Feb 13th

UK Theatre Network - Happy Valentine's Day

By Douglas McFarlane
 
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UK Theatre Network

www.uktheatre.net

Happy Valentine's Day

From all of us here at UK Theatre Network, to all theatre lovers, we hope you receive lots of lovely Valentine's cards. If not don't worry, cause you can get passionate about theatre by reading our magazine and connect with others online. Click more...

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Traces

By Sue Marks


Flying Music, Robert Jolley and Michael Boersma present The Les 7 Doigts de la Main production of

Traces

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 8th February 2010.

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The show features five young people occupying a makeshift shelter from an unspecified impending disaster that lurks outside. In the belief that creativity is the antidote to destruction, the characters aim to make the most of what little time is left by using various means of expression to leave behind some traces of themselves. They tell their stories through a variety of genres which includes speech, music, dancing and breath taking acrobatics.  As their stories unfold the audience gains an insight into the performers’ real lives.

The performers are five young French-Canadian artistes; Antoine Auger, Antoine Carabinier-Lepine, Genevieve Morin, Philip Rosenberg and Jonathan Causaubon, who were all students of Montreal’s National Circus School. They have a wide range of performing experience and skills honed in circus schools and companies worldwide.

Featuring a pulsating soundtrack throughout, which ranges from rock ‘n’ roll to blues to hip hop, this production mixes acrobatics with theatre, urban and contemporary dance styles, skateboarding and basketball.

The acrobatics are amazing, they balance on each other’s heads, leap up high poles without using their hands and fly through hoops. I particularly enjoyed the incredible performance of the acrobat using the large metal hoop.

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Early in the show they introduce themselves individually by name, using a suspended microphone, together with three keywords which define them. This is followed by an amusing sketch where they swing the microphone calling out a name or keyword as it passes. Later in the first half of the show they take turns playing a piano which sounds remarkably good, particularly since it has been given the appearance of having been made from scraps of wood roughly cobbled together.  An old box serves as a piano stool. One of the group also plays guitar and performs a song. There is some basketball and skateboarding.

After the interval the pace of the show speeds up with the exhilarating acrobatics. Whilst I enjoyed the show I think the first half could be improved by being a little sharper in places. There were times I found myself more interested in the soundtrack than what was happening on stage. However the second half was brilliant. This is an innovative show that is worth seeing.

It is perhaps a sign of the times that world class acrobatics does not constitute a show in its own right. This show has clearly taken circus skills and made something more out of them but what really excites me is the show this is going to be in a few more years’ time because I believe it is still evolving.

Traces plays Milton Keynes Theatre from Monday 8th February to Wednesday 10th February 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Alhambra Theatre Bradford from Thursday 11th February to Saturday 13th February.

www.miltonkeynestheatre.com www.flyingmusic.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 8th February 2010 on behalf of Catherine Brian.

FEB9th

Waxing Lyrical - The Story of Madame Tussaud

By Carolin Kopplin

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The Rosemary Branch Theatre in Islington - winner of „Best Theatre“ in the 2010 Fringe Report Awards - presents a solo performance by Judith Paris about the life of Madame Tussaud. Although her name graces one of the main tourist attractions in London little is known about the life of Marie Tussaud.

 

Aptly directed by Ninon Jerome, Judith Paris recounts the story of this remarkable woman who was arrested as a royalist during the horrors of the French revolution and barely escaped the guillotine. Marie Tussaud tells her younger son the story of her life before the opening of her new show. Now aged 72 she has been working hard since she was a child to become a gifted artist as well as a successful business woman. She describes how she was taught the art of waxwork by her uncle Philippe Curtius against the explicit wishes of her mother who saw her daughter in a more traditional role. Marie eventually married but left her husband and her younger son to tour the towns of Britain with her wax cabinet, fighting off competition against a background of fire, riot, shipwreck, and betrayal. Madame Tussaud became one of the greatest showpeople along with P.T. Barnum - which makes one wonder: How much of her story is really true? 

 

Judith Paris, who has also written the play, gives a beautiful performance as the admirable Marie Tussaud.

 

9 – 14 February 2010, Tue – Sat 7.30 pm, Sun 3 pm

Tickets: £ 12 / £ 10 (concessions)

BOX OFFICE: 020 7704 6665 

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

FEB9th

Travels with my Aunt.

By kelly potter

Travels 



THE QUEEN'S THEATRE.  HORNCHURCH


Travels with my Aunt

By Giles Havergal

Adapted from the novel by
Graham Greene

Directed by Liz Marsh
Designer: Rodney Ford
Lighting Designer: Chris Howcroft


This production of Havergal's adaptation of Graham Greene's novel was fast moving, fast speaking, action packed, but simply staged. All elements that I found made it a success.

As an audience member taking your seats, you were mildly aware of a character, sweeping and setting up a minimalistic stage, lined with high cupboards and drawers. Once the audience were seated, this stage manager, played by Simon Jessop, introduced us to Henry Pulling.  Three characters identically dressed in plain grey suits entered the stage, all introducing themselves as Henry Pulling, a retired bank manager with hardly any interests apart from growing dahlias who, at his mother's funeral, was reunited after many years with his mother's sister, Aunt Augusta. Each Henry (Elliott Harper, Sam Pay and Marcus Webb) took turns addressing the audience.  Full attention was needed in order not to miss anything from this story, narrated by the character of Henry. Each character and scenario was played out by him, with the help of the stage hand who ran around the stage opening draws to reveal beds, graves, hotels suites, taxis and trains. Henry relays the story of his dreary life until meeting his aunt after many years at his mother's funeral.  He forges a new friendship with this relative and follows her in her desire to revisit her younger, more colourful years of travelling the world surrounded by smugglers, war criminals and con men. Each actor plays numerous characters on a journey that takes us from Brighton to Paris, the Orient Express to Istanbul and a final trip to Panama.   Each time a new character was introduced, one of the three Henries would simply put on a hat or different coloured shirt or hold a prop.  The mannerisms were enough to be able to visualise each character and was powerful and effective.  I could actually empathise with each character.  One member of the audience let out a gasp when the gruesome fate of one of the characters was revealed, we'd become that close to them, there were almost tears at the end.  

The pure wordiness of the play and the faultless performances of the cast, switching characters with ease while keeping the pace constant, made this a thoroughly engaging production.  Witty, fast, timed to perfection, especially Simon Jessop's background antics as the stage manager messing up his sound effects and costume preparations,  this was something I'd see again.

Showing 5 -27 February

FEB8th

A Midsummer Night's Dream at Bolton Octagon

By Caroline May


Shakespeare’s magical comedy A Midsummer Night’s Dream is the latest play in the Octagon season to be directed by the Artistic Director, David Thacker, who won a brace of Olivier Awards for his RSC production ofPericles twenty years ago.

The Sergeant Pepper-influenced publicity flags up a Swinging Sixties theme, so it’s surprising to find the auditorium initially awash with sombre army uniforms and Che Guevara-style propaganda posters - a nod to the very un-swinging military dictatorship which seized power in Athens in 1967.

Rob Edwards (eponymous hero of that 1990 Pericles) doubles the roles of Theseus, head of Athens’ repressive jackbooted regime, and Oberon, the equally cruel despot of fairyland.  Paula Jennings is Theseus’ black-veiled spoil-of-war Hippolyta who becomes translated into a white mini-dressed, sexually liberated Titania. 

Designer Ashley Shairp’s acid-coloured playground of a forest, teeming with bouncing balls and magic lanterns, seems to unleash the potential in every character, including a quartet of mismatched lovers fleeing from the city, and a weaver with a thespian bent and an ass’s head.

Vanessa Kirby’s heart-broken Helena sets the stage alight with her passion, energy and comic timing - no wonder Rob Edwards’ magisterial Oberon is so visibly taken by her.  Compassion for the young mortal melts his hard heart and leads to a sequence of reconciliations, including his own with Paula Jennings’ luscious and uninhibited Titania.

Kieran Hill makes an unusually good-looking Bottom and is beautifully rigged out for his Act V turn as Pyramus, but Russell Dixon’s Peter Quince runs off with the comedy honours for a spot on portrait of a fruity old-school actor in a classic piece of character acting.

The handling of the verse is uniformly excellent, and David Thacker’s inspired use of the entire auditorium really brings the show alive, ably assisted by music director Carol Sloman’s trippy score and Wayne Dowdeswell’s hallucinogenic lighting.

The production could benefit from being played at a much faster pace as its current running time is more akin to Hamlet than a comedy which I once saw performed in ninety minutes flat.  Nevertheless this is a colourful, energetic and lucid production of the original rom-com.

 

A Midsummer Night’s Dream is on at Bolton Octagon until Saturday 6 March 2010 

Tickets: from £9.00

Eves: Mon-Sat @ 7.30

Matinees: Friday 5, Saturday 6, Monday 8, Wednesday 17 and Sat 27 Feb @ 2pm

Box Office: 01204 520661

www.octagonbolton.co.uk

FEB6th

The Machine Gunners

By Steve Burbridge

The Machine Gunners.JPG
The Machine Gunners

The Customs House, South Shields

The themes of love, loss, loyalty, friendship, childhood and warfare are skilfully interwoven into a musical that tells the tale of a group of teenagers growing up on Tyneside during the Blitz.

Robert Westall’s The Machine Gunners was published in 1975 and won the Carnegie Medal for Children’s Literature, became a set text in schools, a million seller and a classic BBC TV series. This musical adaptation, written by Ken Reay and Tom Kelly with music by John Miles, was first staged at The Customs House in 1998 and then spent a month at the Edinburgh Fringe Festival where it received rave reviews. It returns to The Customs House, with a stellar cast, as part of the venue’s fifteenth anniversary season.

Fourteen-year-old Chaz McGill (played by James Baxter) is an avid collector of shrapnel and other forms of wartime memorabilia, which he finds amongst the debris of the bombsites in his home town, Garmouth. One day, he stumbles across the tail-end of a German fighter, its machine gun and its pilot.

Together with his gang of mates, Chaz decides to keep the German airman as a prisoner of war and he is secreted in a disused garden shed. Soon, though, the teenagers grow fond of Rudi and a set of unlikely friendships are formed.

The Machine Gunners is a piece of theatre that succeeds on every level. As dramatic as it is comedic, you cannot help but get caught up in the adventures of the youngsters, whilst also empathising with the fears and concerns of the adults.

Director Gareth Hunter has gathered together a cast comprising much of the best of North East talent. James Baxter’s portrayal of Chaz is carefully crafted and utterly believable. The relationship between Chaz and the other members of his gang, played by Tom Booth (Cem), Steven Stobbs (Clogger), Jamie Hannon (Nicky) and Rachel Teate (Audrey) is extremely convincing. Wayne Miller and Charlie Richmond also deliver great performances as Bodser the bully and John, respectively.

Neil Armstrong and Tracy Gillman strike up a great rapport as Chaz’s parents, whilst Annie Orwin maximises the comedy in her role as nosey-parker Mrs Spalding. Jamie Brown as Rudi, the German air-gunner, puts in a fine performance, as does Louis Roberts in the slightly limited role of Sergeant Green. Donald McBride and Tony Neilson complete the line-up as members of the Garmouth Home Guard.

Some of the songs stand up better than others, with ‘Gossip’, ‘F.R.I.E.N.D.S’ and ‘He Will Need You’ being the showstoppers. However, it is the story that completely sweeps you up and makes The Machine Gunners memorable for all the right reasons.

