Bill Kenwright presents Alan Ayckbourn’s

Bedroom  Farce

Directed by Peter Hall

At Milton Keynes Theatre

As I had anticipated from its name this play was very amusing. It features four couples at different stages of their relationships. The set consisted of three different bedrooms side by side. Each had a different bed and decor. Lighting was used to illuminate the bedroom(s) where the action was taking place and to plunge it into darkness when the focus was on a different room.

The first couple we saw were the mature Delia (Juliet Mills) and Ernest (Bruce Montague). They were getting ready to go out for an anniversary meal and   were chattering about different things; Delia was concerned about their son Trevor’s marriage whilst Ernest was more interested in their leaking roof and damp patches.  Juliet Mills was excellent in the role and although Bruce Montague was amusing, at times he seemed to mumble and I found it difficult to hear what he said.

In another bedroom Maxwell Caulfield’s character Nick was confined to bed with an injured back, and was complaining to his wife Jan (Clare Wilkie) that he was bored. Jan’s patience was clearly being tested but her decision to attend Kate and Malcolm’s party gave her some respite.

We then see Kate (Julia Mallam) and Malcolm (Ayden Callaghan) in their bedroom preparing for their party. They appear to be the happiest couple we have seen so far and are engaged in horseplay. The first guest arrives early before Kate has had time to get dressed after her bath. It’s Trevor, (Oliver Boot) and he’s come to leave his coat in the bedroom. Other guests arrive and the coats are piling up. Trevor’s wife Susannah, (Natasha Alderslade) arrives and it is soon clear that the rumours about their marriage problems are true. Having disrupted the party, Trevor and Susannah individually impose themselves on the other couples, causing more friction and discord. They seem unaware their behaviour is self centred and inconsiderate.

The first half of this play was a little slow in places but the pace improved in the second half. It got funnier as the play progressed, the characters were plausible and the timing was excellent. I found Malcolm’s attempt at assembling a flat pack and the end result particularly hilarious. Another favourite was when Nick had fallen asleep in an awkward position.  I also liked the way Nick refused to be drawn into lengthy discussions with Trevor. Jan’s attempts at getting Nick back into bed after he had fallen on the floor were hilarious. I also found the neurotic Susannah’s nightmares very amusing. In fact her character was quite comical generally, but I don’t think you’d want to live with her. I found this production very enjoyable and amusing and well worth seeing.

Bedroom Farce plays Milton Keynes Theatre from Monday 12^th July to Saturday 17^th July 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Everyman Theatre Cheltenham from Monday 19^th July to Saturday 24^th July 2010.

www.miltonkeynestheatre.com www.kenwright.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 12^th July 2010.

Bill Kenwright presents the Agatha Christie Theatre Company

Agatha Christie’s Witness for the Prosecution

At Milton Keynes Theatre

This play was initially a short story called Traitor Hands written by Agatha Christie in 1925 which she adapted as a play, Witness for the Prosecution, in 1953. It was performed in London, then Broadway and in 1957 was adapted for film.

This is a Courtroom drama so it is essential not to reveal anything that will spoil it for anyone who hasn’t yet seen it. However, with this in mind, I will tell you a murder has been committed and a young man, Leonard Vole, has been charged with the offence. Vole claims he is innocent and is relying on his wife’s evidence to provide his alibi.

The action shifts between the Chambers of Sir Wilfrid Roberts, QC and the Number One Court of the Old Bailey. I found it fascinating that a very convincing open fire in the Chambers is transformed into the witness box in the Courtroom.

The story starts in December 1953 and continues into 1954.  Of course at this time the death penalty still existed for those convicted of murder, which placed an even heavier burden on the jury to reach the correct verdict. There is more pressure on the Barristers to make sure the innocent do not end up at the gallows or that the guilty go free. At this time no one could be tried twice for the same offence.

Denis Lill is excellent in the role of Sir Wilfrid Roberts, QC who is defending Vole in court. He is utterly believable as this character and gave a very strong performance. Ben Nealon takes the part of Leonard Vole and is very plausible in the role of this pleasant, if a little naive, young man. His wife, Romaine Vole is played by Lisa Kay, who gives a strong, emotional performance. I also enjoyed Peter Byrne’s portrayal of the Judge, Mr Justice Wainwright. Vole’s solicitor, Mr Mayhew was played convincingly by Robert Duncan. Mark Wynter takes the role of Mr Myers, QC for the prosecution and is plausible in the role. He has a habit of adjusting his wig, which Sir Wilfrid had alluded to before we saw him do it, this made it more amusing. I liked Jennifer Wilson’s portrayal of the victim’s housekeeper who appeared to be a little deaf and had to be told by the Judge to direct her evidence at the Jury.

