Girls seeking a testosterone – free night out are in for a treat at the King’s Theatre this week as “Hormonal Housewives” takes to the stage.

Very much in the mould of the incredibly successful “Vagina Monologues”, Hormonal Housewives offers the talented trio of Carol Smillie, Julie Coombe and Shonagh Price the opportunity to don pink, put down men, laugh at themselves, laugh at men, have a dance and enjoy the company of other women.  Predictably, when the target audience are women, the conversations, sketches and laughter revolve largely around men.  It was possibly the predictable nature of the topics and punch lines that proved to be a shortcoming in the production as some sections raised only chuckles rather than belly laughs.  Writers Julie Coombe and John MacIsaac redeemed themselves, however, with some excellent observational items and development of good physical humour, particularly in the courtroom and keep fit sketches.

The audience certainly enjoyed the entertainment on offer, although they proved reluctant to participate in fanning the cast with programmes in a children’s party inspired game.  Y-chromosomes were in short supply in the auditorium – it seemed that any men in the audience had lost a bet (or were VERY dedicated theatre goers) – but the audience proved that they could have a great time without the aid of their husbands and boyfriends.  This was largely due to the enthusiastic performances on stage where Julie Coombe, in particular, delivered the comedy with great gusto.

All in all, the show was a good target for a girlie night out.  The tour continues to Inverness, Dundee and Aberdeen.

Hormonal Housewives
Mon 1 – Sat 6 March
Mon – Thu eves 7.30pm
Fri & Sat 5.30pm and 8.30pm

Tickets: £9 - £24
Box Office 0844 871 7648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)

SHAKESPEARE GLOBE PRESS RELEASE – 15 February 2010

WORLD PREMIERES

Published by: Tremayne

Shakespeare’s Globe and its 2010 theatre season host two world premieres, Howard Brenton’s new play – Anne Boleyn and Bedlam by first female playwright at the Globe, Nell Leyshon.

“…for years I’d wanted to write a tale about The Tudors.  …sex and religion at such a high level…”

(Howard Brenton).

Anne Boleyn is a dramatisation on aspects of her life and the legacy of her husband, Henry VIII,to whom she was second wife .  A sexually charged woman who took it upon herself to improve the state religion was in, and for the better.

“…anything Tudor-related is gold dust to us at the moment, think to T.V. adaptations…”

(Dominic Dromgoole – Globe Artistic Director).

Nell Leyshon’s writing is described by Dominic Dromgoole as ‘a still and beautiful incapsulation of that Somerset life that’s passing’.  Her new play Bedlam is a fictional take on a London hospital for the mentally insane and looks at the common link between art and insanity.

“…mental illness wasn’t understood, you were either high or low.”

(Nell Leyshon).

SHAKESPEARE’S GLOBE 2010 THEATRE DIARY:

Macbeth by William Shakespeare

23 April – 27 June

Directed by Lucy Bailey

Henry VIII by William Shakespeare

15 May – 21 August

Directed by Mark Rosenblatt

Henry IV Parts 1 and 2 by William Shakespeare

Part 1: 6 June – 2 October

Part 2: 3 July  - 3 October

Directed by Dominic Dromgoole

WORLD PREMIERE

Anne Boleyn by Howard Brenton

24 July – 21 August

Directed by John Dove

The Merry Wives of Windsor by William Shakespeare

14 August – 2 October

Directed by Christopher Luscombe

WORLD PREMIERE

Bedlam by Nell Leyshan

5 September – 1 October

Directed by Jessica Swale

Tickets are available through the box office:

020 7901 9919/020 7087 7398 or

Online: www.shakespeares-globe.org

Q&A SESSION

• The development of The Winter Theatre

“…we retain a shell.  We’ve built up an understanding of The Blackfriars, the indoor theatre in Shakespeare’s day, combined with some of our own designs…”

(Dominic Dromgoole)

•Writing for the Globe

“The Globe loves storytelling.  Being an experimental theatre, it is a psychological window where audience’s brains can open up”.

(Howard Brenton)

•Ticket prices

The Globe continue to sell stand-up tickets for just £5.

“We’ve got the most democratic mix of audience.  I doubt we’ll ever reach the equivalent to New York where a free theatre pass has been made available.