Steve Burbridge.

The Machine Gunners runs until Saturday 13th February 2010.

 

FEB5th

Salt by Fiona Peek at Manchester Royal Exchange Studio

By Caroline May
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Fiona Peek’s new play Salt was co-winner of the Royal Exchange’s Bruntwood Playwriting Competition in November 2008, and the premiere of this sophisticated social comedy has been eagerly anticipated.  

The action takes place between July 2007 and March 2008 during the course of five dinner parties in Simon and Amy’s beautiful basement kitchen.  Simon’s stable law firm salary and Amy’s chic little gallery job provide them and their children with a lifestyle straight out of a weekend colour supplement.  However their two child-free friends Rachel and Nick (Amy’s old flame from college days) are struggling with debt now that his freelance journalism commissions are drying up and RSI has ended her orchestral career.

Fiona Peek’s debut play, with its skilfully interwoven themes of debt, fertility, work/life balance and food porn, thoroughly nails the late-noughties zeitgeist.  The other unacknowledged but ever-present problem plaguing the middle-classes is excessive recreational drinking - a vice which does more than its fair share to inflame the situation here.

Even if external circumstances didn’t play a part, the chemistry between Amy and Nick and their uninhibited flirting has “slow-motion car crash” written all over it.  Beth Cordingly’s smug Amy is still proprietorial of her ex, constantly reminding Rachel (and Simon) of how long they’ve known each other and therefore how much better she understands him than his wife does.

Simon Chadwick plays her husband as an uptight conformist pretending to be a laid back peacemaker.  He tries to remain aloof from the emotional maelstrom but this diplomacy only masks his diffidence towards the other couple.  You form the impression that if he and Amy were to divorce, she would get Rachel and Nick in the settlement.

Kevin Harvey’s slightly-scouse and immature Nick, one of those nightmare guests who can’t distinguish between a dinner party debate and a stand-up row, is stuck in the laddish culture of the 1990s, and Esther Hall’s brittle Rachel is as highly strung as her own violin when confronted with the dilemma of treating her immature husband as a child or making him face up to his responsibilities.

Ben Stones’ sleek set is like watching the window display in a designer furniture shop coming alive, and Jo Coombs’ fluid and fast-paced production captures the authentic tone of entitlement of the (apparently) affluent professional classes.

My only quibble is that the bombshell dropped in the dying moments is treated with such brevity and underplaying as to be almost subliminal - if this was on DVD you’d frantically rewind it trying to work out exactly what happened.  But even without a freeze-frame facility the first-night audience was highly appreciative of this witty and clever new play.

 

Salt is on until Saturday 20 February 2010 

Prices: £4 (conc)-£9.50

Evenings: Mon-Sat @ 7.30

Matinees: Wed & Sat @ 2.30

Box Office: 0161 833 9833

www.royalexchange.co.uk




FEB4th

Never Forget

By Steve Burbridge

Philip Olivier in NEVER FORGET - Photo credit Paul Coltas.jpg
Never Forget

The Tyne Theatre & Opera House

IT seems that the future of musical theatre is heading in the direction of the ‘juke-box’ musical. With a plethora of productions based on the back catalogue of groups such as ABBA, Queen and Boney M, it was a sure bet that one featuring the music of Take That would pop up.

‘Never Forget’ tells the story of five young men who enter a talent competition to form a Take That tribute band. Along the way, they discover that fame comes at a price but friendships last forever.

The ladies were out in full force, no doubt attracted as much by the physique of former Brookside and Hollyoaks star, Philip Olivier, as the hits penned by Gary Barlow. There was a huge scream upon his first appearance, followed by wolf-whistles and calls of ‘Get your kit off!’

The show isn’t exactly Ibsen or Chekhov – nor does it claim to be. It’s as camp as a row of pink tents and as cheesy as a Quatro Formaggi pizza, but the songs are fabulous and the choreography is breathtaking and the special effects are impressive, too.

‘Never Forget’ is an uplifting show that positively exudes the feel-good factor and makes for a great evening’s entertainment. Well worth a visit.

Steve Burbridge.

Runs until Saturday 6th February 2010.

FEB4th

Blood Brothers (2 – 13 Feb 2010, Kings Theatre, Glasgow)

By Cameron Lowe

Blood BrothersHave you heard the story of the Johnstone twins? If not, you have missed what has become a classic of British musical theatre and now is your chance to hear the tale! Willy Russell’s Blood Brothers is on tour - follow a trail of tears and snotty handkerchiefs all the way to the King’s Theatre, Glasgow until 13 February 2010.


Glasgow-born songstress, Vivienne Carlyle, stars as Mrs. Johnstone, a 1960s Liverpudlian mother of seven who is just about making ends meet, until her husband leaves and the twins arrive. Reluctantly she makes a deal with Mrs. Lyons (Tracy Spencer), her well-to-do employer, to give one of her twins away. And so, irresistible and tragic wheels are set in motion as the twins are destined to be born and then to die on the self same day.


The story is largely light hearted and entertaining despite the tear-streaked faces that have famously been leaving performances of this musical all over the world. It follows the growth of the boys from childhood to adulthood and the script is bursting with the gritty Liverpool humour that made the writer famous. The humour is also observational and sucks the audience into a real bond with the characters as we sympathise with their poverty and remember schoolboy fun that helped to lighten the mood in difficult times. The tragedy, when it falls, feels very personal. The musical score, in isolation, seems almost unremarkable but together with the on-stage drama it adds great depth to the contrasts of mood that are the bedrock of this musical’s success. The audience can even take a few tunes home with them “My Child”, “Easy Terms” and “Tell Me It’s Not True” being eminently hummable.

 

The production has changed very little over the years, but the talented cast add their personal nuances to the timeless story.  Vivienne Carlyle took the role of Mrs. Johnstone (previously played by such well known actresses as Stephanie Lawrence, Kiki Dee, Lyn Paul and four of the Nolan sisters) in her stride, never over dramatising, never over cooking the accent.  She took a nightmare narrative and made it real.  The combination of Sean Jones and Paul Davies as the twins, Mickey and Eddie, was the perfect mix.  I’ve had the pleasure of being entertained by Sean Jones in a previous tour and he is definitely my favourite Mickey.  His transformation from carefree seven-year-old to drug-dependant adult is heartbreaking in itself.  Chemistry with his on-stage sibling as well as his childhood sweetheart (Linda, played by Kelly-Anne Gower) was wonderful. Finally, Robbie Scotcher’s menacing portrayal of the Narrator was the ideal balance of singing talent and threatening demeanour.

 

No other musical can take you through the entire spectrum of human emotion like this. Book your ticket today.

Listings Info: 

Blood Brothers 
King’s Theatre, Glasgow
 
Tue 2 – Sat 13 Feb
 
Mon – Sat eves 7.30pm
 
Wed & Sat mats 2.30pm
 
Thu 4 Feb mat 2.30pm 

Audio described performance 11 Feb 7.30pm 
Signed performance 12 Mar 7.30pm 

Tickets: £11.50 - £30 
Box Office 0844 8717 648 (Bkg fee)
 
www.ambassadortickets.com/glasgow (bkg fee) 

FEB4th

Crying Out Loud presents WHAT IF, created and performed by Layla Rosa, Jacksons Lane Theatre, Highgate.

By Nicola Hollinshead
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WHAT IF...is a stunning new piece of work by artist, theatre maker and SHUNT director Layla Rosa & company. There is a simplicity of imagery from the opening that is compelling and is enhanced by a hypnotic soundscape, setting the atmosphere of the journey to come.

A lone rope hangs down at one end of the stage and on the other, a pair of glittery, silver high-heel shoes are bathed in light. TV screens on either side display looped images of women in veils and images of hands veiling and unveiling different women's heads.

The figure swathed in black and veiled who sits and on a high stool and sings to us is enigmatic and mysterious. Because of the veiling and complete covering of the body our focus goes to the expressive movements of her hands and feet in order to try to understand the feeling and meaning of the song. In fact, there is a strong emphasis throughout the show on hands and feet, as if the extremities are the only 'free' parts available to really express themselves until the final 'reveal' at the end, where it appears a transformation has taken place for the main protagonist of the piece.

The semi-autobiographical journey is never over-stated or explained, but instead we are left to make up our own minds about what the piece of work is saying and what we each take from it.

The aerial work in itself is simply outstanding. The fact that the performer is blindfolded makes the routines even more impressive how she literally 'feels' her way up the rope with her feet and lets herself drop back down from held positions to within inches of the floor.

Beautiful images remain long afterwards in your mind; the swing sequence is both exhilarating and poetic, and the mirroring dance with the 'Western' counterpart is inspired.

Imaginative, haunting and expertly constructed, it is a unique combination of disciplines that results in an independent and innovative voice, WHAT IF is one of a number or performances at Jacksons Lane coming up this season to celebrate these art forms.

For further information on future tour dates of WHAT IF : 

www.cryingoutloud.com

Jacksons Lane theatre in Highgate has also just launched a brand new website www.jacksonslane.org.uk which is now live and means that Jacksons Lane’s audience can now book tickets online directly through the box office system at a reduced booking fee of only £2.

 


Dec 12th

THE GREAT AMERICAN SEASONAL SONGBOOK NEW END, HAMPSTEAD

By OLIVER VALENTINE

THE GREAT AMERICAN SEASONAL SONGBOOK                      

                                                              NEW END, HAMPSTEAD

 

 

The Great American Seasonal Songbook, the second contribution from Toby Cruse productions, proves to be a another winner for the New End Theatre. This joyful musical romp is a tribute to the music that dominated the States from 1920-1960.

Written by the classic composers of the time such as Cole Porter, George Gershwin and Rogers and Hammerstein, it was period that saw an new style of music grounded in the structures of  Tin Pan Alley, and relying heavily on jazz.  Much of it was originally written for Broadway musicals or Hollywood movies, and became the pop of the time as the songs were picked up by legendary singers such as Ella Fitzerald, Judy Garland and Frank Sinatra.

With the four seasons being the theme of the production there are nicely selected numbers that explore the emotions though out the year, and inevitably end up at the Christmas period.

There is outstanding musicianship from Andy Rumble on piano and Dave Olney on bass. They compliment each other perfectly, and despite their only being two of them they produce a sumptuously beautiful sound. With focused direction from Heather Simpkin the show happily bounces along. There are consummate performances by Louisa Parry and David Martin. Parry seems most at home with songs that have a  dramatic edge, and there are moving interpretations of Spring Will be a Little Late This Year, Stormy Weather and You’ll Never Walk Alone. Martin clearly has fun with the frothy numbers but is equally at home with more heartfelt songs like April in Paris and Autumn Leaves. Martin fully embraces the sprit of the show, is constantly mischievous and as gloriously camp as Christmas.

The Xmas section visits the classic holiday songs that have touched listeners from one to 92, and is a fitting way to end the evening.

The Great American Seasonal Songbook is a treat for anyone who appreciates wonderful vocal performances and great musical craftsmanship. This is the perfect Christmas gift for a loved one.

