UK Theatre Network

Dick Whittington

The Tyne Theatre & Opera House

‘Three things are required at Christmas time; Plum Pudding, Beef and Pantomime; Folks could resist the former two; Without the latter none could do.’

Times may have changed since the above rhyme appeared on an old pantomime handbill, but sentiments haven’t and pantomime remains an integral and essential part of Christmas for many families and theatres across the country. Indeed, for many theatres, the panto is their lifeblood – it is what keeps them afloat financially for the rest of the year. For me, personally, a trip to see ‘the Geordie pantomime’ at the resplendent Tyne Theatre & Opera House, a Grade 1 listed theatre, situated in the heart of Newcastle, is as much a part of Christmas as turkey and all the trimmings.

The Newcastle Panto Company have brought their traditional brand of pantomime to the venue, annually, for a number of years now and audiences return in their droves, each festive season, to see stalwarts including ‘Maxie & Mitch’, Kevin O’Keefe, Charlie Richmond and Catherine McCabe do what they do best – make people laugh.

This year’s production of Dick Whittington brings together the familiar faces and introduces a couple of new ones. As usual, writer and director Brendan Healy has ensured that the show ticks all the right boxes: beautifully detailed sets and scenery; colourful costumes; comedy capers; Geordie dialects and references; boy meets girl; romance and adventure; good triumphing over evil, etc, etc. However, the winning formula has been somewhat changed and, as a result, the show suffers slightly because of it.

As usual, Billy Mitchell (Long John Slavver) and Max Peters (Captain Scuttle) are the comedy double-act that audiences know and love. Yet, without Kevin O’Keefe’s Dame to bounce off, they seem slightly disconcerted. Instead, we have Terry Joyce (making his pantomime debut as Bessie the Cook) serving up more irksome impressions than culinary cuisine and demonstrating a total unsuitability for the part, whilst Kevin O’Keefe is relegated to the dual role of Alderman Fitzwarren and The Sultan of Morocco – both of which are thankless parts, limiting him considerably.

Charlie Richmond retains the role of the simple sidekick, this year playing Idle Jack to Catherine McCabe’s principal boy, and he displays a great rapport with the children who are brought on stage towards the end of the show. Samantha Phyllis Morris, as Alice Fitzwarren, plays principal girl for a second consecutive year and does exactly what the role requires of her – looks attractive, sings sweetly and swoons over Dick Whittington.

Jayne Mackenzie (who was last with the company in Aladdin, two years ago) returns as a campy-vampy Queen Rat and, despite being the strongest singer in the cast, tends to deliver her dialogue with such volume that one might think she intended it to be heard in the auditorium of the Theatre Royal. Resident choreographer Emily Swan also plays possibly the most rewarding of all ‘skin’ parts, Moggie the Cat.

There’s no doubt that this particular version of Dick Whittington has all the hallmarks of a great pantomime, provided that some attention is given to certain scenes. With a bit of tightening here and a spot of trimming there, I’m sure that the Newcastle Panto Company will be back on top form faster than you can say ‘Ship Ahoy!’

Steve Burbridge.

Dick Whittington runs until 2 January 2012.

 

Is this a time for airy persiflage?

 When I told a friend that we would see a production of a Gilbert & Sullivan opera she was less than enthusiastic about it – “old fashioned, stuffy, museum piece.” However, after seeing the G&S production of H.M.S. Pinafore by Charles Court Opera she was a fan. John Savournin’s clear and imaginative productions put G & S operas in a new light. There is not one dull moment in his shows. 

Charles Court Opera now present Gilbert & Sullivan’s best loved opera The Mikado at the Rosie. Directed and choreographed by John Savournin, who also plays Poo-Bah, The Mikado is performed by an exceptional cast and two talented pianists – the Eaton-Young Piano Duo.

The act opens with a group of Japanese nobles. Prince Nanki-Poo— masquerading as a musician—returns to Titipu eagerly seeking Yum-Yum, as he has heard that Ko-Ko was condemned to death for flirting. He introduces himself, and, to his dismay, learns from Pish-Tush that although Ko-Ko was indeed to have been beheaded, he was reprieved at the last moment and made Lord High Executioner instead. As the criminals must be executed in order, and Ko-Ko was next in line, no one else can be executed until Ko-Ko cuts off his own head. For a small fee, Pooh-Bah, a ponderous aggregation of conflicts of interest, reveals that Yum-Yum is on her way home from school and will be wed to Ko-Ko this very afternoon. Ko-Ko is in a bit of trouble because the Mikado has ordered him to execute one person within a month.