(Howard Brenton)

•Nell Leyshon – First Female Globe playwright

“I wanted to improve the complexity found within plays, which resulted in me writing harder.  For a penny, on a Sunday, during the 18^th century you could observe the mentally ill and poke them with a stick.  I didn’t want to write an historical account.  I wanted to have some fun and not be held by history”.

• Themes of the world premiere plays: religious turmoil from Howard Brenton vs. binge-dinking by Nell Leyshon:

“I’m very interested in religious conflicts.  You don’t set out to write a play with addressing the nation though.  Otherwise you’d go mad like Sir Bernard Shaw!”

(Howard Brenton)

“You couldn’t go to a West End Theatre for fear of being stabbed”, Nell Leyshon who makes a comparison between theatre back in the 18^th century and now.

•Sum-up by Artistic Director, Dominic Dromgoole

“The extraordinary story of the Globe goes on.  It’s little short of a miracle that it’s becoming reachable on your laptop from the top of The Himalayan Mountains”.

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

Julius Ceasar

The Royal Shakespeare Company at Theatre Royal, Newcastle.

Corruption, political intrigue, conspiracy, treachery and murder – Julius Ceasar has it all in this classy production from the Royal Shakespeare Company.

Rome, 44BC: As Ceasar’s strength and popularity look set to propel him to the imperial throne, those closest to him act to prevent what they fear will become a dictatorship.

The conspirators, led by Caius Cassius (John MacKay), convince the well-respected Marcus Brutus (Sam Troughton) to join them in their ‘enterprise’ for the greater good of the republic, and the assassination date is set for the Ides of March.

Both Troughton and MacKay are on top form and their masterful performances easily outshine Greg Hicks’s slightly puny Ceasar and Darrell D’Silva’s Oliver Reed-esque portrayal of Mark Antony.

The arrogant Caesar disregards the prophetic dream of his wife, Calphurnia (Noma Dumezweni) and goes to the Capitol on the Ides of March, as planned, where he is stabbed to death. Talk about a man never listening to the wisdom of his wife?

However, the assassination of Ceasar unleashes a tide of violence that will drag thousands into a bloody civil war.

Clever special effects are employed to recreate the scale of Ancient Rome and its population, and Lucy Bailey’s direction keeps the story going at a pace that makes the three hours pass a lot quicker than they might have done in less capable hands.

Steve Burbridge.

‘Julius Ceasar’ runs until Saturday 7 November 2009.

The Winter’s Tale

The Royal Shakespeare Company at Theatre Royal, Newcastle.

Shakespeare’s play of love, paranoia, betrayal and reconciliation – The Winter’s Tale – is brought vividly and stunningly to life by the Royal Shakespeare Company at Newcastle’s Theatre Royal.

King Leontes of Sicilia (Greg Hicks) is the man with the perfect life. Powerful, wealthy and surrounded by a loving family he should be content, but instead he is ill at ease with the world around him. Isolated by a destructive jealousy, he lashes out at those closest to him.

After accusing his heavily pregnant wife, Hermione (Kelly Hunter), of infidelity with his best friend, King Polixenes of Bohemia (Darrel D’Silva), he imprisons her and arranges to have Polixenes poisoned. When Hermione gives birth to a daughter in prison, believing it to be illegitimate, he orders the child should be abandoned in the wilderness.

The Oracle of Apollo declares that Hermione is innocent of being unfaithful and brands Leontes a tyrant. His punishment is to die without an heir - unless the lost child is found. Shortly afterwards, the news arrives that their first-born son, Mamillius, has suddenly died, which causes Hermione to collapse. She, too, is later reported to have died.

Leontes is overcome with grief and remorse and vows to spend the rest of his life in atonement.

Sixteen years later his abandoned daughter, Perdita (Samantha Young), is alive and well, having been found as an infant by a kindly, eccentric shepherd. Unaware of her background, she is in love with Florizel (Tunji Kasim), son of Polixenes. When he discovers that his son plans to marry a common shepherd’s daughter, Polixenes forbids it. The young lovers elope to Sicilia, pursued by Polixenes.

Back at the court of Leontes, Perdita’s true identity is discovered and the unveiling of a commemorative statue of Hermione sets a chain of events in motion that could eventually reunite the scattered family.

