The cheeky movie based on real life events takes a second national tour as a play with an A-list cast, a light-hearted yet poignant script and some brilliant ‘laugh out loud’ one-liners.

 

Life can be stranger than fiction, it is said.  Who could imagine, for example, that a group of women (who are not classic beauties by any means) could produce a nude calendar which might sell in its thousands to raise millions for a local hospital?  And wouldn’t it be even stranger if the connection between these pioneering women was the Women’s Institute – famed more for sponge cake sales and jam making than soft porn?  Life can be funny that way, and even funnier in the hands of scriptwriters Juliette Towhidi and Tim Firth, who’s clearly defined quirky characters and ‘knock em dead’ one-liners had the audience in stitches.

 

Staging appeared to be a simple reconstruction of a church hall complete with badminton court but was revealed to be deceptively complex as a hydraulic mechanism smoothly transferred the action to a sunny hillside – no mean feat!  Roger Haines’s direction was sympathetic to the underlying tragedy which contrasted delightfully with the natural comedy that the characters engaged to deal with the situation.  The expertly choreographed photography sequence gained maximum laughs while preserving the ladies’ modesty but proved to be even racier that the 2008 tour of the play.  Priceless!

 

So what of that A-list cast?  They turned in a 1^st class performance!  There was a great chemistry between the characters exuding an air of long term friendship.  The narrative naturally belonged to Julia Hills (as grieving widow, Annie) and Elaine C Smith (as her unwittingly self-centred friend, Chris) and both were convincing and comical as appropriate, proving breadth of character as both played different roles in the 2008 tour.  But the wider cast added real value, too, as they lightened the tone with infectious Northern humour.  Jennifer Ellison (Celia) raised some laughs as her character certainly fancied herself as a tasteful nude.  The witty girl-talk was shared by Denise Black and Jean Boht with Ruth Madoc as prudish Marie being the butt of many jokes.  This time around it was Rachel Lumberg as Ruth who stole the show for me with her clear character development and brilliantly timed comedic delivery.

 

 

LISTINGS:

King’s Theatre, Glasgow

Mon 16 – Sat 28 August

Mon – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Tickets: £11.50 - £27.50

Box Office: 0844 871 7647 (bkg fee)

www.ambassadortickets/glasgow (bkg fee)

Canoeing for Beginners

The Customs House, South Shields

Award-winning playwright Mike Yeaman has taken the essence of a factual story and transformed it into an engrossing and entertaining theatre production. The story of a certain Hartlepool woman whose husband disappeared one day only to reappear eight years later forms the basis of Canoeing for Beginners.

Although, upon first consideration, such a topic may seem strange material to be chosen as the subject of a play that is, predominantly, a comedy-drama, Yeaman has the courage and talent to do just that.

Having assembled a cast that includes Pat Dunn, David Whitaker, Chris Connel, Laura Norton and Gary Kitching, the production, on paper, promised to be a landmark event in regional and, indeed, national theatre. However, in practice, several factors prevented it from achieving its full potential.

Helen Ferguson’s direction resulted in several shortcomings. It seemed blatantly apparent that the cast were under-rehearsed and, as a consequence, several actors did not perform comfortably in their roles. Pat Dunn, as Beryl, and David Whitaker, as Frank, should have been confident leading players but neither conveyed the required self-belief and conviction to do so. Chris Connel seriously over-egged the pudding in his portrayal as Sgt Watts, but should be congratulated for his ability to perform two roles in very quick succession on a number of occasions. Gary Kitching and Laura Norton, as Frank and Beryl’s adult children, both performed well, but lacked the guidance of a firm directorial hand.

Running at nearly two and a half hours, the piece seemed long at times and there was at least one scene that could easily have been cut without detracting from the plot.

On the plus side, the show contains some wonderful one-liners which provoked more than a few belly-laughs from the audience. The main strength of this production lies with Mike Yeaman’s script and, providing that certain tweaks and adjustments are made, I envisage no reason why it should not have a long and successful future ahead of it. Indeed, Canoeing for Beginners is a generic hybrid that skilfully blends comedy with drama and fact with fiction, resulting in a piece that bears all the hallmarks of a sure-fire hit.