John Savournin is excellent as Pooh-Bah in all his sardonic arrogance as he states: “I can’t help it. I was born sneering.” The scene with the Three Little Maids from School is hilarious as they tug at him playfully, giggling with delight as he flinches with embarrassment. Kevin Kyle and Catrine Kirkman are a charming, romantic couple as Nanki-Poo and Yum-Yum. Ko-Ko as played by Philip Lee, is still the tailor as he hems Yum-Yum’s wedding costume. His wooing scene with the fantastically frightening Daughter-In-Law-Elect is one of the comic highlights of the show as Katisha (a wonderfully malicious Rosie Strobel) exclaims: “Is there not beauty even in bloodthirstiness?” Simon Masterson-Smith conveys the authority and cold indifference of the Mikado beautifully. 

Definitely go to see this show! It is worth the trip to Islington.

 Until 23 October

Tickets: £ 16 / £ 14 (concessions), Matinees £ 14 / £ 12

BOX OFFICE: 020 7704 6665

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

 

 
Last night saw the launch of  Livescreen at the Waterside, a new programme of cinema screenings, which will bring some of the best theatre in the UK, broadcast live in High Definition via satellite to the intimacy of the Waterside’s Second Space.

A full season of screenings will be announced in the Spring,  but the launch gave us the opportunity to join the audience of the Royal Albert Hall as Andrew Lloyd Webber and Cameron Mackintosh presented their special 25th Anniversary concert of The Phantom of the Opera.  The show was a fully-staged, lavish production, with a cast and orchestra of over 200 and was broadcast live to big screens across the globe.

The Phantom of the Opera became the longest running show in Broadway history on 9 January 2006 when it celebrated its 7,486th performance, surpassing the previous record holder Cats.  This coincided with the Broadway and the US national touring company celebrating an unprecedented 20,000 performances in the United States. In October 2010 the London production celebrated its 10,000th performance.

The pre-show film showed Andrew Lloyd Webber, Cameron Mackintosh, Gillian Lynn and Hal Prince telling us how the production began and developed to become the most successful musical of all time.

The Phantom of the Opera has won over 60 major theatre awards, including seven Tony Awards on Broadway and three Olivier Awards in the West End.  It won the Most Popular Musical Audience Award, voted by the public, in the 2002 Laurence Olivier Awards.  The Phantom of the Opera, which opened at Her Majesty's Theatre on 9 October 1986 starred Michael Crawford as The Phantom and Sarah Brightman as Christine. It is produced by Cameron Mackintosh and The Really Useful Theatre Company Limited.  Worldwide, The Phantom of the Opera has grossed over $5.6 billion. The box office revenues are higher than any film or stage play in history, including Avatar, Titanic, ET and Star Wars.  It has been seen in 145 cities in 27 countries and played to over 130 million people.  The Phantom of the Opera is currently showing in London, New York, Budapest, Las Vegas, and Kyoto.

This special production starred Ramin Karimloo as The Phantom and Sierra Boggess as Christine. They were joined by Barry James as Monsieur Firmin, Gareth Snook as Monsieur André, Liz Robertson as Madame Giry and Wynne Evans as Piangi, together with a cast and orchestra of over 200. The original cast joined Andrew Lloyd Webber and the cast on stage after the show.  Michael Crawford made a special guest appearance  and Sarah Brightman sang The Music of the Night, alongside some of the previous Phantoms.

The Phantom of the Opera at the Royal Albert Hall was directed by Laurence Connor with Musical Staging and Choreography by Gillian Lynne, based on the original London Production Directed by Hal Prince with Musical Staging and Choreography by Gillian Lynne. The Royal Albert Hall was transformed with a spectacular and unique design by Matt Kinley inspired by Maria Björnson’s original design. Lighting was by Patrick Woodroffe and Andrew Bridge and Sound by Mick Potter. The production was produced by Cameron Mackintosh.

The event will also subsequently be released on November 14th on DVD, Blu-ray™, CD and Download as a must-have anniversary release for fans everywhere. The staged version has never been available before to own on DVD or Blu-ray, and The Phantom of the Opera original cast recording album remains one of the biggest selling music titles of all time. A limited edition 4CD and DVD Collectors’ box set will also be issued to celebrate 25 years of The Phantom of the Opera.

