UK Theatre Network

The Glee Club

Darlington Civic Theatre

Hot on the heels of the success of The Pitmen Painters, earlier in the autumn season, Darlington Civic Theatre are this week hosting The Hull Truck Theatre Company’s revival of Richard Cameron’s The Glee Club. Obviously, plays which deal with coalmining sit well with the North East’s industrial heritage but two in the same season is positively inviting comparison.

Unfortunately, The Glee Club does not fare well as a result – and the egotistical claim by Hull Truck’s marketing department, that “if you liked Brassed Off, The Full Monty and The Pitmen Painters, you’ll love this” only adds to the overwhelming disappointment which I felt throughout the piece.

The year is 1962, and Edlington Colliery’s six-strong Glee Club is preparing for their annual Gala performance. Each of the men have problems of their own to contend with, which threaten the overall success of the Gala: union man Jack (Paul Clarkson) is involved in a romantic liaison far beyond his social stratification; Bant (Anthony Clegg) is coming to terms with the fact that his wife has ran off with the tea delivery man; Walt (John Burton) mourns the death of his wife and the fact that his children are being brought up in care; Scobie (Sean McKenzie) juggles the demands of a nagging, heavily pregnant, wife and a rebellious teenage daughter; Colin (Marc Pickering) dreams of pop stardom but is soon forced to grow up fast, and Philip (Michael Chance), a mining engineer and the group’s musical director, is the victim of a blackmail plot which threatens to reveal his homosexuality and irreparably damage his reputation.

The pace drags and the tone of the play feels extremely dated. Yet the male cast deliver fairly solid performances, despite the odds stacked against them in the form of a bleak, sparse set, lack-lustre direction and superfluous bad language and nudity. As previously described, the marketing department’s hyperbolic rhetoric has gone into overdrive, warning audiences to “prepare to have your heartstrings tugged!” In actual fact, all I could feel being tugged was my hair from my head (by the handful!) as I prayed for the final curtain to fall.

We’ve had the perceived pretentions of painting miners (The Pitmen Painters), we’ve had a miner’s son declare his ambition to be a ballet dancer (Billy Elliott) and now we’ve had singing miners – what are we to expect next, flower-arranging coalmen? What theatre really needs is originality – not variations on a theme.

Steve Burbridge.

Runs until Saturday 19 November 2011.

 

Keep Calm and Carry On

The Customs House, South Shields

In Keep Calm and Carry On, Helen Russell has drawn upon her experience as an actress, comedienne, singer and playwright to create a poignant, funny and heartwarming play. Although it is not strictly autobiographical, it is certainly influenced by Russell’s own time as an ENSA performer during World War Two and, as she says in the programme notes, “it tells of what could and did happen in those days and people’s reaction to what was considered scandalous.”

The piece is set in London at the height of the Blitz, where nineteen-year-old Mary Robson (Rachel Teate) dreams of an escape – entertaining the troops on stage. However, her parents Ellie (Bidi Iredale) and Joe (Stewart Howson) don’t hold the same aspirations for her. The clash between the impetuousness of youth and the cautious protectiveness of age is deftly explored in the writing and brought to life with equal panache by the cast.

Of course, it isn’t giving anything away to reveal that the headstrong Mary gets her own way in the end. In fact it is the journey that young Mary takes from girl to woman and her subsequent ‘coming of age’ which forms the bedrock of the piece.

The play is authentically evocative, with no detail being overlooked, and the entire technical crew are worthy of special praise. The high-pitched wail of the air raid siren, the Bakelite radio on a table in the front room, the costumes, hairstyles, music and lighting all contribute to the overall tone to great effect. However, the battles and casualties of World War Two are merely a backdrop to the battles that are faced by Mary and her family as they struggle to maintain a sense of normality in abnormal times.

Russell’s script is a gem. Having spent most of the first act convincing the audience that the piece is a gently humorous nostalgic wartime romp, she then proceeds to drop a bombshell with as much precision as the Luftwaffe. Indeed, this play is, by no means, a sugar-coated depiction of wartime life but more of a hard-boiled examination of love, loss and the power of the human spirit against unbelievable odds. Her characters are instantly recognisable, three-dimensional and easy to relate with.