Steve Burbridge.

Runs until Saturday 7^th August 2010.

 

 

 

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.

Mum’s The Word

Darlington Civic Theatre

Essentially, Mum’s The Word is really rather similar to The Vagina Monologues but instead of three women perched on stools talking about , erm – well, you know, vagina’s – you get five seated women talking, at great length, about motherhood and sprogs.

Gillian Taylforth leads the cast, stepping in as a last minute replacement for Bernie Nolan who had to withdraw from the tour due to illness, and she does an admirable job. Her warm, gravelly voice is well-suited to the role of straight-talking mum, Robin. She is joined on stage by two other former soap actresses, Tracy Shaw (Coronation Street’s Maxine Peacock) as Jill and Sally Ann Matthews (Coronation Street’s Jenny Bradley) as Alison. Mandy Holliday and Susie Fenwick complete the line-up, although on press evening at Darlington Miss Fenwick was indisposed and understudy Kaye Quinley performed the role of Deborah.

Initially, I have to say, the production left me feeling rather underwhelmed and rather bored. And before anybody jumps to the conclusion that, because I’m a guy, I wouldn’t ‘get’ the show, let me set the record straight. During my time as a reviewer, I have seen productions including The Vagina Monologues, Menopause: The Musical, Hot Flush! and Women on the Verge of HRT and ‘got’ at least three of them totally.

However, I have to say that my personal tolerance of endless monologues on dirty nappies, snot, urine, faeces and vomit isn’t particularly high. Sure, I guess if you’ve experienced motherhood, you’ve experienced your fair share of all the aforementioned, but what about those in the audience who have not? The main difference between Mum’s The Word and the other female-orientated productions is that it excludes those who are not mothers, whereas the others don’t.

The first act was a rather lack-lustre affair for me, although I don’t attribute the blame for this to the actresses nor the director, Andrew Lynford. In my opinion, the script is to blame and I suspect that having been written by six women, it has suffered from too many cooks spoiling the broth.

The second act was considerably better, though, and there were some genuinely funny moments, particularly during parodies of The Weakest Link, during which Kaye Quinley gives an eerily accurate impersonation of Anne Robinson, and Puppetry of the Penis, in which Mandy Holliday interacts with a pink sock penis puppet.

Although Mum’s The Word is by no means a slick, stylish and successful comedy in my opinion, I must point out – in the interests of fairness and  balance – that it has attracted some great actresses in its eight-year history, including Blythe Duff (Taggart), Jenny Eclair (Grumpy Old Women), Patsy Palmer (EastEnders), Kim Hartman (Allo, Allo) and Maureen Nolan (Blood Brothers), and that the largely-female audience seemed to enjoy the show immensely and cackled in delight and recognition.

Steve Burbridge.

Runs until Saturday 19^th June 2010.

The Importance of Being Earnest, Oscar Wilde’s “trivial comedy for serious people”, gets a seriously good revival in the final production to grace the Library Theatre stage.

In just over a century this pearl among plays has taken its place alongside the classics of the canon.  Wilde’s sparkling wit and idiosyncratic style reach their acme in a text which is now so universally familiar that, like Hamlet, every line seems to be a quotation.

Director Chris Honer has assembled a cast of familiar faces (including old favourite Leigh Symonds as a brace of butlers) alongside a new generation of acting talent.  Among his discoveries is floppy-haired fop Alex Felton, a long-limbed, lissom youth who seems to have been born to play the role of the incorrigible Algie.  Florence Hall’s Cecily is perfect as the Victorian type of unspoiled innocence, although Natalie Grady as the more worldly Gwendolen has the edge on them both when it comes to comic timing.

Simon Harrison brings humour and sweetness to the otherwise stolid Jack Worthing, and Olwen May’s very funny turn as dotty governess Miss Prism gives the character more than her usual share of charm.  However Malcolm James’s cameo as the inveterate celibate Rev Chasuble nearly steals the whole show, wringing a laugh from every line without ever overplaying.  In fact the whole production is an example of what can be achieved from truth and taste, something Wilde would have appreciated.