 

OLIVER VALENTINE                                                 

                                                                Box Office: 0870 033 2733

Dec 10th

UK Theatre and Film Network - Last Newsletter 2009

By Douglas McFarlane
HELLO THERE UK THEATRE AND FILM NETWORKERS

BAFTA

The BAFTA movies have been filling my post box on a daily basis, as the awards season starts to heat up and voting kicks off over the Xmas and New Year period.  This year as usual, BAFTA members receive complimentary copies of Hollywood Reporter and Screen International. In order for these publications to include major adverts from the top films they need to justify to their advertisers that their publication will land in the hands of voters, in order to help influence a vote in their direction.  

Among the many films that are catching my attention are this little lot:-

It's Complicated (Meryl Streep, Alec Baldwin, Steve Martin)
Quentin's Inglorious Basterds, Peter Jackson's District 9, Public Enemies with Johnny Depp (enjoyable), the Coen's A Serious Man (an interesting film), George Clooney's Up In The Air (dull, don't go there), An Education (Peter Sarsgaard and Rosamind  Pike are superb), Lovely Bones, The Hangover (very funny), and Harry Potter and the Half Blood Prince.

I've chosen a few to see on the big screen, tomorrow night is AVATAR, the $250million digital extravaganza from Titanic-man James Cameron and on Monday it's NINE, the sexy, sassy musical with the all singing all dancing talents of Penelope Cruz and Kate Hudson. 

AUSTRALIA

I'm spending Xmas and New Year in Australia for the first time. I'm really looking forward to it as I'll be switching off from work, technology, blogs, the internet, facebook, twitter and all forms of digital communication. But don't worry, it'll all happen automatically. When a anyone publishes a review to the magazine, a link to it appears on Twitter and Facebook shortly after. So join me at www.twitter.com/ukfilm  or www.facebook.com/douglasmcfarlane

And I'll try and bring back some sunshine.


TEDDINGTON

In late January I'll be moving from the lovely views of Tower Bridge, to the tranquil suburb of Teddington. On the same street as Teddington Studios and the plush Lensbury Club. It'll be a nice change from living in the city. 

INTERNET BANKING

Finally, as if that wasn't keeping me busy enough, I was successful this week in getting a 6 month assignment to project manage the launch of the world's largest Internet Bank, which was rather fortunate given the current climate in the banking industry.

So, all in all, a fantastic end to 2009 and some very bright beginnings in 2010. I'd also like to wish you and your family a wonderful time over the festive season and a very happy new year.

See you in 2010.

Douglas McFarlane
Editor, UK Theatre and Film Network
www.uktheatre.net
www.ukfilm.tv


DEC 
10th

Aladdin

By Steve Burbridge
Aladdin images 019.jpg

Aladdin

Darlington Civic Theatre

They say that you should never judge a book by its cover – well, if that’s the case, then you should also never judge a panto by its headliners.

I must admit that I initially turned my nose up at the prospect of reviewing a production starring The Grumbleweeds and X-Factor’s Chico, expecting it to be a bit of a Z-list celebrity affair. The taste of a large portion of humble pie is not a pleasant one, let me tell you, but I must swallow it nevertheless!

Aladdin is everything a good panto should be – frothy, frivolous fun – and this is largely due to Chico, who plays the title role. A natural extrovert, he throws himself wholeheartedly into delivering a performance that is so energetic and physically demanding that it must, surely, be powered by a plentiful supply of ‘the batteries with the copper coloured top.’

The Grumbleweeds – well, two of them anyway – step into the shoes of the Chinese policemen to provide much of the trademark slapstick. Robin Colvill, as Pc Wishee, and Graham Walker, as Pc Washee, are true masters of their art and delight the audience with a brilliant mix of comedy, music and impressions. Their instant rapport with the children in the audience is phenomenal, especially considering that none of the youngsters are old enough to remember them from their 1980s heyday.

Max Somerset is fantastic as the evil Abanazar, convincing the kids that he really is a sorcerer with his magic tricks and flame-throwing staff, whilst Bobby Bennett, a seasoned ‘dame’, treats us to a kind and cuddly Widow Twankey.

Sarah Brown is a quintessential Princess Jasmine and she shines brightest of all during her musical numbers, in which she proves that a petite princess can still produce a powerhouse performance.

There are some amazing circus acts within the production, encompassing juggling, plate-spinning and acrobatics. Yu Yin as So-Shy astonishes young and old alike with her incredible skill and dexterity – the act involving the Chinese parasols is absolutely breathtaking. Bubu Endresz, who doubles-up as The Emperor and The Genie of the Lamp, is equally as impressive.

The talented ensemble of six adds colour and movement to the musical numbers, whist performing Sarah St George’s slick and stylish choreography with precision and panache.

Director David Fleeshman ensures that the action crackles along at a pace that retains the attention of children with even the shortest of attention spans and the script, by Jon Conway, includes plenty of opportunity for audience participation and contains all the required elements to qualify this as a good old-fashioned traditional panto.

Indeed, this production of Aladdin enchants the audience with some real treasure of the Orient and has spirits soaring even higher than a magic carpet.

Until Sunday 17th January 2010

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DEC 8th

Darker Shores by Michael Punter directed by Anthony Clark

By Katherine Hayes
Darker Shores a new play by Michael Punter is a festive treat for theatergoers this December. 
The modern stage at Hampstead has been transformed into a Victorian Gothic parlour. Here is  where spirits abound. Man of science Professor Gabriel Stokes ( Tom Goodman-Hill) enlists American spiritualist Tom Beauregard ( Julian Rhind-Tutt) to investigate  the strange phenomena he encountered in a seaside house in Sussex. 

This is a thoroughly entertaining play that keeps up the suspense and momentum till the very end. The story begins with Beauregard and Stokes discussing the happenings in Sussex, echoes of the Woman in Black. However the similarities end there as a plot driven by the passions of one man and the determination of another take us on a journey into the unkown world of the other side. 

At times darkly comic, at others sensitve, with wonderful effects by magicians and illusionists to boot, whats not to like about this production?

Standout performances from Vinette Robinson as Florence the housemaid and Pamela Miles as Mrs Hinchcliffe the housekeeper with a desperate secret. Though Rhind-Tutt's southern accent is at times uneven, both he and Goodman-Hill make a great pair to accompany on their mission to discover the supernatural.
Not to be missed!
Darker Shores 
Hampstead theatre 
3 December - 16 January

DEC 8th

Sleeping Beauty

By kelly potter
3 December - 16 January 


Sleeping Beauty
   


The Queen's Theatre, Hornchurch

by Nicholas Pegg

music and lyrics by Carol Sloman

Directed by Matt Devitt
Sleeping Beauty


“Don’t be silly, Silly Billy!” still rings in my ears after this thoroughly enjoyable performance of Sleeping Beauty by cut to the chase accompanied by children from local stage schools at the Queen’s Theatre, Hornchurch.

The tone was immediately set by Simon Jessop as William Sillium, otherwise known as Silly Billy, bearing a vague resemblance to Frank Spencer.  Jessop did a good job of warming up the audience, instructing on when and what to shout.  There was no lack of audience participation, first on the agenda was to single out an unsuspecting adult to harass, the participant was a very willing John, who was given a pink fluffy headband to wear and some lines to shout, to the squealing joy of all children in close vicinity.

Chris MacDonnell’s Nanny Clutterbuck was a delight in an assortment of outrageously ridiculous costumes.  She delivered one-liners and song intros that only a pantomime dame can get away with.  She occasionally threw one up for the adults; you had to be pretty sharp to catch them, but when they landed, they landed well, along with the handfuls of sweets thrown into the audience.  The kids were in a frenzy before the second scene.

Participation was encouraged throughout and this performance fulfilled all the requirements of a good pantomime.  Calls of, ‘Behind you!’ And  ‘Oh no it isn’t.’ were not just limited to the younger audience as plates were dropped and smashed, and faces landed in cakes.  The good Fairy, Forget-Me-Not (Lucy Thackeray) was gladly helped in her need to remember names. Tom Clutterbuck (Elliot Harper), the thigh slapping love interest of the sleeping princess, Aurora (Sarah Scowen) performed a heroic sword fight sequence with the bad Fairy Carabosse (Jane Milligan) over her spell book.  The audience were employed as allies of the brave group who were crossing oceans and mountains in order to find a way of waking up the princess from her hundred-year sleep.  The spell book was passed between the audience as Carabosse fought to get it back. The intrepid group were eventually rewarded for their efforts, as they found the spell and were helped back to the castle by an extremely impressive dragon, (I was almost frightened). The boos and hisses and overwhelming heckling helped to rid the world of the evil Carabosse.  I was enchanted by the puppet show, illustrating the characters’ journey back to the castle on the blackened stage and stunned by the flying dragon as it passed overhead, carrying the characters on its back.

This is truly where cut to the chase shine, using their musical experience and sense of fun  Jane Milligan’s powerful voice carried along a great number, backed by the children and Sarah Scowen and Elliot Harper performed a couple of coming of age duets beautifully. The dance routines, especially King Boris’s Tango style dance with Nanny Clutterbuck in his attempts to woo her, were highly entertaining.


The Queen's theatre showed their commitment to and their familiarity with their audience.  Children from  the local schools were mentioned as well as individuals who were celebrating birthdays.

This was a fun filled evening that was certainly not just for the kids, as long as you unleash the inner child and lose your inhibitions and have a go at screaming at the top of your voice…’Don’t be silly, Silly Billy!’ you’ll have a ball…go on.

 

Sign Language Interpreted performances - Wednesday 16 December and Thursday 7 January at 6.30pm - Interpreted by Shaun Hunsley
Audio Described performance - Thursday 7 January at 2pm - Described by Jon Polden 



Sleeping Beauty homepage info@queens-theatre.co.uk

 

 

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DEC 8th

Peter Pan

By Steve Burbridge
peter&wendy.jpg

Peter Pan

Northern Stage, Newcastle upon Tyne

Northern Stage’s Christmas productions are, traditionally, presented as an alternative to pantomime. Last year’s excellent production of Hansel and Gretel was the perfect example of how to re-tell a well-loved tale without slapstick, audience participation and double entendres – and it worked.

This year’s presentation of Peter Pan claims to ‘rediscover the charm of the original story that has enchanted children for nearly 100 years.’ In doing so, the auditorium has been redesigned and the traverse stage means that the use of scenery and dropcloths is out of the question. However, some inventive use of props sees the beds of the Darling children being adapted to recreate Neverland and the deck of The Jolly Roger, Captain Hook’s ship.

Not all the changes are as effective as this, though, and I was left wondering as to why Tinkerbell has been transformed into a size-zeroTeletubby with the voice of Sweep from The Sooty Show.

The decision to distance the production from all elements associated with pantomime seemed slightly half-hearted in certain respects. Personally, I’d have preferred it if they’d gone the whole nine yards and included a ‘dame’ or avoided the cross-dressing completely. Either way, it would have been better than Thomas Dyer-Blake’s cringingly embarrassing performance as Annabelle the nanny, which was mediocrity in a mob-cap.

I also found the image of the two mermaids, played by Caroline Reece and Juliet Thompson, caressing each other and stroking one another’s hair to be gratuitously homoerotic, rather disturbing, and totally inappropriate for a children’s production.

Much of the magic of the tale has been destroyed by the obsession to be innovative and avant-garde and the few opportunities to enchant and enthral were shamefully squandered: the fantastic sparkling clockwork crocodile was only required to trundle from one side of the stage to the other on a couple of occasions, whilst the flying scenes were devoid of any magic at all – how can a child engage with the story and really believe that Peter Pan can fly if they are subjected to watching the actors fastening themselves into the harnesses first?