The Winter’s Tale explores the human psyche when corrupted by jealousy and paranoia, whilst also examining its staggering ability to forgive even the most devastating betrayals and cruelties inflicted upon it, thus revealing the true meaning of love.

This production deserves all the acclaim that will, undoubtedly, be bestowed upon it. Consummate performances from the cast are technically backed up with an impressive set designed by Jon Bausor, atmospheric lighting and sound by Jon Clark and Martin Slavin, respectively and dynamic direction from David Farr. The result is a terrific piece of theatre that is as profound and poignant as it is funny and frivolous.

Steve Burbridge.

‘The Winter’s Tale’ runs until Saturday 31 October 2009.

A return to the Glasgay Festival for playwright Matthew McVarish, after the success of last year’s “To Kill A Kelpie”, with another issue based theatrical piece.

Having reviewed To Kill A Kelpie last year, and being extremely impressed by this new author, I was intrigued to see a piece that was billed as not written by, but created by Matthew McVarish. On further reading it appears this production was as much of an experiment in writing styles as it was in creating a new piece of theatre. This did give me sense of trepidation; however I’m pleased to say that this was one experiment that was far removed from Frankenstein’s Monster!

What has been created, through a collaborative writing process from the actors and creator, is a touching piece of theatre which manages to sensitively portray the story of a couple who are unable to naturally have a child, and are going through the decisions and processes involved in adoption. The fact that the couple are both men is another layer to the story which adds both drama and humour in equal measure. The piece is sympathetically played to make the audience appreciate the ideals of the couple who wish to adopt, but also challenges the characters and forces them to give forth their reasons, showing that these are no different than the reasons of any childless couple with a desire to become a parent.

The continual thread of “children’s stories” that runs through the play is a nice way to allow comedy into some very serious moments. The moment of genius that is the courtroom cross examination, interjected with readings from the story of Pinocchio highlights this beautifully. As co-authors to the piece, actors Andrew Agnew and Ed Corrie have obviously had some input into the development of their characters, and this has helped create extremely believable performances on the stage. Mr Agnew as Joe, a frustrated children’s author, shows a gentle maternal human being, whose need to become a parent bubbles under the surface as a frustration that could combust in tears at any moment. Mr Corrie, as Mike, brings his frustration to the fore. His intense portrayal of the family lawyer torn apart by his circumstances in both his work and home life brought another real layer of humanity to the piece. The relationship between both these actors was so natural and believable, that at times it did feel as if the audience were intruding in a family home.

The third actor in the piece was Kai Ross, who at 8 years old has a level of maturity that will carry him well in this business. His ethereal appearances throughout the story were another excellent use of imagery, and his interactions with the adult actors, and the audience were perfectly pitched on the right side of “cute”. The play does have moments that are a little “saccharine”, however this does lend itself well to the “Children’s Story” theme and director Lauren Graham does not allow this to take the play into tacky sentimentality.

Although this is “issue based theatre”, the issue at hand is sensitively depicted without forcing any messages to the audience. This is a moving, humorous play, which draws laughter and tears from its audience but ultimately, and most importantly, entertains.

Listings

Tron Theatre, Glasgow – 20^th-24^th October 7.45pm

Kes

Darlington Civic Theatre

Forty years after British film director Ken Loach’s classic film, ‘Kes’ was premiered, Lawrence Till has produced a stunning and sublime new stage adaptation.

Based on the novel, ‘A Kestrel For A Knave’ by Barry Hines, the story focuses on Billy Casper, an adolescent with little hope in life. Bullied and ridiculed both at home and at school, he is drifting towards a life of juvenile delinquency. Then, one day, he finds an outlet from his pitiful existence through rearing and training a kestrel chick that he takes from a nest on a farm.

His interest soon turns to obsession and he ostracises himself from the negative influences of his mates and spends most of his spare time with the bird of prey. Billy’s talent for falconry leads to a relationship with the kestrel which improves his outlook on life and, for the first time in his young life, he receives praise from his English teacher after delivering an impromptu talk about the bird.

Stefan Butler, as Billy, is magnificent. His earnest and engaging performance is absolutely faultless throughout. Indeed, he leads a cast who are all technically brilliant.

Oliver Farnworth, as the bullying big brother Jud, effortlessly casts a menacing shadow across every scene in which he appears. His systematic and sadistic verbal and physical abuse of Billy is enough to make one squirm uncomfortably in your seat.