Various witnesses give their evidence and Christie has already thrown in a surprise to keep us all on our toes. During the interval members of the audience could be heard speculating on who they thought was the guilty party. The tension builds in the court and there are some surprising revelations and then there is the verdict. However after the verdict further twists and shocks are in store.

I enjoyed this play, once again Agatha has outwitted me, for I was unable to guess the outcome, but this is what I find appealing in her work. I think I would find it a little disappointing if I wasn’t surprised. This play is a must for anyone who appreciates Agatha Christies work and it is an excellent production.

Witness for the Prosecution plays Milton Keynes Theatre from Mon 14^th to Sat 19^th June 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Theatre Royal Plymouth Mon 21^st Jun to Sat 26^th Jun 2010.

www.miltonkeynestheatre.com www.agathachristie.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 14^th June 2010.

Bill Kenwright and Laurie Mansfield present

The Neil Sedaka Story

Laughter in the Rain

At Milton Keynes Theatre

As someone who is not a huge fan of Neil Sedaka I was pleased to find I enjoyed this show more than I had anticipated.  The programme featured 40 songs interwoven around the ups and downs of Sedaka’s life and illustrating a musical career spanning over 50 years. Although the show is almost three hours long (including an interval) it zips along at a fast pace. Wayne Smith plays Neil Sedaka and he is excellent in the role, he is charismatic and has a great voice. He is complemented by Julia Farino who gives a fine performance as his girlfriend and subsequent wife Eleanor.

Sedaka’s songwriting partner Howard Greenfield is played by Edward Handoll who is very plausible in the role. Smith and Handoll manage to convey to the audience the close bond that exists between these two people both professionally and as friends. Having grown up in the same neighbourhood they were introduced by Greenfield’s mother. They discovered a common bond in that they were both regarded as misfits by their peers. Their songwriting partnership was hugely successful.

I was amazed to discover that Sedaka appeared to live quite frugally having given control of his money to his mother initially and then to his manager who was extravagant and failed to pay the taxes.

Some performers took three roles such as Natalie Hope who played Carole King among her characters. I think most people performed well, but I wasn’t impressed with Kieran Brown’s portrayals of Tony Christie and Elton John.

The set is very striking with lit panels in a semi circle.  During the show images are projected onto these panels to illustrate the story. When Sedaka flew to England there were photos of the USA on the left side with a plane in the centre panel and photos of England on the right hand side.  Sometimes there was film footage shown and at other times there were pictures of record labels. There were numerous other combinations. The colour of the lighting around the edges of the panels changed sometimes it was blue, sometimes red. Other lighting was also used effectively.

There was a small band of excellent musicians on the stage at the back; I particularly liked Lindsay Goodhand on saxophone. There was also a group of vibrant dancers who are dressed in keeping with the era who blend in with the other performers.

Among the many songs featured in the show are the well known hits such as Stupid Cupid, Oh Carol, Happy Birthday Sweet Sixteen, Calendar Girl, Amarillo and of course, Laughter in the Rain.

The audience certainly appeared to enjoy the show with people clapping along. It certainly seemed to have the feel good factor as the audience were smiling as they left the theatre. If you’re a fan of Neil Sedaka this show is a must, even if you’re not a fan but like these classic songs, it is well worth seeing.

Laughter in the Rain plays Milton Keynes Theatre from Monday 7^th June to Saturday 12^th June 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Truro Hall for Cornwall from Monday 14^th June to Saturday 19^th June 2010.

www.miltonkeynestheatre.com www.kenwright.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 7^th June 2010.

Theatre Royal Bath Productions presents the West Yorkshire Playhouse production of

The History Boys

By Alan Bennett

At Milton Keynes Theatre

This play is set in a grammar school in Sheffield in the 1980s where a group of boys are hoping to gain places at Oxbridge. The Headmaster, played by Thomas Wheatley, is anxious about the school’s rating in the league tables and is keen to improve its position.  He recruits Irwin, an Oxford graduate, as a temporary teacher in the hope that he will be able to raise the standard of education to make Oxbridge entry feasible.