Stephen Sharkey’s script is laden with great chunks of verbose dialogue which, I would imagine, might be quite difficult for children to penetrate and comprehend. He might have been wiser to cut some of the dialogue in favour of a few more swashbuckling scenes, of which there was a distinct lack.

Credit must be given to Louis Roberts, who gave an energetic and engaging performance in the title role. Christian Bradley as Captain Hook, Micky Cochrane as Smee and Tilly Gaunt as Wendy all did their best to inject some excitement into the piece.

Sadly, the pursuit of style over substance has resulted in a production that has no magic, no heart and no soul.

Steve Burbridge.

Peter Pan runs until Saturday 9 January 2010.

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DEC 6th

Sleeping Beauty

By Steve Burbridge
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Sleeping Beauty 

THE CUSTOMS HOUSE, SOUTH SHIELDS

There are many aspects of the festive season that I always really look forward to: a turkey dinner; parties; catching up with friends . . . the list goes on. And somewhere near the very top of that list is going to see ‘the little panto with the big heart’ at The Customs House in South Shields.

It’s one of those things that, for me, makes Christmas – along with the Queen’s speech, Bing Crosby singing ‘White Christmas’, mulled wine and mince pies.

Following on from the phenomenal success of Goldilocks and the Three Bears, the cast – a mixture of familiar and new faces – are treating audiences to the tale of Sleeping Beauty.

Ask anyone in the country to list the essential elements of a good old traditional panto and they might come up with a list as long as your arm. However, ask anyone in South Tyneside the same question and you’ll probably get only one answer – Dame Dotty and Tommy.

Ray Spencer (Tommy) and Bob Stott (Dame Dotty) are, without any shadow of a doubt, the basis of The Customs House panto and the reason for that is evident – their sheer enjoyment of playing opposite each other in addition to their propensity to deviate, expertly, from the script and indulge in a spot of ad-libbing, which results in a performance that is fresh and spontaneous.

I’m sure that to explain the plot of a story that is as well-known and well-loved as Sleeping Beauty would be superfluous, so it seems more appropriate to focus on the performances.

Peter Darrant’s villain is a stalwart of this particular venue’s panto . This year, as the Evil Chancellor Lord Darling, he elevates campness to a new and previously unchartered level. To say that his performance contained more ‘mince’ than a butcher’s shop window would be erring on the side of understatement. Yet, much to his credit, it is done in a way that goes over the kids’ heads but is not at all lost on the adults.

Darrant’s master of malevolence is joined by Helen Embleton’s fiendish fairy, Narcissis. Making her panto debut in style, Embleton marvellously milks the role for all it is worth, positively relishing the deafening boos that she received.

Lucy Rafton once again occupies the title role and she gives an assured performance as Princess Primrose of Jarra. The Prince, Walter of Howden, who she meets and falls in love with, is played by newcomer Afnan Ifitkhar and he looks every inch the romantic hero. His singing voice has the clarity and distinction which, unfortunately, his dialogue lacks and some of his lines were, to me, inaudible.

Graham Overton, another regular at The Customs House, gives an endearing performance as the bumbling King Street, whilst Rachel Teate (Fairy Cake), Rebecca Currie (Fairy Lights) and Lindsay-Anne Dagg (Fairy Nuff), who all graduated from drama school only this year, spread more than just a little magic as Princess Primrose’s Fairy Godmothers.

Not to be outdone by splashier, flashier pantomimes, The Customs House also has its fair share of technical wizardry in the form of a delightful little animated dragon named Derek and his much larger, fire-breathing uncle, Archimedes.

The script, as it should, has more corn than the Jolly Green Giant on harvest day and it’s great fun to groan along at the predictable puns.

Once again, The Customs House has come up trumps with a sensational seasonal show that is full of festive frolics – I can’t wait for next year!

Steve Burbridge.

Sleeping Beauty runs until Sunday 3 January 2010.


DEC 6th

Cinderella

By Steve Burbridge
Cinders and her Prince.jpg

Cinderella

Theatre Royal, Newcastle upon Tyne

It isn’t only the Prince who is charming in Newcastle Theatre Royal’s stunning production of Cinderella – everyone and everything else is, too.

Never before have I seen such a lavish, spectacular pantomime and I wouldn’t even like to attempt to guess at the amount of work, time and money that has been invested into making it happen.

Of course, audiences at the Theatre Royal are now used to getting the very best in seasonal entertainment – for the last five years each of the panto’s written, directed and produced by Michael Harrison have broke the previous year’s box office records. And each of them has been bigger and better than the last.

It is probably no coincidence that, for the last five years, the cast has been headed by father and son double-act, Clive Webb and Danny Adams. The audiences, especially the kids, absolutely worship them and erupt into rapturous cheers and applause as soon as they make their first stage entrance.

This year they are co-starring with Roxanne Pallett, formerly of Emmerdaleand Dancing on Ice fame, who plays a spirited Cinderella. Although she isn’t given many opportunities to sing, when she does the hairs on the back of your neck stand up - who knew she could sing like that?

Newcastle’s very own panto dame, the inimitable Chris Hayward, makes a welcome return (it’s his third consecutive panto at the Royal) as Baroness Rita and, as usual wows the audience with a succession of fabulous costumes. What is equally as impressive is the fact that he designs and creates them all himself!

Also making a return this year is local actor Phil Corbitt, from Cullercoats, who teams up with Whitley Bay’s Steve Arnott to play Smelly and Nelly, the ugly sisters. The pair are brilliantly bad, entertainingly evil and wonderfully wicked, really making the most of being mean to poor old Cinders. The partnership works well and who’s to say that panto hasn’t found itself the new, definitive pair of Uglies?

Scooch’s David Ducasse is an affable Dandini, whilst West End musical theatre performers Matt Rawle and Donna Steele play Prince Charming and Fairy Godmother. It would have been great if the characters of Dandini and Prince Charming had been fleshed out a little more, as I felt that Ducasse and Rawle are slightly under-utilised. Steele, on the other hand, has been given a gem of a role as the ditzy, dotty newly-qualified Fairy Godmother and she grabs, with gusto, every opportunity to shine.

It isn’t only the casting of Steele and Rawle that brings a touch of West End sophistication to the proceedings – the production values are outstanding, too. Stunning sets, exquisite costumes, and a great musical score all contribute significantly to the overall effect.

Without wishing to be a killjoy and spoil the many other wonderful surprises that drew ‘oohs’ and ‘aahs’ aplenty on press night – and, without a doubt, will during the rest of the run – the transformation scene is particularly spectacular.

This production has raised the benchmark for pantomimes, not only in the North East but all over the country and I defy anyone, young or old, to leave the theatre without being completely enchanted. You’d be mad to miss it!

Steve Burbridge.

Cinderella runs until Saturday 16 January 2010.


DEC 6th

Oliver Twist at Bolton Octagon

By Caroline May
Octagon_Theatre_Bolton,_Oliver_Twist_-_Production_photo_1[1].jpg

If you think you’ve seen the definitive musical version of Dickens’ novelOliver Twist, think again.  Like Lionel Bart's classic version, the production at Bolton this festive season is laced throughout with catchy songs and dances.  However the Octagon’s new adaptation, with a cast playing multiple roles as well as all the instruments, is very much in the Northern Broadsides tradition - hardly surprising, as writer Deborah McAndrew and composer Conrad Nelson are both veterans of that company.

The narrative is stripped down to about two hours, so out go various sub-plots, but the old favourites are all present and correct.  Robert Pickavance is an oleaginous and sycophantic Fagin; Tim Frances is excellent comic value as Mr Bumble, the cruel and cowardly beadle; Esther Ruth Elliott is Nancy, the tart with a heart; and a rotating cast of talented and enthusiastic children play Oliver Twist, the Artful Dodger and all the assorted urchins.

Dawn Allsopp’s impressive set, an imposing urban sprawl of brick walls, rackety bridges and dirty cobbles, spans the whole width of the auditorium and soars to the ceiling.  Director Josette Bushell-Mingo’s production makes the most of the huge playing area, with great choreography and energetic ensembles.

This version of Oliver Twist is sweet without being saccharine, and addresses the iniquities of Victorian England without being too scary for a younger audience.  Judging by the reaction from the stalls on Friday night, this is a really excellent Christmas show for the whole family.

 Oliver Twist is on at Bolton Octagon until Saturday 23 January 2010

Tickets: £8.50 - £15.95

Shows: Mon-Sat at 10.15am, 2.15pm & 7.15pm (performance schedule varies - see website)

Box Office: 01204 520661

www.octagonbolton.co.uk


DEC 2nd

An Evening of Sophisticated Jazz Cabaret with Hope Augustus

By Carolin Kopplin
Fresh from her West End success playing Ella Fitzgerald in Marilyn and Ellathe superb Hope Augustus returns to The Rosemary Branch Theatre where she launched her career exactly twenty years ago. 

The charming singer presents a programme of unforgettable songs by Cole Porter, George Gershwin, Leonard Bernstein, Noel Coward, and other greats. Tom Scott does not simply accompany Hope, he is a jazz piano virtuoso! I was especially impressed by Tom's improvisation of It's All Right With Me and Hope's interpretation of Skylark. There are many highlights in this show and Hope brings so much joy and pure energy to it that I had problems staying in my seat - I wanted to swing with Hope and Tom!
    
Go see the show if you love jazz. Only two days left! 

The Rosemary Branch Theatre
Dec. 2-4, 8.00 pm
020 7704 6665

DEC 2nd

Thomas Spencer-Wortley

By Steve Burbridge

Celebrate Christmas

With

Thomas Spencer-Wortley

www.thomasspencerwortley.com

 

****

"We are so excited about the upcoming concerts. As we are coming into our fourth Winter season, we can't wait to pull together all our experiences of live performances over the years help to create a really brilliant show with the wonderfully talented Thomas Spencer-Wortley”…..All Angels

 

“The Drop-dead, Sinatra-eyed quintessential Englishman made the hairs on my neck stand up when he sang his self-penned track ‘Credere’.....Lesley-Ann Jones, Sunday Express

 

Thomas Spencer-Wortley- an exceptional young tenor who possesses talent, looks, integrity and the drive to continually push musical boundaries- will be bringing his spectacular Christmas concert to London, Birmingham and Harrogate. The evenings will include popular classics to songs from the shows and festive favourites.

 

Thomas will be joined by Platinum & Classical Brit nominated ‘All Angels' as special guests alongside- Natalie Hope– direct from the UK Tour of Evitaand soprano Mairead Carlin. He will also be accompanied by Thomas’ own quartet- ‘The Midnight String Quartet’ and a number of past and present students of the Royal Academy of Music. Details of his tour are below:

 

Celebrate Christmas with Thomas Spencer-Wortley Tour dates:

 

December:

20th      London           St John’s Smith Square, Westminster                     7.30pm

                                    (Feat. the Fulham Camerata)

 

21st      Birmingham   Town Hall, Birmingham                                          7.30pm

                                    (Feat. West End Academy Chorus)

 

22nd     Harrogate       Harrogate International Centre                              7.30pm

                                    (Feat. Leeds Philharmonic Chorus / West End Academy Chorus)

  

Thomas’ debut album Credere is out now and contains self-penned songs such as lead-off track- Credere’- a beautifully arranged song with haunting vocals and a soaring melody- a song so brilliant it could stand alongside those of any of the great master works. Other songs present on the album include his take on classics such as -‘Ave Maria’‘The Prayer’ and ‘You Raise Me Up’, and it marks the introduction of a major new voice in music. With his English charm, Italian style and world-class voice, Thomas Spencer-Wortley is destined for great recognition. 