Director Jackie Fielding has assembled a first-rate cast, each of them seeming to understand their characters inside out. Although much of the action surrounds the tensions between Mary and her parents, the relationships between Mary and the two men who will have a significant impact on her life, Colin (James Hedley) and Len (Lawrence Stubbings), are also explored with sensitivity and skill. Finally, add to the mix a show-stopping, scene-stealing performance by Rosalind Bailey (as Mary’s Gran) and this war-time comedy drama is nothing less than victorious!

Steve Burbridge.

Runs until Saturday 12 November 2011.

 

Verdict

Darlington Civic Theatre

Bill Kenwright’s ‘Agatha Christie Theatre Company’ may have earned itself a highly acclaimed reputation for staging first-class productions of work by the so-called ‘Queen of Crime’. But, a word of warning: don’t go to one of their shows expecting to see Miss Marple or Hercule Poirot, nor even Tommy or Tuppence Beresford – you’ll be disappointed!

However, if you do go expecting to see a classy adaptation of one of Ms Christie’s ‘overlooked’ or ‘forgotten’ gems you’ll be in for a pleasant couple of hours. Having already given their stylish treatment to Witness for the Prosecution, Spider’s Web, And Then There Were None, The Unexpected Guest and The Hollow, they are now presenting Verdict, their sixth major production in as many years.

In essence, Verdict is a piece which examines the psychology of relationships between men and women rather than being a traditional ‘whodunit’ of the style usually associated with Christie. It is a play which has many levels and, although the murder takes place onstage, in full view of the audience, thus depriving them of the opportunity of guessing the murderers identity, it is strangely engrossing. Instead, the audience is kept in suspense to see if the culprit gets away with their crime at the expense of framing an innocent. And will the verdict, when it is given, be the right one?

As usual, Kenwright has assembled a stellar cast, led by Robert Duncan and Susan Penhaligon in the central roles. Elizabeth Power provides the moments of light relief in the role of the gossiping char, whilst Mark Wynter, Peter Byrne, Cassie Raine, Holly Goss and Mark Martin (understudying for Lyndon Ogbourne) make up the supporting principals.

Overall, the performances are good (although the Eastern European accents were a little wayward at times) and the production values are high. Verdict may not appeal to Christie purists but, nevertheless, it makes for a compelling and absorbing trip to the theatre.

Steve Burbridge.

 Runs until Saturday 1^st October 2011.

The Pitmen Painters

Darlington Civic Theatre

Fairly early into Act One of the production I, inwardly, groaned. One of the characters said: ‘If you’re not interested in whippets and leeks, round ‘ere, you’re stuffed’.

Immediately, I prayed that The Pitmen Painters wouldn’t portray a stereotypical representation of the working classes in the North East and paint us all as ‘Andy Capp’s’. I needn’t have concerned myself.

Although it is possible to consider the characters as ‘stock’ – there’s the bureaucratic union official who lives his life by the rule book (Deka Walmsley), the blustering Marxist (Michael Hodgson), the avuncular joker (David Whitaker), the unemployed young lad (Brian Lonsdale) and the reserved thinker who turns out to be the most talented of the group (Trevor Fox) – it is testament to the talents of playwright and performers that, as the layers are stripped away, we are presented with real men who would be familiar to us from our grandfather’s generation.

The story of a group of Ashington pitmen who, as part of the Workers Educational Association Class, hire the academic, Robert Lyon (David Leonard) to teach an art appreciation class and ultimately become celebrated painters is by turn humorous, tragic, moving and uplifting.

Technically, it is also a joy to behold. Lee Hall’s script is honest and gritty but also has heart and soul, the acting is excellent, and the staging is simple but effective. Designer Gary McCann has created a sparse set, comprising mainly a few wooden folding chairs and some easels, which functions as a number of different locations throughout. Much use is made of three suspended projectors, which provide relevant facts and also display pieces that were painted by the men. The clever device of using the screeching alarm that marks the end of a ten hour shift and the clattering of the cage that takes the men back to the surface to facilitate scene changes ensures that the hardships of life spent down the mine are never forgotten.

