoked attacks on former colleagues, especially Michael Palin".

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LISTINGS

An Evening with the legendary John Cleese

Theatre Royal, Glasgow
Mon 6 – Wed 8 June @ 7.30pm

Tickets: £21 - £33.50

Box Office: 08448 717 647 (bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

What a superb production this is! It makes murder, corruption, adultery and cheating look positively attractive!

Since its New York revival in 1996 Chicago has become the longest-running musical to play in the West End: a sure sign of its popularity. As a result there have been a number of touring productions, both good and not so good.
I suggest this particular cast makes this production one of the best of recent times. It must consist of some of the best looking actors currently on stage in the UK. Sure, the girls in this show have always been fabulous, long-legged, strong, sassy and sexy, but the boys this time – good heavens – they are clearly in the gym when not on stage – all abs, pecs and biceps, not to mention the lower halves! They certainly earned plenty of wolf-whistles of appreciation from the audience throughout the evening. Every member of the Company give their all throughout the evening and are completely convincing in their characterisations.

The choreography is sharp and tight (the original re-created by Gary Chryst) and the musical interpretation by Garth Hall exhilarating and performed impeccably and with great verve by the 10 piece orchestra, who are centre stage throughout and incidentally got the longest and loudest round of applause.

The billing has Marti Pellow as the main attraction. He has carved out a theatre career of late and his voice and stage presence are well suited to the part of Billy Flynn.



Whilst he is excellent, and taking nothing away from him, the outstanding performances are really from Emma Barton (ex-Eastender Honey) as Roxie Hart and Twinnie-Lee Moore as Velma Kelly.

Barton is a revelation but shouldn’t be. Looking at her experience she has plenty of theatre under her belt and was completely at home singing – what a gorgeous rich, full voice - and dancing. She is utterly hilarious as the conniving, flirtatious Roxie. Perfect!

Moore is one to watch. She does not have a great deal of experience being only 22 but you would never know this from her extraordinary performance. She is captivating, self assured and doubtlessly talented. I couldn’t take my eyes off her when she was on stage and her opening number ‘All That Jazz’ introduces her in fitting style. She is stylish and sophisticated, has superb comic timing and the stage presence of a real star. Someone to keep an eye on I have no doubt.

Matron (Wendy-Lee Purdy) it is fair to say suffers from comparison to Queen Latifah’s performance in the 2002 Rob Marshall film. It’s unfortunate but inevitable.

Amos (Adam Stafford), Roxie’s rather straight and trusting husband, was a clear favourite with the audience, particularly after Stafford’s superbly sensitive and touching performance of ‘Mister Cellophane’.

This is a sexy, strong, superb production of Chicago and very well worth booking tickets for. If you have always fancied it and never got round to it this production is the one to see.

Chicago plays MK Theatre Monday 25 –Saturday 30 January. MK box office 0844 871 7652 (Booking Fee)

Then on tour

February 1 – 6, Charter Theatre, Preston

February 8 – 13, Theatre Royal, Newcastle

February 16 – 27, The Mayflower, Southampton

Louise Winter on behalf or Catherine Brian