 

To date, Thomas has been described as ‘The English Josh Groban’, the ‘solo version of Il Divo’ and the UK’s answer to Andrea Bocelli but to those who know him, he’s just Thomas...

 

Thomas lives and works with his younger brother, composer & arranger, Oliver Spencer-Wortley. Between them they set out to create a sound, and one which is becoming clearly recognisable, where the excitement of the modern era meets the classics yet retaining all of the beauty and artistry of the original composition. 

 

Thomas was born and raised in Derbyshire and then moved to study voice at Trinity College of Music, going on to gain a post graduate diploma and LRAM at the Royal Academy of Music.  After working in music theatre it was evident that Thomas’ classical sound was individual, a real blend of the operatic world and the ‘West End’.  This left Thomas with an apparent decision to make, although now it would appear an obvious step, he chose to combine the best of both and become a solo classical cross-over artist.

 

For more information, please visit:

www.thomasspencerwortley.com


Nov 28th

Weekly Newsletter

By Douglas McFarlane
Good morning

It's BAFTA time and the DVD's of some of the top unreleased films are arriving through members doors, with lots of invites to screenings in the West End. There's a few that are already looking worthy of awards. I enjoyed the new Coen Brothers film, A Serious Man, but it was The Road that stunned me this week. A raw, gruelling and very real post-apocalyptic experience. Viggo Mortensen will undoubtedly receive a nomination for his powerful performance and Nick Cave is worthy of recognition for the atmospheric soundtrack.  Look out for the release in the new year.

In the meantime, check out some Tremayne's interviews and reviews at the recent BFI London Festival  http://www.ukfilm.tv

In the world of theatre, the West End continues to add big names to their cast to draw audiences in. Mickey Dolenz, from the Monkees, has come out of retirement to work in Hairspray. Griff Rhys Jones will be playing Fagin in Oliver, and Kim Cattrall continues in Private Lives.  Not to be outdone, the Broadway musical Hair, is coming to London and bringing it's entire cast with them. It's all happening in the West End.

For tickets for these and more, visit http://www.uktheatre.net and click on 'tickets'.

Have a great week in the world of film and theatre where you are.

Douglas McFarlane
editor@uktheatre.net
http://www.uktheatre.net


FRI 
27th

Falstaff

Published by: Louise Winter on Friday 27th November 2009 07:11pm
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Falstaff

Reviewed on Wednesday 25th November 2009

Richard Jones’ staging of Verdi's comic opera is a lot less controversial than his 2008 production of Macbeth. However, there were some murmurings in the audience in reaction to some of the scenery, particularly when the garden at Ford’s house was revealed with its rows of cabbages, skipping brownies, young Etonian rowers moving backwards and forwards and plenty of men in uniform. The men get the best costumes; poor Alice, Meg and Nannetta spend much of their time in really dull attire. Even in the last scene Meg and Alice are ‘disguised’ under tent-like cloaks made from curtain material.  Good for a giggle were the cats that came dangerously close to scene stealing a number of times. So, some imaginative and effective design by Ultz but this did not transpire in the last scene which was too predictable. This was a let down compared to the imaginative and tight staging of the previous scenes. Too many people crowded onto the stage wandering randomly about in seemingly undirected chaos. This climax, where Falstaff is taunted, seemed neither frightening nor funny but merely a bit bewildering.  

So, to the performances. Jonathan Veira's Falstaff, who according to the programme has played this part over 80 times in 4 or 5 different versions played this purely for laughs and although an immensely powerful performance and highly amusing there was a lack of any subtlety or sensitivity in this particular performance. It was at full throttle throughout and we were in the realm of caricature by the end. I wonder if Viera over-eggs the pudding like this every time or was pushed by revival director Sarah Fahie to drive every pun, play on words, and innuendo home as hard as this. The Glyndebourne audience is an intelligent one; they don't need everything spelled out for them. Veira is a brilliant singer though and where he was superb was in his vocal performance, so clearly at ease with the music and words that you did feel totally confident of him as the pivotal point for almost all the musical interaction.

The other males were good, particularly Bardolph (Harry Nichol) and Pistol, (Sion Goronwy) who were such a bizarre misfit couple physically that much of the comedy was in the visual interplay between them. Ford (Guido Loconsolo) was very understated and played the respectable husband quietly and convincingly.

All the women were superb, Meg (Rachel Lloyd), Alice (Jessica Muirhead), Nannetta (Elena Tsallagova), who incidentally has the sweetest crystal clear voice, and Mistress Quickly (Kathleen Wilkinson) balanced each other well and portrayed the relationships between them believably. The performances of all these characters were discrete and sophisticated and that was perhaps why Viera seemed to be otherwise.

Thomas Blunt’s direction of the orchestra was expert and gave the audience time in each scene to enjoy the layers of the music and experience the full richness of the score.

This was a very funny evening but the opera as a whole suffered from unevenness of staging and imbalance between the performance of the main characters.

Falstaff plays Milton Keynes Theatre Saturday 28th November (0870 060 6652 Booking Fee) and the Plymouth, Theatre Royal Wednesday 2nd, Saturday 5th December (01752 267222)


FRI 27th

Review of Jenufa, Glyndebourne Touring Opera

Published by: Yvonne Penne-Stuart on Friday 27th November 2009 03:11pm



Jenůfa

An Opera in Two Acts performed by the Glyndebourne’s Touring Opera

Composed by Leoš Janáček

Directed by Nikolaus Lehnhoff

Jenůfa is an opera based on a story by Gabriela Preissová, sung in Czech with English subtitles. Tension started as soon as the curtain opened and didn’t cease until the very end.

An extremely dramatic opera which betrays well the deep love a mother has for her child, and the lengths she will go to protect that child.

As always the cast was superb, both in the singing and also the dramatic atmosphere they created. Giselle Allen in the title role was magnificent and her beautiful voice was shown to its best in the aria sung in the second act. But praise must go indeed to Anne Mason who played her mother, a vocal and acting performance of extraordinary ability which clearly moved the whole audience.

The sets and lighting contributed well to the atmosphere, especially in the last scene when the shutters were opened and light poured in to portray a happier scene.

Robin Ticciati conducted the beautiful and stirring music with sensitivity, portraying well the silent pauses that added to the tension.  The audience was clearly appreciative and one came away with a lot to think about.

The Glyndebourne Touring Opera is at Milton Keynes Theatre until Saturday 28th November.  Milton Keynes Box Office 0870 060 6652 (bkg fee)

www.miltonkynestheatre.com For future dates please see www.glyndebourne.com

 

Reviewed by Yvonne Penne-Stuart at the Milton Keynes Theatre on Thursday 26thNovember 2009

WED 25th

Dial M For Murder

Published by: TREMAYNE (Potter) on Wednesday 25th November 2009 10:11pm

Dial M For Murder

Tuesday 3rd November 2009 at Richmond Theatre

In the opening scene Sheila Wendice (Aislin McGuchin) says: “I burnt all the letters, except one”, to American writer Max Halliday (Nick Fletcher), with whom she has been having an affair.  It turns out it was stolen and a blackmail note followed.

I particularly liked the set with its rotating stage.  Deceptive at first.  My eyes had to focus hard to make sure the furniture was not simply being moved.

The curtains, almost scarlet in colour, would change position as the stage did.

The ransom money was not collected from the address it was sent to.  Max quizzes her: “Are you ever going to tell Tony ( Richard Lintern)  about us?”

She hesitates and tries to condone what she has done, feeling a year ago her husband became a changed man.

The interior pays particular attention to its objects, which are all in various tones of red.

Before the husband enters they make a toast: “ Let’s drink to the way things turn out.” Continuing with the red theme, we notice the colour of Sheila Wendice’s handbag and coat, also red.

The back-drop, see-through, is so much that we may see the staircase.  While the husband is alone with old school acquaintance, Captain Lesgate (Daniel Hill) whom he tells he had always wanted to marry for money,

He continues saying “Would you like to hear how my wife nearly left me?”

After long absences he has discovered something had been going on.

Tony: “I’d make it look like a burglary.  I tried to force her hand by blackmailing her. Funny to think I might have murdered her,..”

“..if I hadn’t seen something to help me change my mind.”

The thing to help change his mail being ‘the letter.’

The Captain, who resembles the main lead in ‘To The Manor Born’, realizes he is being blackmailed.  Reluctant to carry out the task demanded, he is swayed by offer of £1,000.

To create an almost filmic-type atmosphere, the furniture, centrally positioned, starts to judder slightly.  As the see-through red curtain gradually moves round, the phone starts to ring; the captain exits from the scene, the lights change to blue and we hear the sound of teardrops.

The attempted murder scene is most effective, with its echoey sound effects.  All-in-all a well put together piece of theatre, capturing the spirit of Hitchcock.


WED 25th

Christmas with The Rat Pack

Published by: Steve Burbridge on Wednesday 25th November 2009 11:11am

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Christmas with the Rat Pack

Darlington Civic Theatre

‘Tis the season to be jolly . . . and to be surrounded by wall-to-wall panto! But, before all that begins in earnest, Christmas with The Rat Pack is a very welcome deviation on the festive theme.

As the title suggests, the show treats audiences to an evening of the music of Frank Sinatra, Dean Martin and Sammy Davis Jr. Now in its tenth year, the appeal of this production is obvious – it’s slick, stylish and sensational.

Stephen Rashbrook, Mark Halliday and Matt Henry perform as Frank, Dean and Sammy, respectively, and they are joined by Robyn Currell, Nikki Stokes and Rachel Parrott as the Burrelli Sisters.

After beginning with a string of swing hits including Almost Like Being In Love, I’ve Got You Under My Skin and That Old Black Magic Called Love, the tone takes a seasonal turn and classic Christmas songs are integrated into the proceedings.

The performances are top-notch; each of the guys looks and sounds like the legend they are portraying, and there is a wonderful rapport between them. Some scripted ‘comedy patter’ entertains the audience between numbers and it is executed in a way that looks completely spontaneous.

The auditorium was pretty much full on press night, which bodes well for the rest of the week, proving that it is possible to present a seasonal show without having to have the audience shout out: ‘It’s behind you!’

Steve Burbridge.

‘Christmas with The Rat Pack runs at Darlington until Saturday 28 November 2009.

 


WED 25th

Cosi Fan Tutte - Milton Keynes Theatre

Published by: Louise Winter on Wednesday 25th November 2009 09:11am

Cosi--058.jpg

Cosi Fan Tutte

Reviewed Tuesday 24th November 2009

Nicholas Hytner's production of Così Fan Tutte has been reworked since its 2006 debut and this revivial is most definitely a Glyndebourne crowd pleaser. The loyal audience at Milton Keynes signalled their approval long and loud at the end of last night's performance.
This opera about deception, self-deception, morals and fidelity, labelled 'immoral' by Beethoven and considered misogynistic by others is now considered to be one of Mozart's finest works. Although the title translates as 'Typical women' neither sex comes out of this narrative particularly well!

This production has received very favourable reviews elsewhere and Hytner’s revivial is an elegant one aided by Ashley Dean’s sophisticated staging. Outstanding as ever is the orchestra, this time under Patrick Lange’s perfect control; this is the highlight.