Only two female characters appear in the piece – the nude model who the men are to paint (Viktoria Kay) and the shipping heiress who becomes interested in the work of the men (Joy Brook) – and, if I were to make one small criticism it would be that these characters are utilised as merely adjuncts. However, both actresses made the most of their roles.

The Pitmen Painters is a fine example of theatre at its best and a ‘warts-and-all’ depiction of the North East’s industrial heritage. Superb.

Steve Burbridge.

Runs until Saturday 23 July 2011.

Calendar Girls

Darlington Civic Theatre

There’s not a lot you can say about Calendar Girls that hasn’t already been said. The show, which tells the true story of twelve extraordinary members of the Women’s Institute who give their annual calendar a very untraditional twist to raise money for an extremely worthy cause, is now a global phenomenon. Having enjoyed a run in the West End and numerous national tours, the consensus among my fellow critics and audience members alike is that the current touring cast are by far the best yet.

Darlington’s Civic Theatre was filled to capacity on opening night, and apparently is a sell-out for the remainder of the week – and, when the curtain went up, it was perfectly evident why. Not only does this inspirational stage production have the power to make audiences both laugh and cry, but it is also performed by a consummate cast that comprises some of the best-known performers in the entertainment industry, including sitcom stalwarts and soap stars.

Lesley Joseph (of Birds of a Feather fame) heads the cast as Chris Harper, the ebullient driving force behind the calendar idea. Her performance is engaging and energetic and she demonstrates the depth of her versatility as an actress, mixing pathos and poignancy with great comic timing and proving – as if she ever needed to – why she remains one of Britain’s busiest actresses and that there is so much more to her than only Dorien Green.

Sue Holderness (Marlene, Only Fools and Horses) provides the perfect contrast as Chris’s best friend, Annie Clarke, the bereaved woman whose husband’s death is the catalyst for the creation of the ‘alternative’ calendar. Her portrayal is skilfully subtle and there is a real rapport between Holderness and Joseph. There is also an intensity to the scene where Chris and Annie have a confrontation and, subsequently fall-out, which was somewhat lacking in the 2003 film starring Helen Mirren as Chris and Julie Walters as Annie.

Ruth Madoc (Gladys, Hi-de-Hi) relishes the role of the snooty chairman of the Knapley WI group and never misses an opportunity to steal a scene with a bitchy comment. She takes Marie’s pretentions to the verge of caricature but never goes too far and always retains the believability of the character.

Helen Fraser (Sylvia ‘bodybag’ Hollamby, Bad Girls) also provides much hilarity with her portrayal of Jessie, the retired schoolteacher. Her ‘no front-bottoms’ line had the audiences in stitches and her delivery was punchy and spot-on throughout. Deena Payne (Viv, Emmerdale) is the unorthodox vicar’s daughter, Cora, and displays a rather impressive singing voice. Kacey Ainsworth (Little Mo, EastEnders) plays Ruth, the most timid of all the women, whose philandering husband is playing away with a blonde bimbo beautician (Camilla Dallerup). Kathryn Rooney provides much of the glamour with the hair-tossing, golf-playing character of Celia.

In a cast that is dominated by such towering talents, it would be easy – but extremely unfair – to overlook the contribution of the actors who perform less high-profile roles. Colin Tarrant (Insp. Monroe, The Bill) gives a heartfelt portrayal of John Clarke, who dies of leukaemia, Kevin Sacre is effective in his doubling-up as photographer, Lawrence, and television director, Liam, Robert Gill is Rod Harper and Susan Bovell plays both Brenda Hulse and Lady Cravenshire.

The entire production and technical team are to be commended too, particularly author Tim Firth, director Jack Ryder and designer Robert Jones. Calendar Girls is a triumphant piece of theatre that should occupy a date in everyone’s diary.

Steve Burbridge.

Runs until Saturday 21 May 2011.

 

LINES returns to the Rosemary Branch Theatre and everybody who missed this powerful and important play the first time should now take the opportunity and see it.