It really was a wonderful experience to be a part of this spectacular event and even though we were watching the show on screen, we all felt drawn into the story and clapped enthusiastically alongside the live audience!  It’s a brilliant development in technology for a live theatre show to be broadcast around the country and indeed the world. It gives everyone an opportunity to experience a show they may never be able to see live in the theatre, but makes it accessible to us all and that can only be good for bringing new people into our regional theatres.

For details of the current programme at the Waterside Theatre  call the Box Office, 0844 871 7607 (bkg fee) or visit www.atgtickets.com/aylesbury  (bkg fee)

Reviewed by:
Yvonne Delahaye
2.10.11

La Wally is another first production by Opera Holland Park of a neglected work. Catalani’s piece is very much a preoccupation with German romanticism tempered with Italian sensibilities.

 Set in the Tyrol,  tomboyish Wally is celebrated in song by her friend  Walter (Alinka Kozari) for her  rock climbing skills and life saving antics.  Stromminger, Wally's father, encounters another group of hunters from the  nearby village of Sölden.  Hagenbach( Adrian Dwyer) son of Stromminger’s long held enemy leads the group, and a violent quarrel is provoked. Wally breaks this up and there is an instant attraction between her and Hagenbach. Love rival Gellner  (Stephen Gadd) notices the attraction and alerts Stromminger to this, who then beats Wally and insists she marry Gellner or be cast out. Wally refuses the match and is sent away.  

 Her fortunes inprove with the death of her father and she inherits  property. She returns to the town, wealthy but  naïvely ignorant of the consequences of her actions, and of the duplicity of other people.

The storyline is at times not made of strong dramatic stuff. Catalani’s beautiful score is what is most attractive about  the production.  Stephen Richardson plays Stromminger as a  pure bully.  Gweneth -Ann Jeffers is excellent as the brutalized,  tragic Wally. A difficult piece to stage, designer  Jamie Vartan created alpine scenes via a giant white tarpaulin manipulated with ropes and pulleys. This was  not always successful, but at  the  dramatic conclusion came into its own for its starkness  together with daring aerial artist display.
Catalani’s piece is a curious work, but the music is beautiful and definitely worth a look  to round off another  diverse season at Opera Holland Park.

July 29, August 3, 5, 10, 12 at 7.30pm
Opera Holland Park
http://www.operahollandpark.com/ 

Lindsay Posner's sexed up Rigoletto sees Mantua styled  as a Mafia Gomorrah with thuggish politicians,  handcuffs, lap-dancing and drugs.

Robert Poulton as Rigoletto struts through the philandering Duke of Mantuas court ( Jaewoo Kim) as the jester,  insulting all the cuckholded husbands.

His comeuppance is a curse issued by a vengeful,  father Count Monterone  played by William Robert Allenby. Genuinely terrified, Rigoletto attempts to protect his daughter Gilda (Julia Sporsen) at all costs from the amorous Duke.

There are many well observed touches in this production. A mobile set of shipping containers were used to create locations outside of the court. Red and black were used to dramatic effect for the colour palette.
An Italian style bar where the Duke goes romancing was complete with TV,football, wine,  and a nod to  Pavarotti before  the crowd pleaser -La donna è mobile .

Robert Poulton as Rigoletto was moving, with  strength, tone and emotion at the death of his daughter. Jaewoo Kim however  seemed more nice guy that lascivious seducer.

Those that saw last years production of Carmen will recall Julia Sporsen's performance as Michaela , and again as Gilda she is perfection.

With Stuart Stratford at the baton of the City of London Sinfonia, the evening doesn't disappoint.

Rigoletto
Opera Holland Park
July 26,28,30,Aug 2, 4,6,9,11,13

http://www.operahollandpark.com/

Premiered in 1917 La rondine (the Swallow) marked a return to composing for Puccini after health  problems and difficulties in his family life. Puccini is unrivalled for his depiction of love and tragedy through passion, and  Tom Hawkes production is perhaps the most romantic of Opera Holland Park's  2011 season.

Kate Ladner as Magda, the bohemian mistress of  Rambaldo has her fortune told to her by her poet friend Prunier (Hal Cazalet) at a party in her salon . Told she will fly away and meet her true love, this awakens memories of past loves, and also a restlessness to be free, perhaps a personalised sentiment of the composer.