The strongest performances come from Riccardo Novaro (Alfonso) and Simona Mihai (Despina). These two, and their dark plottings, pin the production together. Novaro plays Alfonso with an air of menace and does not overplay the humour; he clearly enjoys causing disharmony and distress. Nevertheless, he is charismatic and that coupled with his rich and powerful voice makes Alfonso an attractive character.

Mihai, as Despina, has a pure, fresh quality to her voice, and is a perfect match for her co-conspirator. She is superb in portraying the cynical, no nonsense side of her character and contrasts well with the two sisters, played by Gillian Ramm (Fiodiligi) and Lucia Cirillo (Dorabella).

These two are also excellent, both in voice and as performers, and play their parts with a mix of naivete and gentle sexiness at the beginning. Their character development as the story progresses is well managed and they are faultless in their vocals.Cirillo expresses herself very well in the comedic role, with Ramm taking the role of the seemingly more 'sensible' sister. They both are superb in their scenes with their lovers, Andrew Tortise (Ferrando) and Jacques Imbralio (Guglielmo).

First to Tortise who is not as strong as the others on stage. His voice does not seem quite a match and his acting is so awkward at times that his character is not consistently believeable, upsetting the balance and force of the drama on stage. I found my eye drawn to him in the scenes with Guglielmo and their lovers but not for the right reasons. As he is not convincing as the lovestruck Ferrando, the scene in which his lover’s infidielity is exposed – a scene which should be painful to watch as his anguish, despair and anguish is revealed – is rather weak when it should be a pivotal point.

Imbralio, on the other hand, is utterly convincing throughout. Beautiful in voice, perfect in his performance, convicing as both a bit of a cad
and a persuasive lover.

Overall this a solid and strong revival; superb orchestra as ever, elegant staging, and overall perfomances which are convincing and engaging.

Playing MK Theatre Friday 27th Nov then Plymouth, THeatre Royal on Tuesday 1st and Friday 4th Dec

 

Reviewed by Louise Winter on behalf of Catherine Brian


TUE 24th

Richard O’Brien’s Rocky Horror Show (King's Theatre, Glasgow 23 – 28 November 2009)

Published by: Cameron Lowe on Tuesday 24th November 2009 12:11pm

Glaswegians will find a second use for their Hallow'een costumes this week as Richard O' Brien's Rocky Horror Show makes a welcome return to the King's Theatre.

It’s been 2 years since Rocky Horror visited Glasgow and, at 36 years young, this show doesn’t seem to be showing any signs of age yet! The openly sexual nature of the characters and the storyline were so far ahead of their time when the show opened to a tiny London audience in 1973 that today they still appear fresh and relevant. Director, Christopher Luscombe, and set designer, Janet Bird, added fresh elements to the show a few years back and this latest cast bring their own energy and life to the well loved characters.  The tradition of audience interaction with the cast ensures that no two performances are the same!!

David Bedella simply owns the role of Frank 'N' Furter.  He brought all of his experience of a US national tour (with Meatloaf, no less) to bear in his portrayal of musical theatre's most recognisable character.  He had an astonishing rapport with the audience.  Christopher Biggins embraced his role as the Narrator, comfortably staying one step ahead of an audience who were, at times, a little over excited!  “It was over, but what was over?” asked Mr. Biggins.  “Your career”, answered the audience.  “You must be mistaking me for Katie Price”, he retorted.  Mark Evans (Brad) and Haley Flaherty (Janet) were vocally accomplished and carried the story well.

This is a great production of an excellent show and Glasgow audiences have been given another chance to catch it.  Don’t miss out!

 

LISTINGS INFORMATION

Richard O'Brien's Rocky Horror Show

King's Theatre: Monday 23 - Saturday 28 November 2009

Mon  - Thu eves 7.30pm

Fri & Sat 5pm & 8.30pm

Tickets: £12.50 - £30.50

Box Office: 08448 717648 (bkg fee)

www.ambassadortickets.com/glasgow


MON 23rd

Jump!

Published by: Steve Burbridge on Monday 23rd November 2009 09:11pm

Jump! - One Suicidal Double-Act, Frances McNamee & Neil Grainger.jpg
Jump!

Live Theatre, Newcastle upon Tyne

To market a play as being ‘played out like a Tarantino movie’ seems a tad egotistical and a rather tall order to fulfil. A quote like that should be used when it can be attributed to a rave review rather than little more than speculative wishful thinking.

That said, Live Theatre is synonymous with producing high-quality drama laced with strong local connections and I was looking forward to a tense, psychological black comedy.

Assembling a cast of extremely talented local actors, including Vicky Elliott, Laura Norton and James Baxter, the ‘English premiere’ of Jump! follows the lives of seven desperate characters during New Year’s Eve on Tyneside.

Good time girls Marie (Vicky Elliott), Dara (Laura Norton) and Hannah (Bronagh Taggart, making her professional debut) knock back the bevvies and bitch while waiting for another girl friend to arrive.

Johhny (James Baxter) and Ross (Harry Hepple) are a couple of guys who have got themselves in too deep with a local heavy and now have to carry out a contract killing to write-off a gambling debt that they cannot repay.

Two strangers, Pearce (Neil Grainger) and Greta (Frances McNamee) are both intent on leaping from Newcastle’s High Level Bridge but, after accidentally discovering each other, they proceed to try to talk one another out of it.

As the story unfolds it becomes apparent that the lives of these seven characters are already intertwined and that each of their lives are about to change forever.

Writer Lisa McGee seems to have ‘borrowed’ some of her ideas – didn’t Helena Bonham Carter and Sam Neill have a similar encounter on a bridge in Alan Ayckbourn’s 1998 movie, The Revengers’ Comedies?

The storyline has a strictly ‘thriller-by-numbers’ feel to it and the twists and turns are easy to anticipate. The script is littered with gratuitous bad language that adds nothing to the development of the narrative and the dialogue is rather clichéd.

There are also some glaringly obvious geographical gaffes that must have been the result of the decision to change the setting of the play from Belfast to Newcastle. These should have been picked up by the production team from the outset – or at the very least during the rehearsal process.

Performers of the calibre of Vicky Elliott and Laura Norton are worthy of a better vehicle to demonstrate their abilities than this. If I were to offer Miss Elliott a cautionary word of advice, it would be: ‘Watch out! Be careful that you don’t become typecast as the slightly cynical tart with a heart and the witty one-liners.’

James Baxter’s attempt to instil a degree of believability into the one-dimensional role of Johnny, combined with his stature, hairstyle and facial expressions, resulted in a performance that made him seem like Sonic the Hedgehog with a severe case of haemorrhoids.

The audience on press night, aside from theatre critics, seemed to comprise of family and friends of the writer and performers, plus a sprinkling of invited local celebrities, and there was a fair amount of over-enthusiastic, sycophantic laughter which smacked of desperation more than anything else.

When the only line in the play that I could really engage with was ‘I just want to get home and pretend tonight never even happened’, it leaves little more to say.

Steve Burbridge.

‘Jump!’ runs at Live Theatre, Newcastle until Saturday 5th December 2009.

0 Comments


SUN 22nd

The Adventures of Mr Broucek

Published by: Steve Burbridge on Sunday 22nd November 2009 04:11pm

Mr Broucek 1.jpg
The Adventures of Mr Brouček

Opera North at Theatre Royal, Newcastle

Unconventional is probably a fair way to describe The Adventures of Mr Brouček.

This co-production between Opera North and Scottish Opera is the first major British production since the 1990’s. It’s based upon two novels by Svatopluk Čech – The Excursion of Mr Brouček to the Moon and The Excursion of Mr Brouček to the 15th Century.

Generally, his adventures begin and end in a beer barrel and Brouček is, essentially, a sort of drunken, operatic Mr Benn.

Firstly, after a quarrel in the local pub about the existence of life on the Moon, he falls and is transported to a surreal, clinical environment populated by a civilisation obsessed with art, poetry and all things aesthetic. There are some zany moments in the scenes that follow, which are most certainly to be taken with a large pinch of salt.

Brouček’s pompous opinions and lack of lunar etiquette soon land him in trouble, however, and he is forced to leave abruptly.

The second half sees him transported back in time to 1420 and slap-bang into the midst of a Czech battle. There is a distinct air of patriotism present throughout these scenes – all stirring battle songs and calls to arms. Brouček’s cowardice results in him faring no better in the past than he did in the future, and he is placed in a barrel to be burnt.

This vivid musical journey through space and time is a true ensemble piece, incorporating a strong cast of singers who each play multiple roles.

John Graham-Hall puts in a star-turn as the bumbling Brouček and almost succeeds in making the loathsome, lecherous loser likeable. Anne Sophie Duprels deserves a mention on two counts; firstly, for her wonderfully uninhibited performance as Málinka/Etherea/Kunka and, secondly, for doing it with a badly-sprained ankle. A real trouper, indeed.

Fun and eccentric, this was an enjoyable – yet rather bizarre – opera.

Steve Burbridge.

The Adventures of Mr Brouček was performed at Theatre Royal, Newcastle on Thursday 19th November 2009. 


SUN 22nd

SECRETS COCK TAVERN THEATRE, KILBURN

Published by: OLIVER VALENTINE on Sunday 22nd November 2009 03:11pm
SECRETS COCK TAVERN THEATRE

With the enticing title of Secrets and publicity that promised ‘explosive drama,’ I was all set for an exciting night out at the latest play at the Cock Tavern Theatre. However this rather tame and unfocused contribution offers little in the way of startling confessions or dramatic originality.

Created by Flexible Productions, eight actors reveal their own, true-life secrets through devised enactments. Amongst those unravelling their inner-most shames are a traumatised woman revisiting her sadistic relationship with a boyfriend, a closet queen, a supposedly reformed bully and a questionable victim of sexual abuse. Apart from Helen Briscoe’s disturbing revelations it’s all a bit timid, confused and ultimately shallow. In fact there are the secrets which are so vaguely wafted about that’s it hard to actually pin-point what they actually are.

This awkward effort lets down the usual high standard of work that the Cock has consistently produced in the past. The writing is all over the place, contrived and clumsily structured with some scenes adding little to the storyline or development of the characters. Indeed the only revelation this play really offers is the ability of the exceptionally skilled cast to create engaging, truthful performances despite being in a production that under Danielle Coleman’s messy direction, looks like a drama school creation. This further is emphasised by a bricolage of victim headlines glued onto a cheap looking backdrop as the centre piece for the set.
Helen Briscoe is exceptional in all her roles, James Dutton convincing as the bully and a suspected victim, Andrew Cleave very watchable as the put-upon psychologist and Shireen Walton adds some equally comic and moving moments to the play.
The telling of secrets have been the basis for many a successful drama. This is not one of them.
OLIVER VALENTINE
www.cocktaverntheatre.com
SECRETS_3.jpg

SUN 22nd

“Sailor Beware!” by Philip King & Falkland Cary

Published by: TREMAYNE (Potter) on Sunday 22nd November 2009 02:11pm

“Sailor Beware!” by Philip King & Falkland Cary at Baron’s Court Theatre on Sunday 15thNovember 2009

Published by: Tremayne (Potter)

Before the curtains went up at The Curtains Up pub I had been led to believe that “Sailor Beware!” was a farcical play, not worthy of a revival but by the end of Act I, the person had to take back what had been said and admit, how much they liked Nadine’s  Window’s take on it.  A non-farcical play.Bumper packed, full of joyous Northern-style humour.