The role of Irwin is taken by Ben Lambert, who is convincing as the recently qualified teacher. It is soon apparent that his teaching style is very different to that of English teacher Hector, played by Gerard Murphy, whose lessons appear to be very informal and at times could be considered chaotic. There is one hilarious scene where Hector is teaching a slot timetabled as “general studies” where they are speaking only in French and are acting out a scene set in a French brothel. One of the boys has removed his trousers. The headmaster arrives with Irwin during this and they continue to speak in French. Whilst this may have appeared to be a class out of control, their standard of French was very high and I would suggest it demonstrated improvisation skills.

Hector has his darker side; he likes to give some of the boys a lift on his motorbike where he will grope them if he gets the chance.  During lessons Hector will sometimes whack them over the head. The boys don’t seem to mind him hitting them; indeed some see it as a demonstration of affection. How times have changed, Hector would surely find himself at least suspended and probably facing charges in Court if he was teaching and behaving like that now. Despite his behaviour the audience seem to overlook it and find him endearing, although I didn’t particularly like him.

The only female role is that of Mrs Lintott played by Penelope Beaumont who has some amusing lines. James Byng took the role of Posner and gave an excellent rendition of Bewitched, Bothered and bewildered; he was accompanied on piano by Scripps played by Rob Delaney. Kyle Redmond-Jones gave a good performance as Dakin.

The classroom scenery appeared to have been drawn in pencil on graph paper.  A revolving stage was used to slowly move as the boys were sitting at the tables. I’m not sure if I liked this effect, there was something hypnotic about it. There were loud blasts of various music tracks from the 1980’s during the course of the play. Again I’m not sure if it worked for me.

There were a range of aspirations and teaching styles examined in this play, but I was particularly struck by a comment made by one of the boys towards the end when he said he had got an Oxbridge place but had dropped out, having realised that he had burnt himself out with his effort to get there. He had seen going there as an end in itself, but in fact it was just the start.

Whilst I found some parts of this play amusing, the audience seemed to find it funnier than I did.  There were some parts I found a little tedious and overall it was, perhaps a little too long. If you are a fan of Alan Bennett this play should not be missed.

The History Boys plays Milton Keynes Theatre from Monday 17^th May to Saturday 22^nd May 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Theatre Royal Norwich from Monday 24^th May to Saturday 29^th May 2010.

www.miltonkeynestheatre.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 17^th May 2010.

Carl Rosa Opera present

Gilbert & Sullivan’s

The Pirates of Penzance

If you’re a fan of Gilbert & Sullivan you will love this. If you’re not yet a fan, come and see this performance and I suspect you soon will be.  This Victorian classic has stood the test of time and is a superb vehicle for the introduction of light opera. What more could you want, the panache of a gang of pirates, the beauty of a bevy of maidens, a squad of bumbling yet lovable policemen, a silver tongued major general and one of Gilbert’s unlikely plots where once again simple mistakes turn lives upside down. This is supported by Sullivan’s music which is of a quality far exceeding what was common in contemporary theatre (Sullivan’s desire to produce serious music led to later rows in the partnership and eventual estrangement).

To do this music justice needs some serious musicians which is exactly what it gets in the eighteen piece Carl Rosa Opera Orchestra conducted by Martin Handley. It also requires some superb voices, which this cast provides in spades. Whilst the whole cast have excellent voices particular mention must be made of Rebecca Knight (one half of the chart topping duo OperaBabes) who takes the role of Mabel. Rosemary Ashe is reprising her role as Ruth which she formerly played in 2006 with the degree of skill you would expect from someone whose credits virtually fill the page of the programme.

The role of Pirate King is taken by Paul Nicholas, who remains eye candy even though he is older than me (I will reveal neither of our ages, but he was in the original production of Hair in 1969). His charisma and that famous winning smile make him ideal for this part.  Stephen Brown plays a modest yet powerful Frederic, the hero of the piece.  Barry Clark gives us a wonderful Major General Stanley with an excellent rendition of the patter song I am the very model of a modern major general and although Bruce Graham was born and educated in Scotland he provided a totally convincing Cornish Sergeant of Police.  However, my favourite performance was that of Michael Kerry as the pirate king’s lieutenant.

As is traditional two sets were used, the first being a Cornish cove and the second the graveyard of the Major General’s manor, both are to be commended in terms of their construction and effectiveness. An additional effect was provided by a long length of blue cloth which became the sea when somebody carried a cut out of a boat over it. Mention should also be made of the hilarious puppet show used to illustrate the pilot/pirate confusion.