An actor has been murdered. He was stabbed by Terry Stein, the police officer who he was portraying in a play about the Ian Tomlinson incident. Robin, a seasoned writer of verbatim theatre, had interviewed Stein and a police sergeant as part of his research for his docudrama Ian and Bill. Although Stein was only a witness to the Tomlinson incident the writer singled him out and used him as comic relief in his verbatim drama, carefully selecting those parts of the interview that he considered especially ridiculous. The director and the actor, Michael Kinney, gave Stein a stammer and a superhero complex to ensure that they got their laughs during the fifteen minutes the character featured in the play. 

The dramatist (an outstanding Ian Mairs) denies all responsibility. His verbatim play was theatrical journalism and therefore the truth was absolute. Yes, he edited his interview with PC Stein emphasizing the juicy parts but it is a docudrama after all, not a documentary. The Sergeant (Impressive John Canmore) who saw himself being portrayed as vertically challenged with a posh accent and long wavy hair - “He wasn’t even Scottish!” -states that his interview was distorted and perverted and had little to do with the truth. There were omissions and edits to make it more dramatic. The director gave his actors complete freedom – they never listened to the interview tapes. He was satisfied to have them find the truth about their characters “in the words.” Meanwhile the devastated parents (wonderful Jeryl Burgess and David Vale) are trying to cope with the death of their only child: “Something changes when you lose a child. There is no word for a loss that deep.” They reminisce about their son’s career but cannot find any joy in it knowing that his profession was responsible for his death.   

This play asks important questions regarding the dangers verbatim theatre and docudrama.

Until 30th April at 7.00 pm
BOX OFFICE: 020 7704 6665

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

My Name is Rachel Corrie

Coming here is one of the better things I have done.

Taken from the writings of Rachel Corrie this powerful and eloquent piece of theatre documents a young activist who was prepared to risk her life in protest. In March 2003, whilst protesting against the demolition of a Palestinian family's home, 23-year-old American student Rachel Corrie from Olympia, Washington, was killed by an Israeli Defence Force bulldozer.

Sophie Angelson absolutely inhabits the character of Rachel Corrie from the second the lights come on. Full of enthusiasm and joy for life she even sees the positive aspects of an ugly industrial town in Russia that she visits as a young student. After much soul searching she decides to become an artist and writer and her parents support her in her endeavour. When Corrie visits Gaza for the first time she finds a land full of rocks and restrictions. She is appalled by what she experiences as the collective punishment of all Palestinians – curfews, checkpoints, bulldozers destroying homes and orchards. Rachel becomes an activist and joins a peaceful Palestinian resistance organization to do what she thinks is right.  

Alan Rickman and Katherine Viner compiled this rather controversial play from diary entries and emails. There have been various protests and even bans due to the critical nature of the piece which is very critical of Israel’s policies towards the Palestinians. The play was censored in Toronto 5 years ago:

http://rachelswords.org/2006/12/24/rachel-corrie-play-censored-in-toronto/

I think this is a very important and poignant play that introduces us to a truly remarkable woman.

For more information on Rachel Corrie and the efforts to continue the work she began, please visit www.rachelcorriefoundation.org.

Performed as part of a double bill : see Lines with My Name is Rachel Corrie for only £15 for both shows on the same night.

Tickets: £12 /£10
Until 30th April at 8.30 pm, Tuesday to Saturday
BOX OFFICE: 020 7704 6665

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

 

 

 

 

Playwright Nicola Schofield was one of the earliest talents to emerge from the Royal Exchange/Bruntwood new writing competition with her script, Maybe Tomorrow.  Now award-winning theatre company Organised Chaos Productions has seized the opportunity to stage her latest piece, a tense drama called Peacefully at Home.

A lingering and painful deathbed is the classic situation which has brought together a sundered family, leading to scenes of conflict as long-buried secrets come to the surface.  Bridget, the seemingly devoted wife of the dying man, is joined by her old friend Una; and practical, stay-at-home son Chris meets up with his very different brother, James, who in spite of being the dreamer was the one who escaped from the country to the big city.

Nicola Schofield skilfully sets up an apparently close and devoted family which then falls apart before our eyes; the shocks keep coming right up to the very last moment.