“It’s the uniform she’s fallen for”, says Emma Hornett (Jean Christie), speaking disapprovingly of her daughter’s choice in men.  The man, in question, is Albert Tufnell (Michael Aucott), who bears a slight resemblance to singer Robbie Williams.  His character, played out in a very natural, cheeky boy way, makes it difficult for the audience not to be endeared by him.  Albert is a Marine and on greeting his mother-in-law-to-be he throws his arms open.  She seems less than impressed.  Then, cousin Daphne Pink (Chloe Fontaine) arrives, and Albert introduces himself to her as ‘The Human Sacrifice!’

The tea time scene is painful to watch.  I could relate to it immensely, with its tedious arguments bubbling at the surface and the bossy mother figure, who says: “we can’t all have baths in the morning”, suggesting that some people might choose to bath the night before The Wedding, i.e. Pop( Kevin Halliwell)!Their quibbling continues and Pop says: “anyone would think he were on his way to prison the way you talk”, seeing no reason why Albert should not experience one last night of freedom on the town before the big day, managing to start-up an argument between Albert and his fiancée, Shirley (Jacquelyn Kent ).

When the lights fade for the first time, the actors use the time effectively, clearing the dinner table and carrying away any unwanted running props.

In the next scene we are introduced to annoyingly funny neighbour Mrs Lack (Jeryl Burgess), whom all of us can relate to as we all would have come across someone like her at one time or another. A kind of Dot from EasterEnders type, who brings with her the news that her daughter cannot carry out her bridesmaid duties but her take on it is that why shouldn’t a Wedding start to go wrong before the marriage has had a chance to begin.

Pa comes in after a big night on the town, not convincing me with his drunken behaviour.  That is, until he starts to rearrange the household ornaments and then I believe him!

I like the reference made to ‘scotch broth’ as Daphne puckers her lips up ready for a goodnight kiss from Carnoustie ( Andrew Glen), who is a marine friend of the groom.

Act II reminded me greatly of Last of the Summer Wine, in its heyday with all the same cast.

“Oh my God, get rid of her before I come back”, says Ma suspecting Mrs Lack is coming round again, blatantly relishing in the fact of poking her nose in where it is not welcome.

Albert finds himself getting pre-Wedding jitters and does not turn up to the ceremony.  Ma’s answer to everything is a nice, warm brew, even when Shirley tells her she wants to die! “Well, you’ve got to have a tea first”, she responds, completely managing to capture that Northern spirit.

Whilst everything is up in the air, Albert walks in, to everyone’s dismay and reassures Shirley that he did want to marry her. ‘Did’ being the operative word!

The priest arrives shortly after and insists on seeing the bride and groom on their own.  During the discussion we learn that Shirley had allowed her mother to put down a deposit on a house, just 3 doors down.  Carnoustie had apparently let it slip out the night before, otherwise Albert would have been none the wiser.  Both are still dead set on marrying one another but Albert stipulates that it must be on his terms and not on Shirley’s mother’s.  Shirley agrees and all ends happily.

Nov 22nd

SECRETS COCK TAVERN THEATRE, KILBURN

By OLIVER VALENTINE
SECRETS COCK TAVERN THEATRE

With the enticing title of Secrets and publicity that promised ‘explosive drama,’ I was all set for an exciting night out at the latest play at the Cock Tavern Theatre. However this rather tame and unfocused contribution offers little in the way of startling confessions or dramatic originality.

Created by Flexible Productions, eight actors reveal their own, true-life secrets through devised enactments. Amongst those unravelling their inner-most shames are a traumatised woman revisiting her sadistic relationship with a boyfriend, a closet queen, a supposedly reformed bully and a questionable victim of sexual abuse. Apart from Helen Briscoe’s disturbing revelations it’s all a bit timid, confused and ultimately shallow. In fact there are the secrets which are so vaguely wafted about that’s it hard to actually pin-point what they actually are.

This awkward effort lets down the usual high standard of work that the Cock has consistently produced in the past. The writing is all over the place, contrived and clumsily structured with some scenes adding little to the storyline or development of the characters. Indeed the only revelation this play really offers is the ability of the exceptionally skilled cast to create engaging, truthful performances despite being in a production that under Danielle Coleman’s messy direction, looks like a drama school creation. This further is emphasised by a bricolage of victim headlines glued onto a cheap looking backdrop as the centre piece for the set.
Helen Briscoe is exceptional in all her roles, James Dutton convincing as the bully and a suspected victim, Andrew Cleave very watchable as the put-upon psychologist and Shireen Walton adds some equally comic and moving moments to the play.
The telling of secrets have been the basis for many a successful drama. This is not one of them.
OLIVER VALENTINE
www.cocktaverntheatre.com
SECRETS_3.jpg
Nov 21st

Weekly Newsletter

By Douglas McFarlane
LogoColorTextRight.jpg
Facebook and Twitter


I moved to Socialgo's software platform for the new UK Theatre Network in January and the network is growing from strength to strength. I'm delighted with the quality of their service and they've now brought out two new services to allow automatic login and sharing from Facebook and Twitter. I've got a bit of tweaking to do this week, but you will soon be able to easily share your favourite theatre and film articles across your social networks.

You can connect with me online at:-
http://www.facebook.com/douglasmcfarlane
http://www.twitter.com/ukfilm


Hollywood's Most Overpaid Stars

I enjoyed reading the most overpaid stars from Forbes. I wasn't too surprised with Will Ferrell being at the top, but Ewan McGregor was ranked second !  The challenges of Making It In Hollywood. Here's the article:-

http://www.forbes.com/2009/11/17/hollywoods-most-overpaid-stars-business-entertainment-overpaid-stars.html



West End Auditions for Children 
UK Theatre Network are supporting the casting of children in the West End. We receive casting information provided by the Youth Administrator. Read more....
http://www.uktheatre.net/forum/topic/56


Getting your tickets online

Here are UKTN, we work hard to bring you great ticket offers and we've teamed up with West End Theatre and Love Theatre to give you more choice. Remember you can click on 'tickets' on the main website too, and book in advance for those hard to get West End shows.


UK Theatre Network at West End Theatre
www.westendtheatre.com/uktheatrenetwork

We've added a special HAIRSPRAY competition to win two tickets to the show, plus there are new offers for Christmas including Peter Pan and The Snowman. 

UK Theatre Network at LoveTheatre
www.lovetheatre.com/uktheatrenet

Billy Elliot wins broadway awards. Griff Rhys Jones To Play Fagin in West End's Oliver! Kim Cattrall and Matthew Macfayden to Star in Noel Coward's Private Lives. Phill Jupitus, Belinda Carlisle and Sharon D Clarke To Join Cast of Hairspray. Former Spice Girl Melanie C to Star in Blood Brothers.  Whew, it's all happening in the West End.



The Actors' Society Christmas Party

http://www.theactorssociety.com/news

The Actors' Society is celebrating its launch with a Christmas Party on the River Thames. On boarding the boat complimentary wine and canapes, live music, a games room, a river boat tour of the Thames, and more...

The Actors' Society connects the actor with the industry in an atmosphere designed to support, educate and inspire professional actors in their career development.

On Wednesday, December 2nd, 7-11 p.m. we are celebrating our launch with a Christmas Party on the Thames.

- 100 Early Bird tickets at £17.50
- Standard tickets at £20

Tickets are limited and can be booked here: http://www.theactorssociety.com/news

      

 

FRI 20th

Werther

Published by: Steve Burbridge on Friday 20th November 2009 10:11am

Werther07.jpg
Werther

Opera North at Theatre Royal, Newcastle.

By no stretch of the imagination could I ever claim to be an opera buff. I always believed that a bunch of fat women warbling away in a foreign tongue wouldn’t be my cup of tea at all. It turns out my preconceptions were way off the mark!

Opera North’s stunning production of Werther, a rarely performed opera by Jules Massenet, was about as accessible as you could possibly get. It’s basically a story of unrequited love that ends in tragedy. Werther is a man who is hopelessly in love with a woman already promised in marriage to another.

Although it is sung in French it is easy to follow and compelling to watch. There are screens at either side of the stage, translating the wonderfully poetic dialogue into English.

The performances are exquisite. Paul Nilon and Alice Coote are brilliant as the star-crossed lovers, Werther and Charlotte. Both have powerful voices that are rich and full – perfect for delivering the emotion of the piece – although the swell of the huge orchestra sometimes engulfed and drowned out Nilon.

The sets, designed by Hildegard Bechtler, are simple yet effective, and the orchestra, conducted by Richard Farnes, wonderfully adds to the drama and intensity of the piece.

Highly recommended.

Steve Burbridge.

Performances: Wednesday 18th November 2009 & Saturday 21stNovember 2009. Both at 7.30pm

 0 Comments


WED 18th

'Collider' The Oxford Saturday Matinee Club

Published by: Ruth Curtis on Wednesday 18th November 2009 05:11pm

A complex scientific subject matter combined with theological debate was never going to be my first choice for a theatre experience. I did want to support this first venture of The Oxford Saturday Matinee Club but 'Collider' proved to be a very wordy piece and I often found it hard to believe in the ‘dialogue’ as much more than the four characters making speeches sometimes at rather than to each other or the audience. However, although it might not have been tremendous theatre and was over long (I was definitely clock watching towards the end), it featured some strong performances, especially from Steve Hay. The venue and staging did the play no favours. It was performed in the round but, with no raked audience seating, when actors sat down the sight lines were unforgiving. The friends who went with me (both of whom had stronger grasps of physics than me and one of whom is a devout Catholic) enjoyed the play far more than I did and it provoked some debate and discussion between them afterwards. They both declared it to be very good. I was unconvinced. The so-called vaudeville interludes did little to lift this from being effectively a difficult radio discourse and I may not know much about burlesque but found those elements some of the weakest. Hopefully The Oxford Saturday Matinee Club will provide greater entertainment with its future pieces. This one failed to move me and most of the information contained was too complex for me to retain on a Saturday afternoon.
WED 18th

Mark Morris Dance Group

Published by: Steve Burbridge on Wednesday 18th November 2009 11:11am

Mark Morris Dance Group

Theatre Royal, Newcastle

Friday 13th November 2009

INDIFFERENCE is probably the worst reaction that any performance can generate – it means that, for whatever reason, the production has not sufficiently engaged the watcher to provoke a more emotive response.

The Mark Morris Dance Group is renowned for its innovative contemporary dance performances.Indeed its namesake has been described as ‘one of the greatest choreographers of our time’ and his multi-award winning group – which started in 1980 in Brooklyn, New York – is now one of the world’s leading companies. Sadly, their latest repertoire, which played two nights at the Theatre Royal, failed to offer anything outstanding.

Although the auteur will always have a preferred meaning, often the individual will form their own interpretation of what is being performed on stage in front of them. Some may not even look beyond the aesthetics of the piece to find their enjoyment.

The programme comprised four different routines, each with a style, tone and mood of their own. The first, performed to Bach’s Italian Concerto, was perhaps the closest to what might be described as conventional dance.

Going Away Party, a camp, kitsch cowboy routine, entertained the audience with its swivelling hips and gyrating crotches. Personally, though, I felt that almost twenty five minutes of corny country and western was a tad too long.