The word that springs to mind when describing the costumes is lush. These range from the thigh boots, silks, beads and feathers of the pirates through the military dress uniform of the Major General to the Victorian dresses (complete with half bustle) of the young ladies. Further authenticity is provided by the period uniforms of the policemen and the nightdresses in later scenes.

If you can only go to the theatre once this year, this production has to be a major contender, it provides superlative music, singing, acting, choreography, costume and sets in a comic opera which has been running since 1879.

The Pirates of Penzance plays Milton Keynes Theatre from Tuesday 11^th May to Saturday 15^th May 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Theatre Royal Newcastle from 18^th to 22^nd May 2010.

Hall for Cornwall Truro from 25^th to 29^th May 2010.

Sheffield Theatres from 7^th to 12^th June 2010.

www.miltonkeynestheatre.com www.carlrosaopera.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 11^th May 2010.

From the Creators of Spirit of the Dance

Strictly Tap Dance Fever

Let me start by saying this is not strictly tap dance. Whilst it has its core in tap it draws upon many other styles of dance, sometimes bringing tap into them, sometimes not. It covers a range of musical styles including jazz, swing, jive, rock, electro-beat and of course music from the shows.

The dancers were; Lee Meadows, Luke Redford, Jay Hardy, Ross Logan, Oliver Botterill, Gareth Evans, Dan Cooke, for the boys and Rebekah Knight, Helen Stainsby, Debbie Paul, Lucy-Alexa Gilbert, Erin Rogers, Eilidh Heather Ross and Emma Nightingale for the girls. The singers were Lara Denning and Scott Garnham, who danced but didn’t tap. These performers are clearly very talented and Emma Rogers’ choreography was excellent.

The show includes highlights from 42^nd Street, Singing in the Rain, A Chorus Line, Tap Dogs and Stomp. I loved  Scott Garnham’s rendition of Cab Calloway’s 1931 classic Minnie the Moocher, (which also features in The Blues Brothers) and the tribute to Bill Robinson, Mr Bojangles. Lara did an excellent version of Fever and I think they meshed very well for the duets.

The set consisted of two metal staircases placed at 45 degrees, with a bridge between them (with access to this bridge from the wings). Set against a background of midnight blue pierced with tiny star like lights whose colour could be changed to produce the relevant ambience. The props included an island bar and a couple of Italian bistro tables with chairs.

There were several changes of costume from outfits reminiscent of forties bathing belles in shorts and cropped tops through risqué burlesque outfits and sequined show numbers, to modern post apocalyptic grunge. Scott and Lara had even more outfits to support their songs.

This is a high energy show with an uplifting feel good factor. Part of this is because the cast are clearly enjoying themselves, whilst the dancing is obviously tiring there are very few points where they are not smiling and many where they are positively grinning. I would recommend this show to anyone who would like to leave the theatre feeling better than when they went in.  

Strictly Tap Dance Fever plays Milton Keynes Theatre from Tuesday 4^th May to Saturday 8^th May 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Congress Theatre Eastbourne from Monday 10^th May to Tuesday 11^th May and The Opera House Buxton from 12^th May to 13^th May 2010.

www.miltonkeynestheatre.com www.strictlytapdancefever.com

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 4^th May 2010.

Bill Kenwright presents

Whistle Down The Wind

Music by Andrew Lloyd Webber

Lyrics by Jim Steinman

Based on the original novel by Mary Hayley Bell and the film produced by Richard Attenborough

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 26^th April 2010.

The first surprise was that the setting had changed from its original northern England to Louisiana. This does not detract from the storyline but does give it a distinctly different flavour. That said the major concept of the story i.e. the contrast between childhood innocence and adult cynicism, remains the same.

The foundations of musical theatre lie in its songs and this has some gems, from the eponymously named whistle down the wind through the heavy rock of tire tracks (not surprisingly reminiscent of Meat Loaf since Jim Steinman was heavily involved with “bat out of hell” and its sequel) to the haunting no matter what which was such a success for Boyzone. A particular favourite of mine is the bluesy song the tribe in which the man believed to be Jesus mixes together biblical patriarchs and ‘50s rock and film icons.