Magda embarks on an adventure to the clubs of Paris, meets Ruggero (Seán Ruane) and  runs off to the Riveria. The romantic escapade ends when Ruggero gets permission to marry Magda, and she feels she cannot be a virtuous wife after all. Ladner plays Magda with delicacy, having  good chemistry with her maid Lisette, an energetic Hye-Youn Lee.

Designer  Peter Rice  has created a salon  with muted colours matched with bohemian pinks and mauves. The contrasts go further to a raucous Paris nightscene complete with Ballet Russe-esque characters, and then finally to a dazzling seaside promenade at the Côte d'Azur.

Because of the time in which it was written,  La rondine seems  to be almost experimental. The work  starts abruptly, with the most memorable aria Chi il bel sogno di Doretta (One for Room with a View fans) arriving almost before you are ready.  The motif is  then repeated throughout the rest of the plot , without leaving the satisfaction that this device has in other works.  The piece shows Puccini could still write a beautiful aria,  but suggests that his greatest opera writing years were behind him.

http://www.operahollandpark.com/

Director Liam Steel's  Le nozze di Figaro  at Opera Holland Park  is Upstairs Downstairs meets Feydeau farce.

Le nozze or The Marriage of Figaro continues the characters story  from The Barber of Seville. The Countess Rosina, beautifully sung by Elizabeth Llewellyn  joins forces with her maid Susanna to outwit her womanising husband.

 Count Almaviva ( George von Bergen) wants to reinstate droit du seigneur, a noble mans right to have the wedding night with any new bride. His current desire is Susanna who is about to marry Figaro(Matthew Hargreaves), now head of Almaviva's staff.

Designed by Emma Wee,  the action  is now set  in an Edwardian house  complete with dancing maids. Also part of the fun includes hiding the amorous page Cherubino (Hannah Pedley) to avoid the Count's wrath, and discovering that the  woman the Count wants Figaro to marry instead of Susanna is actually his mother.

This  production sees Susanna  taken on gamely by Jane Harrington who replaced Claire Meghnagi at very short notice. But this last minute change doesn't show. With exquisite harpischord,  Mozart's score was performed by the City of London Sinfonia  under the baton of  Matthew Willis. The production  seemed an appropriate choice as opposed to the more rarely performed works that make up part of their program.

Written as an adaptation of an 1860s Alsace love story,  L’amico Fritz is the tale of a wealthy bachelor Fritz (Eric Margiore) and his determination to avoid the married state.

 It’s Fritz’s birthday, and his friends and adoring staff are ready to celebrate. There seems to be no end to his good deeds, helping orphans such as talented violinist Beppe (Patricia Orr) or providing dowries requested by  matchmaking Rabbi (David Stephenson ). Though Fritz is happy to help, he  has no wish to change his bachelor ways, that is until he meets  an old friends daughter Suzel
( Anna Leese).

 This work is Pietro Mascagni’s follow up to earlier  success with Cavalleria Rusticana, and also a  departure. When  first performed L’amico  did respectably well, but by then Puccini was on the scene and attracting lots of attention with good plots and great drama.

 Opera Holland Park's revival  for this sweet if somewhat flimsy love story works well within its defined terms.  Director Annilese Miskimmon’s  decision to set it in the 1950s gave an anchor to the story. Designer Nicky Shaw followed this by creating  a Mad Men style office complete with bosom heaving secretaries, then taking us to white picket fence country side. The change of scenery shows Fritz fall in love completely with Suzel.

Much is made of folding the set into a house with full complement of carpenters a drilling a roof on in situ. The audience applauded, but it seemed to be a time filler.

Orchestration was tight and well conducted by Stuart Stratford to deliver a faultless performance of a dreamy, romantic score. 

All leads were in good voice with Anna Leese’s Suzel just innocent enough responses hooking the reluctant  Fritz. Leese and Eric Margiore were nicely paired but there was not quite enough  charisma portrayed to believe all his staff were falling over themselves to be with him. Margiore’s Fritz seemed oblivious to all the admiration.

Throughout the Second and Third acts we witness Fritz’s internal struggles against romance, but as he has no other obstacles to surmount,  the inevitable outcome does not make the plot very memorable.

This revival is charming and entertaining, perfect for a summers eve, but may explain why productions of it are a rarity.

 June 10, 15, 17, 21, 23, 25 at 8pm.
www.operahollandpark.com