Three Preludes, which replaced the billed Excursions, was a solo performed by Bradon McDonald to Gershwin’s Preludes For Piano. Costumed in black and white, presumably as a metaphor of the piano keys, the movements were Pierrot-esque.

The final piece, Grand Duo, was a spectacle of ritualistic fist-clenching, feet-stomping and body-writhing, in which the loin-clothed performers were almost tribal in their movement and expression.

What failed to impress me was the clumsiness with which some of the movements were executed. You don’t have to be an aficionado of contemporary dance to spot a wobbly landing or two.

Steve Burbridge.

TUE 17th

Dreamboats and Petticoats

Published by: Sue Marks on Tuesday 17th November 2009 04:11pm

Bill Kenwright and Laurie Mansfield in Association withUniversal Music

Present

Dreamboats and Petticoats

Book by Laurence Marks & Maurice Gran

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 16thNovember 2009.

 6943.jpg

This show is a must for anyone who remembers the 1950s and ‘60s, but many of the songs featured are so well known it will appeal to anyone who loves these songs. Before the show started I wasn’t sure what to expect in terms of dialogue to music ratio. However, I was pleased to find that there was a good storyline woven around the songs. The show opens with an attic scene where a man shows his Granddaughter his old Fender guitar and says he will explain how he was once, very briefly, in a band. The attic disappears and the band explodes into the opening track, “Let’s Dance.” 

It is the early 1960s and most of the show is set in a youth club in Essex where some members have formed a band and some are attempting to write songs to enter a contest. There are a number of pretty young girls to distract them from their ambitions. There is romance, some of which is unrequited and teenage angst. Songs from the era are performed to a high standard throughout the show as the characters strive to fulfil their dreams. The dialogue is well written and amusing and the characters are believable and likeable. Everyone gave a good performance both in acting and singing. The musicians were also very accomplished.

The band was a permanent fixture on the stage and curtains were used to hide the band for scenes outside the youth club such as the attic or in people’s homes. A thick red curtain was used as a backdrop for the song contest which also served to obscure the band. When the youth club members went on a trip to Southend a couple of dodgems were used to create a fun fair and with a slight modification served as carriers on the tunnel of love. The furniture in the youth club was typical of that time.

The costumes reflected the era and were excellent. Some of the dresses were very colourful with frothy white petticoats underneath. The hair and makeup was also appropriate for the time.  The Teddy Boys’ outfits were particularly authentic.

This show is colourful and vibrant and certainly has a feel good factor. The audience must have enjoyed it as they were clapping in time with the music. Towards the end some people stood up to dance, I was pleased they had managed to resist doing this earlier in the show, as it obviously obstructs other people’s view of the stage. Fortunately those standing up didn’t block my vision of the last few minutes. If you want your spirits lifted go and see this show.

Dreamboats and Petticoats plays Milton Keynes Theatre until Saturday 21st November 2009. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee). The tour then continues playing New Theatre Hull from 23rd to 28th November 2009 and the Lyceum Theatre Sheffield from 01st to 05thDecember 2009.

www.miltokeynestheatre.com www.kenwright.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 16thNovember 2009 on behalf of Catherine Brian.

 



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Nov 2nd

Three Minute Hero Cock Tavern Theatre

By OLIVER VALENTINE

THREE MINUTE HERO                    COCK TAVERN THEATRE

 

A three minute hero is a singer who connects with a whole generation of music fans with a breakthrough number that has a universal message. Phil Setren’s, new play of the same title is based on a promoter’s dream to find such a talent, and explores the clash of the commercial hit making music machine with Muslim cultural beliefs and art.

Dave is an aspiring music promoter who follows his very slim copy of ‘How To Make It In Music,’ guide to the word. He hires a girl band called Hot Goddess, who fail to make the grade but provide him with a big music industry learning curve. He then meets a young Muslim singer called Ash who is in the queue at the X Factor auditions. Simon Cowell’s team fail to see any ability in Ash, but Dave sees his potential and becomes his promoter. All is going well until Ash’s traditionalist brother Raz objects to Ash selling out to the commercial western market and it’s ‘corrupt’ values.

The first half of the play is a rather predictable tale of promoter creates untalented girl band, the girls fall out and the band collapses. Despite strong performances from the actresses and the occasional funny line, the tired storyline and uninspired writing offers little originality. It is not until the second half with arrival of Ash and his brother that the dialogue really comes alive, and dramatic tension is created. Indeed the writing in the second half feels so much more advanced, that it is hard to believe it has been written by the same author.

With the themes in the latter half of the play, Setren has so much original material that this potentially could be a whole drama on it’s own.

Julie Osman’s capable direction keeps the play moving, and there is great sound design by Matt Lee Newby.

Paul Egan is perfectly cast as the eternally optimistic Dave, and Ramanvir Grewal and Anil Kumar are compelling as the brothers.

Three Minute Hero runs at the Cock Tavern Theatre until 14th November.

                                                                                                             OLIVER VALENTINE                                                                                      

Nov 1st

Grizzly Bear and the London Symphony Orchestra at the Barbican: a Review

By Adam Tocock

It probably says a lot about the tone of last night’s show that Halloween was only briefly mentioned once, by Grizzly Bear’s Ed Droste. While London Symphony Orchestra’s performance with Antony and the Johnsons (performed in this hall a year ago) was given a bit of levity by their cover of  Beyonce’s ‘Crazy in Love’, there was no such relief this year. Indeed, Antony Heggarty’s triumphant shows with the LSO seem an appropriate benchmark for last night’s, and on balance the feminine crooner’s show surpassed the Grizzly Bear’s.                       

            While Nico Muhly’s arrangements for Antony and the Johnson’s songs was integral to the performance, tonight the orchestra often seemed surplus to requirements as in the inevitable highlight of the set, ‘Two Weeks’. The sense of anticipation as Daniel Rossen moved to the electric organ for the only time all night was tangible, the opening chords got a cheer, Grizzly Bear played a note perfect rendition of the album version all on their own bar some extra piano from Muhly, and the rest of the set was a bit of a come down. Before this, the mellifluous coda of ‘All We Ask’ demonstrated the Bear’s vocal abilities and provided a golden opportunity for memorable orchestration that wasn’t taken at all.  At the premature end of the following song, a slightly flummoxed looking Droste explained ‘…we had an orchestral ending worked out for this song, but you started clapping  too soon… so we stopped.’  I would have doubted him had the audience not done exactly the same thing during the best song of enjoyable/forgettable support act St. Vincent’s set!

            When the orchestra were allowed to open up I thought they frequently sailed a little too close to the wind, taking songs like ‘I Live with You’ into inappropriate ‘James Bond theme’ territory, but these moments of band/orchestra interaction were fleeting. Luke Turner’s embarrassingly gushing Pseuds Corner programme notes identified Muhly’s selfless ‘appreciation’ for Grizzly Bear’s music, but on the grounds of tonight’s performance perhaps he should reconsider any ‘surrender of the ego’ and make his orchestrations more prominent.

The Barbican’s contemporary Music programme continues with Richard Bona Band and Hindi Zahra on Monday 2nd November, see www.barbican.org.uk for details.

Oct 22nd

The Great Extension, Theatre Royal Stratford East

By James Martin Charlton

Great Extension

Anyone who nostalgically misses the heyday of 1970s ITV race comedy – epitomised by Love Thy Neighbour and Mind Your Language – should hurry themselves down to the Theatre Royal Stratford East for the new play by Cosh Omar, whose Battle of Green Lanes proved such a critical success at the same venue in 2004. The first act of the play, at least, will satisfy a demand for guffaws at broad comic situations, vulgarity, farcical argy-bargy and a dramatis personae in which racial, sexual and cultural stereotypes abound.

Cosh Omar himself stars as Hassan Hassan, an eccentric bachelor who cohabits with his transgender houseboy/sex servant Sanjay, played by Raj Ghatak as if he's the ethnic love-child of John Inman and Julian Clary. Conveniently for the plot, Hassan suffers from "acute episodic paroxysmal alcoholic amnesia" – in other words, he goes out, gets drunk, does silly things and can't remember doing them. On this occasion, his condition has got him into quite a pickle – he's acquired a wife, in the shape of a pretty young Muslim girl in a snazzy hijab. Various comic twists and turns ensue, as Hassan's house is invaded by a Jewish builder, a reactionary white neighbour, the girl's fundamentalist Muslim family and Hassan's own dysfunctional Turkish parents. The first act and a half has a great deal of very broad fun with this cast of walking talking cultural clichés and the talented company works hard to produce some genuine belly laughs. 

It appears to be Omar's intention to paint a picture of the contradictions, in-fighting and tensions of multi-cultural society as a farcical scrum. The play gets into potentially scathing Ortonesque territory when the Muslim and Jewish characters, previously at each others' throats, conspire to murder the old white neighbour and bury him under the Hassan's in-progress extension. But unfortunately the play, instead of building on and paying off the plot's comic situations, descends into speechifying and, worse, sermonising about the Islamic and the European past and present, a trait exemplified by the appearance of a black policeman whose only dramatic function seems to be teach the characters and the audience a lesson in multi-cultural tolerance. This leads to a strangely abstract anti-climax in which the bulk of the cast leave stage to address a group of policemen waiting to be taught racial tolerance and a denouement which desperately contrives every character a happy ending. This feels severely compromised, as if Omar doesn't have the courage of his convictions in terms of sending up his stock-character, falling back on a desperate need to convince us that the play is really "constructive" and "helpful." Satire doesn't need to conciliate its audience like this.

Sanjay, the transsexual houseboy, is the most intriguing and at the same time the least successful of the play's major characters. There are certainly plays to be written about the curious position of homosexuals in Muslim societies, gay men who provide ostensibly heterosexual men with sex and are allowed a social existence if they change their gender (Iran, for example, has allowed hundreds of sex change operations in the past few years). But Omar misses the opportunity to get beneath the surface of this character, and we are left with a cheap camp variety turn written and performed without heart or soul. In fact, none of Omar's characters becomes any more than a cardboard cut-out, the women especially given a scarce amount to do or say.

Part of the problem is that Omar has been encouraged to work on a luxurious scale, a cast of thirteen filling the stage but many of the minor parts are left thankless and underdeveloped. Despite this, the actors are excellent – Omar himself performs with considerable verve and excellent comic timing (reminding me of a cross between Mike and Bernie Winters), Faraz Ayub portrays a hilariously boorish fundamentalist and the wonderful Jack Chissick fills the stage with a gloriously funny splenetic rage as the nasty neighbour. It is a shame that most of the play's verbal wit is on the level of having Chissick scream "f**king hell!" whenever possible, but the actor makes the most of every one of these obscene yelps. Kerry Michael's production is pacey and energetic when the play is, but his insistence on lining people up on the edge of the stage as if they are addressing the audience during the later speeches only emphasises the play's leap into the pulpit.

It's hard to know why Omar has chosen to resurrect a rather discredited 1970s form of populist TV sitcom to deal with the racial and cultural contradictions of today, and still harder to understand why, having done so, he doesn't stick to his guns and continue to make us roar with laughter at contemporary mores rather than going preachy and maudlin about sentiments which most of the Theatre Royal audience will always already be inclined to agree with him on.

Theatre Royal Stratford East, Gerry Raffles Square, Stratford, London
E15 1BN
Box Ofice: Mon – Sat, 10am –6pm 020 8534 0310
16 October - 14 November 2009
Tues - Sat 7.30pm, Matinee Sat 3pm

 


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