The songs can only be as good as their singers and what singers there are here! Headed by the wistful, yet pitch perfect voice of Carly Bawden who takes the part of Swallow. The counterpoint to this is the powerful voice of Jonathan Ansell who takes the other lead role as the man. A rockier sound was provided by Carl Stallwood who plays the bad boy Amos and also by the snake preacher, Leigh Jones, who gave a particularly charismatic performance, so zealous that it was bordering upon frightening. However, musical theatre is less about individuals and more about teamwork and this team is good, particularly within the acoustics of this purpose built theatre, when the cast sing together the sound surrounds you and appears to lift you out of your chair. Whilst the music could have been provided by a pre recorded soundtrack, the icing on the cake was supplied by the live orchestra and the synergy between musicians and players this produces.

The singing must of course be matched by the acting and I was bowled over by the acting abilities of Swallow, Brat and Poor Baby and mention must be made of the professionalism of the children at this venue who come from the local Myra Tiffin performing arts school. Jonathan Ansell demonstrated that not only is he one of the nations best loved voices as a founding member of G4 but he can act as well. These virtuoso performances were ably supported by the rest of the cast and I particularly enjoyed the quiet brooding menace of the sheriff played by Aaron Shirley.

The rear of the set consisted of a ploughed field in three dimensions set at an angle, which I must admit I thought was painted until the children walked on it. The wings were separated by towering columns of hay bales and scenes were changed by dropping and raising various pieces of scenery, enabling the shift from the barn via the house to the street, not forgetting the bar and the railway bridge. Following the fire scene the barn appears to be a burnt out shell and I’m still not sure how they did this, although it must involve removing part of the scenery and casting the rest in shadow. The lighting was quite subtle with the exception of the fire scene, when light, together with a little smoke, gave us a burning barn. I especially enjoyed the full moon which appeared several times, creating a certain ambiance. The props were limited but the motorcycle was extremely effective and the working headlight added a touch of realism.

Andrew Lloyd Webber is undoubtedly the master of musical theatre and this show is no exception, so if you want a show as good as anything in the West End without having to travel to London this is for you.

Whistle Down The Wind plays Milton Keynes Theatre from Monday 26^th April to Saturday 1^st May 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Grand Canal Theatre Dublin from 10^th May to 22^nd May 2010.

www.miltonkeynestheatre.com www.kenwright.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 26^th April 2010 on behalf of Catherine Brian.

Theatre Royal Bath Productions

 Presents

 Alison Steadman David Troughton in

Enjoy

 By Alan Bennett

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 12^th April 2010.

This play was written in 1980 and is centred on two main characters, husband and wife Wilfred and Connie Craven played by David Troughton and Alison Steadman.  It is set in Leeds in the couple’s home, a back-to-back that is among the last to be demolished as part of a modernisation scheme in a run down working class area. The couple are expecting to be re-housed in a modern maisonette. It purports to be a comedy and the audience were in fits of laughter, myself included, however there were times other people were laughing more than I was and vice versa. There were also some very moving scenes that were quite sad.

The set features the interior of the house with its floors removed so that doors and windows open onto empty space. The decor was shabby and the furniture very basic.  There was a kitchen off the living room and the stairs also went up from the living space.

Wilfred and Connie had been married a long time and had very little left to say to each other. Wilfred had been injured by a hit and run driver which had left him with a metal plate in his head, a numb arm and he walked with a limp. Connie was in the early stages of dementia and kept forgetting things. They were clearly irritated by their own and each other’s medical conditions which led to constant bickering.

Their grown up daughter Linda, played by Josie Walker, lives at home but appears to travel a lot. Wilfred thinks she has a good job and is proud of her but when she eventually arrives home it is obvious she is a different type of “working girl”. They also have a son who is homosexual and estranged from them. However, he is reunited with them during the course of the play.

They don’t get many visitors so were anxious when there was a knock at the door. It transpired that the council had sent some sociologists to observe the remaining residents.  It was obvious that the young woman in the grey suit was in fact a man; Ms Craig was played by Richard Glaves. The observer sat in a chair with a note pad and they had been told not to engage them in conversation. Of course, once someone was watching their “normal” life things began to happen that were out of the ordinary.

Whilst Connie is out shopping a local youth calls round to see Wilfred and assaults him by hitting his head. The youth has his own “observer” with him and they both leave. Neither observer had intervened, both remained impartial. Connie returns home and eventually realises that Wilfred is very still, is he dead?  Unable to get any response Connie calls on her neighbour, Mrs Clegg played by Carol Macready, for assistance. Of course Mrs Macready also has an observer in tow. Believing Wilfred must be dead, although no one qualified has confirmed this, Connie and Carol attempt to lay him out, with some hilarious consequences. I won’t reveal any more of the plot, if you want to know what happens, go and see it.