It may seem strange, but the best example of this self-imposed restraint is the director’s decision to have Lady Bracknell played in drag.  Russell Dixon’s solid bulldog build and uncompromising masculinity mean that even though he speaks in low and moderate tones his Lady Bracknell has an underlying authority.  Ironically this enables him to play her as a living, breathing woman, rather than as the shrill caricature which is often the character’s fate. 

Designer Judith Croft’s opulent sets consist of a wall of slats with a beautiful cut-out design and a well-matched assemblage of antique furniture,  And her mouth-watering costumes almost deserve their own billing: the Lady Bracknell tout ensemble plays a huge part in Russell Dixon’s transformation, while Alex Felton seems to have become Ms Croft’s fashion muse.  How else could she have dreamed up those divine crimson shot-silk breeches?  And who else could possible have carried them off with such aplomb?

There can’t be a theatre-goer in the region who doesn’t have a soft spot for Manchester’s lovely Library Theatre and who doesn’t regret the closure of the little auditorium buried in the Central Library’s basement.  However the Library Theatre Company itself lives on and will be performing at The Lowry for the next few seasons.  And at least The Importance if Being Earnest is a high-point for the company to take leave of its home of more than half a century.

 

The Importance of Being Earnest is on until Saturday 3 July 2010

Prices: £8.00-£18.00 (concessions available)

Eves: Mon-Thurs @ 7.30pm; Fri & Sat @ 8pm

Matinees: Thurs & Sat @ 3pm

Box Office: 0161 236 7110

www.librarytheatre.com

 

Dirty Dusting is a fabulous night out. It is brilliantly funny, and will have you howling with laughter.

Dirty Dusting follows the story of 3 elderly (but not it spirit) cleaners who are being made redundant due to their age. Not able to survive on their pensions, they come up with a rather naughty plan of how to make money, and make best use of the office during their last weekend. Step forward the Telephone Belles, Glasgow's newest sex chat line.  

Sharp and witty writing from Ed Waugh and Trevor Wood; and the comedy skills of the four-strong cast make this a night out to remember.
Janet Michael really stands out in her role as Gladys. The comedic innocence she brings to the role is simply wonderful. 
Barbara Rafferty appears as Elsie, alongside her husband Sean Scanlon as Dave, the office manager. Both give excellent performances in their own right; but together their chemistry shines through and really adds something special to the production.
Understudy Carol Andrers filled the role of the third risque cleaner; replacing Gwyneth Guthrie. Unfortunately, her performance was not as strong or believable as the others. 

Dirty Dusting had the audience doubled over with laughter. It is an entertaining story well told, and is definitely worth a visit. 

Mon 7 - Sat 12 June
Mon- Thurs eves 7.30pm
Fri & Sat 6pm & 8.30pm
Tickets £11 to £23
Box Office: 0844 871 7648 (bkg fee)
www.ambassadortickets.com/glasgow

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.

Tin Can podcast has launched. Short audio cinema free for you to download and listen to on the move. 
4 pieces are available now and two more every two weeks will be uploaded for your listening pleasure.
tincanpodcast.com 

The 39 Steps

The Gala Theatre, Durham

First published in 1915, John Buchan’s classic novel The 39 Steps has been filmed three times for the silver screen. It is also now a stage show that has wowed the West End and Broadway and continues to play in many major cities across the globe, including Berlin, Paris, Rome, Sydney and Tokyo.

Patrick Barlow’s adaptation is a slick spoof of the quintessential spy story that is a rocking, roller-coaster ride which has the suave and debonair Richard Hannay (brilliantly played by Dugald Bruce-Lockhart) embroiled in a mix of murder and espionage that sees him fleeing his stylish London bachelor pad for the remote Scottish highlands in an effort to clear his name and solve the mystery of the 39 steps.