In their brief scenes together Lee Joseph as Chris and Chris Brett as James create a genuine mood of long-standing intimacy and brotherly affection.  The most impressive performance comes from Laura Littlewood as James’s smug yummy-mummy wife Sarah.  There is real truth in the writing of this character, and Laura Littlewood plays her with conviction and confidence. 
 
Set designer Jonathan Ingham creates an economical yet suggestive staging for the comfortable and attractive family garden.  Director Emma Hatcher is faithful to the drama’s ebbs and flows, letting the characters develop at a leisurely pace - however the play could do with some judicious trimming because there isn’t enough story to justify its current length. 

While not quite as successful as last winter’s production of Jeffrey Bernard is Unwell, Organised Chaos should be congratulated for continuing to champion new writing and local acting talent.

Peacefully at Home
Presented by Organised Chaos Productions
Taurus Bar, Canal Street, Manchester
Wed 6 - Sat 9 April 2011 @ 8pm (7pm on Thurs 7)
£7.50/£5.50 (conc)
www.organisedchaosproductions.co.uk

We will have a lovely affair, you and me.

Presented by The Stephen Joseph Theatre, Scarborough, in association with Guildford’s Yvonne Arnaud Theatre Life of Riley is Alan Ayckbourn’s 74^th play. The author is also the director of this production.  George Riley has only six months left to live. We never see George Riley but he seems omnipresent, affecting everything and everyone around him – his friends and his former lovers.

Kathryn and Colin are rehearsing a scene from Ayckbourn’s very own play Relatively Speaking for an amateur production. Kathryn is frustrated because her husband Colin  never listens to what she says and suffers from a clock obsession. To compensate for the emotional vacuum she has developed a drinking habit and become a terrible gossip. When Kathryn finds out that Colin is depressed because one of his patients has been diagnosed with terminal cancer it does not take her long to discover that this patient is George Riley. She shows little respect for the doctor-patient privilege and soon everybody knows about George’s condition. Jack, George’s best friend, is absolutely devastated and starts his eulogy on George – rather prematurely - mainly talking about himself.  Meanwhile Kathryn decides that George should be included in their amateur production: “We’ve got six months so he’ll make the first performance.” Monica, George’s ex-wife of 11 years, who “spent her life running away” has been living happily with the farmer Simeon. Now she is approached by Jack and asked to take a leave of absence from Simeon to care for the dying man. The three men watch with growing unease as they are losing their women to George Riley who remains a mystery to the very end. 

This Ayckbourn is rather dark and more tragedy than comedy although there are some wonderful, funny lines, many of them given to Kathryn - she remarks on her husband’s failings: “He saves his patients’ lives only to kill them off with his tactless small talk.”  Ayckbourn set the mood of this pastoral play with music by Pink Floyd. The first half seemed slow paced and somewhat disjointed but the second half had the perfect tempo.

The cast is outstanding. Liza Goddard is excellent as Kathryn, who reacts to her husband’s emotional shortcomings with caustic remarks and an occasional sip from the bottle. Kim Wall gives a touching performance as the quiet doctor who is really a decent man but unable to express his feelings. Laura Doddington is Tamsin, a spirited woman saddled with the egocentric, insensitive philanderer Jack who openly cheats on her while preparing his daughter’s ridiculously lavish birthday party. Tamsin returns the favour by rehearsing her love scenes with George too enthusiastically. 

Until 26 March 2010, 7.45 pm.
Richmond Theatre
The Green, Richmond, Surrey
TW9 1QJ
http://www.ambassadortickets.com/2229/659/Richmond/Richmond-Theatre/Life-of-Riley-Tickets

 

Faith and Cold Reading

Live Theatre, Newcastle upon Tyne

Attending the press performance of Faith and Cold Reading was an experience that, I’m certain, will stay with me for a very long time. It was also one that I have been unable to properly define in my own mind yet. You see, with this production, you don’t actually get what it promises on the tin. What am I on about, for heaven’s sake, you’re probably thinking? Well, I’ll try to explain as best I can.