Alison Steadman is excellent in the role of Connie Craven and gave a very powerful performance. David Troughton is also very good as Wilfred. Josie Walker was very plausible as the feisty Linda Craven. Carol Macready was very good as the extrovert Mrs Clegg.

This play is quite thought provoking, yes it’s a comedy but it’s also very emotional. I found it sad to see a couple who had been married for so long having seemingly lost what love they had for each other. Their daughter Linda was quite cold and uncaring and they were estranged from their son. The home and community they had known for so long was being bulldozed, would they be isolated in their new home? They were physically and mentally broken like their street and community and no one cared about them. How could the observers remain impartial when someone was in need of medical attention or help? Connie had mentioned the phone box had been vandalised, it made me realise how we take our mobile phones for granted, when not that long ago they didn’t exist. We would be able to call for help more quickly now. I think the difference in what people find funny will depend on how people relate to the characters. Those who are young may find some parts funnier than those who are not close to their children or are getting forgetful themselves. This play is very entertaining and well worth seeing.

Enjoy plays Milton Keynes Theatre from Monday 12^th April to Saturday 17^th April 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Alhambra Theatre Bradford from Monday 19^th April to Saturday 24^th April 2010.

www.miltonkeynestheatre.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 12^th April 2010 on behalf of Catherine Brian

Calendar Girls

By Tim Firth

Based on the Miramax film ‘Calendar Girls’ written by Juliette Towhidi and Tim Firth

Produced by David Pugh and Dafydd Rogers.   Associate Producer Stoneface Productions. This Production Directed by Psyche Stott.

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 15^th March 2010.

Inevitably this production will be compared with the film which, it must be admitted, was dominated by the excellent performance of Julie Walters.  This is not the case in this production, there is not a star, but a whole set of powerful performances by some of the best actresses on the stage today. For pure brashness it is difficult to decide between Chris played by Lynda Bellingham or Cora taken by Letitia Dean, who both managed to personify upfront, in your face, Yorkshire lasses. My favourite performance was that given by Hannah Waterman as the retiring but ultimately feisty Ruth. Jan Harvey took the role of Annie whose husband’s untimely death from cancer is the ultimate motivation behind the calendar. Gemma Atkinson is superb as Celia, the trophy wife, struggling with the snooty golf club where she doesn’t fit in. Judith Barker gave a powerful, yet subdued performance as the retired teacher, Jessie.  Richenda Carey gave a believable portrayal of Marie, the prim and proper leader of the local Women’s Institute.      

Calendar Girls is very funny, the audience spent a lot of time laughing, but it is also very poignant in places which brought a tear to the eyes. Colin Tarrant brought dignity and a rustic charm to his character, John, even though his demise has occurred a third of the way through the play. (I loved the device used to illustrate his end, which could only be used on stage). Michael Peluso was particularly funny as the gifted amateur photographer who John had met at the hospital and who eventually took the photos for the calendar.

The music was not intrusive, yet I suspect vital in setting the ambience at several points in the play and was supported by Letitia Dean playing the piano sparingly. I was, however, surprised by what an excellent voice she had.  The costumes whilst fairly commonplace worked well and there were occasional touches of excess such as Lynda Bellingham’s flower outfit.

The scenery and props looked fairly simple, yet were probably a good deal more complex than this initial appearance suggested.  The rolling Yorkshire hills were there as a backdrop and side screens and somehow managed not to intrude in scenes which were clearly indoors. The W I meeting rooms were uncomfortably believable with their hatch and notice boards and that familiar ritual of setting out the chairs. Part of the stage was automated to provide John’s hill complete with strings of pop – up sunflowers.

I thought that the nudity worked rather better in the play than the film, there was a certain modesty to it which somehow got lost in the film. It is surprising that a play which confronts the death of our loved ones via an insidious disease can have such a feel - good factor yet this manages to pull it off and the audience leaves smiling.

Calendar Girls plays Milton Keynes Theatre from Monday 15^th March to Saturday 27^th March 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Theatre Royal Newcastle from Monday 29^th March to Saturday 10^th April 2010.

www.miltonkeynestheatre.com www.seecalendargirls.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 15^th March 2010 on behalf of Catherine Brian.

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 8^th February 2010.

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.

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 8^th February to Wednesday 10^th 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 8^th February 2010 on behalf of Catherine Brian.