Only four actors play 139 roles during the performance which lasts just over an hour-and-a-half, and they do so with amazing skill and aplomb. Katharine Kingsley shines as Annabella Schmidt, the femme-fatale who lands our hero into the sticky situation in the first place, and is also wonderful as Margaret, a Glaswegian girl who has married an overbearing farmer, and Pamela, the aloof society girl who eventually falls for Hannay’s charms and aids him in his attempt to prove his innocence. Richard Braine and Dan Starkey make a hilarious double-act as they portray more characters than I could keep track of – their transformations from character to character, with only the aid of a change of accent and hat or coat, are truly outstanding.

However, it is Dugald Bruce-Lockhart’s charismatic performance as the slightly smug Hannay that steals the show. Every mannerism and movement, every nod and nuance is carefully crafted and perfectly honed. He strikes the right balance between dashing hero and unscrupulous cad and has the audience firmly in the palm of his hand throughout the entire performance.

Peter McKintosh is to be congratulated for his beautiful set design, which is as functional as it is beautiful. The use of a limited number of props to denote differing scenes and settings is inventiveness bordering on pure genius. Maria Aitken’s direction ensures that the pace is never anything short of frenetic and the comedy and parody are skilfully intertwined with suspense and romance.

It is little wonder that this gem of a production has notched up two TONY awards during its Broadway run, an Olivier award in the West End, and thrilled audiences for almost half a decade. You’d be mad to miss it!

Steve Burbridge.

Runs until Saturday 1st May 2010. 

 

It’s been a long time since I saw a play at Taurus, and in the interim it has either been brilliantly revamped to make the tiny, cramped downstairs bar into a viable performance space with decent viewing lines, or emerging theatre company Organised Chaos have worked wonders to create an almost site-specific production which cleverly evokes the genteel and refined pleasures of an upmarket tearoom. 

We come down the basement stairs to find two couples tête-à-tête at neighbouring tables which are decked out with all the accoutrements of a leisurely and indulgent afternoon tea.  The white linen tablecloths, fine china, teapots and cafetières, not to mention the laden cake stands and mouth-watering array of pastries, made me want to summon a waitress and look at a menu at once - designer Alice Allen’s attention to detail is spot on.

What playwright Lindsay Kernahan and director Emma France then set up is a Siamese-twin of a comedy, with styles of writing and acting almost diametrically opposed, as the couples chat over their refreshments and intriguing stories come to separate but equally dramatic climaxes.

Jean (Celia Carron) and Poppy (Dianne Rimmer) are nicely turned-out ladies who lunch - or in this case, take tea.  Being of a certain age their conversations range across all the problems that can beset a woman in her middle years - ex-husbands, new partners, grown-up children, antisocial cats, transgender internet dating - that kind of thing.  With just a hint of the Cheshire Set about them (though that set is perhaps more Hollyoaks than Wilmslow) their bantering northern humour is reminiscent of Alan Bennett and Victoria Wood, and the characterisations are broad without being over-the-top.  I don’t know whether first-night nerves caused these scenes to played at a snail’s pace with Pinteresque pauses, but the snappy comic dialogue seemed to demand something a great deal less languid.

At the next table William (Laurence Pickford) and Abigail (Julie Burrow) are in a more modern and downbeat style of comedy.  William is divorcing his wife to be with his much younger girlfriend, but their long weekend away in the country is not turning out to be as romantic as anticipated, partly due to the age gap, and partly due to Abigail’s jealousy and William’s wandering eye.  The two actors establish a convincing relationship, conveying genuine emotion and even arousing our sympathy.  The humour comes less from the dialogue than the playing - small but true moments, such as when the slightly vain and self-absorbed William includes the whole audience in his lascivious stare, or glimpses his own smile in the wall mirror and stops to admire it.

Tonight’s performance really tweaked the audience’s funnybone.  If you miss the company’s work this time around there’s a further opportunity to catch one of their previous Taurus shows at the Buxton Fringe Festival this summer.

 

Evenings: 22nd to 24th April @ 7.30pm

Matinee: Sat 24^th @ 5pm

Tickets: £7 (£5 conc) from Quaytickets: 0843 208 0500 or www.quaytickets.com

 

Taurus Bar

1 Canal Street
Manchester

M1 3HE

 

www.organisedchaosproductions.co.uk

www.taurus-bar.co.uk