You know when you are sitting with a box of assorted chocolates and you have studied the illustrations on the lid, made your selection, and popped your preferred choice into your mouth only to discover that you’re chewing on a coffee cream when you thought you’d actually picked the cherry liqueur? Well, this play looks like a cherry liqueur, but it’s actually a coffee cream – or is it a caramel keg? Who knows?

You see, it plays with genres so much and switches metaphorical horses so often that I was convinced that even writer Shaun Prendergast wasn’t at all certain what kind of play he’d penned. Is it a thriller? Is it a comedy? Is it a spoof? Your guess is probably as good as mine, I think.

The play tells the story of Sam (Christopher Patrick Nolan), a professional medium who lives with lap dancer Carla (Laura Norton). He has ended up getting himself into debt to Freddie the Suit (Stephen Tompkinson), a big-time gangster who has recently buried his mother. Sam is unable to pay back the money by the due date and his situation looks bleak until Freddie throws him a lifeline: re-connect him with his late mother in spirit and the debt will be written-off.

Stephen Tompkinson has a thoroughly imposing stage presence as the overly-superstitious Freddie (refusing to walk on pavement cracks and getting into a right old state when new shoes are placed upon the table – heavily borrowed from Blood Brothers, I suspect) and he gives an intense performance that is, often, very affecting. It is, undoubtedly, due to his considerable talent that the character of Freddie – which is, seemingly, written as a cross between the Kray’s and Count Dracula – is so much more than just a stereotype.

Laura Norton, too, gives a great performance as Carla. Always believable, and with a genuine likeability, she endows the character with humanity and vulnerability. Christopher Patrick Nolan bumbles brilliantly as the charlatan who will do anything to save his own skin, whilst Paul Joseph attempts valiantly to breathe believability into the stereotypical character of Mickey, the thug.

The promotional material describes Faith and Cold Reading as ‘gripping, sinister and savagely funny’ and, to be fair, it is – though never all at the same time and not throughout the entirety of the piece. The dialogue is often clichéd and melodramatic and doesn’t always sound feasible. However, if you want an entertaining evening out and are prepared to take the play with more than just a pinch of salt, you shouldn’t be disappointed.

Steve Burbridge.

Runs until Saturday 19 March 2011.

 

 

 

The Man and the Donkey

The Customs House, South Shields

As Ray Spencer, Executive Director at The Customs House, points out in the programme notes, in most stories ‘told with the background of war the hero usually takes lives . . . our hero saves lives and eventually gave up his own in the effort to save more.’

The particular hero of The Man and the Donkey is the relatively little-known John Simpson Kirkpatrick. Hailed as a war hero in Australia, he has never been given the same level of recognition in his home town of South Shields. This is something that Valerie Laws sets straight with this affecting drama based upon the short life of Simpson Kirkpatrick, who was killed when he was only 22.

The ninety-minute production spans the shores of South Shields to Shrapnel Gully and chronologically tells the story of his life. Jamie Brown plays the hero with warmth and a genuine likeability. He is ably supported by an ensemble of five (Russell Floyd, James Hedley, Viktoria Kay, Gary Kitching and Jacqueline Phillips) who each play multiple roles with apparent ease and aplomb.

The dual-level set, designed by Simon Henderson, is relatively uncomplicated and there are no superfluous props – if it’s there it earns its place, often rather ingeniously. The stage is beautifully lit with soft shades of red, amber and blue and James Henshaw’s lighting design is magnificently evocative. The sound design, by Chris Allen, incorporates pyrotechnics and original music from Simon Hanson and James McCutcheon.

Director Jackie Fielding uses the short scenes to her advantage, keeping them taut and punchy and the production progresses at a good pace. She opts not to use a real donkey, perhaps for practicalities, and instead provides the most imaginative and effective representation of a donkey possible – I was amazed and impressed.

This production boasts values that are second to none: a talented, hardworking cast, a worthy and compelling story, and a first-class creative team. The Customs House is to be applauded for its commitment to staging productions that tell local stories about local issues performed and produced by local people. With this world premiere of The Man and the Donkey they have cemented their status as one of the best producing houses for miles around.

Steve Burbridge.

Runs until Saturday 12^th February 2011.