Daniel Casey, as Mr Farthing, is equally effective for entirely the opposite reason. His realisation that Billy is not just the ‘no-hoper’ that everyone else has written him off as manifests itself in some heart-warming scenes, during which Billy has the rare opportunity of actually being able to open up and connect with someone.

Other members of the cast include Mike Burnside, David Crellin, Katherine Dow Blyton, Dominic Gately, Peter McGovern, Sue Vincent and Oliver Watton.

Beautifully staged and beautifully acted, ‘Kes’ is one of the most haunting and thought-provoking plays I have seen in a long while.

Steve Burbridge.

‘Kes’ runs at Darlington Civic Theatre until Saturday 24 October 2009.

Photo: Robert Day

A first theatre script by talented freelance journalist Heather Macleod, Long Player was presented in the A Play, a Pie and a Pint series at the Oran Mor in Glasgow's West End. Newly single Angie (Tamara Kennedy) looks back over her marriage to a soundtrack of musical snippets. The highlights include the slightly barbed exchanges between Angie and her ex-husband, the excellent Dave Anderson, and a brief appearance by Samantha Shields as their daughter. Entertaining semi-autobiographical piece shows that Heather has an eye for dialogue and an ear for music.

Rain Man

Reviewed at Theatre Royal, Newcastle upon Tyne

I must begin this review with a guilty admission. I have never seen the 1988 Oscar-winning celluloid version of Rain Man. Shocking, I know, but true nevertheless.

I cannot really provide a reason as to why this is the case. However, it did mean that, when I entered the auditorium of Newcastle’s Theatre Royal, I would be unable to compare the performances of Oliver Chris and Neil Morrissey against those of Tom Cruise and Dustin Hoffman.

The classic movie has been adapted and updated by Dan Gordon, who is also responsible for adapting Terms of Endearment and Murder In The First for the stage.

It centres around Charlie Babbitt (Oliver Chris), a selfish and egotistical car dealer whose business is on the brink of going bust. When he learns that his father has died, Charlie assumes that the inheritance he expects will solve his financial crises, until he learns that the $12 million fortune has been bequeathed to an unknown beneficiary.

The mystery recipient turns out to be Raymond (Neil Morrissey), an autistic older brother that Charlie never knew he had.

There are some terrifically played scenes between Chris and Morrissey, although some of them do not make for comfortable viewing. Charlie sees his brother only as a ‘retard’ who stands between him and the money he so desperately needs and he doesn’t mind telling Raymond this.

Morrissey is sublime as the obsessive savant, mastering each nuance and mannerism to perfection. Chris is equally as good as the highly-strung, materialistic entrepreneur.

But the joy of this piece gradually ascends to an uplifting peak when the brothers begin to get to know one another whilst driving across the country to Los Angeles. It is a journey, not only in the sense that they leave one physical location and arrive in another, but also in the sense that it is a life-changing experience for them both, during which Charlie finally learns the true meaning of unconditional love.

The production values of this piece are second to none and the performances from the cast are exquisite. Morrissey and Chris are excellently supported by Charles Lawson, Ruth Everett, Patrick Brennan and Emma Gregory.

Rain Man is a touching, heart-warming show that deals sensitively with a subject that it never trivialises. Indeed, it is an exhilarating, uplifting and wonderful piece of theatre.

Steve Burbridge.

Rain Man is at Theatre Royal, Newcastle until Saturday 10 October 2009.

 
Blood Brothers

The Sunderland Empire Theatre

There seems to be a common misconception – particularly amongst less accomplished theatre critics – that the future of ‘Blood Brothers’ depends, predominantly, upon the continued casting of a Nolan in the lead role of Mrs Johnstone. This, in my opinion, is completely wrong.

Having seen three of the sisters (Bernie, Linda and Maureen) play the part, I am the first to emphatically acknowledge and applaud their significant contribution to the success of the show over the last twelve years. However, I do not consider it necessary or fair to be ‘wary’ or ‘concerned’ if one of the aforementioned siblings does not occupy the position of leading lady in Willy Russell’s modern masterpiece.

After all, the list of actresses who have donned the care-worn smile and crossover pinny to portray the Liverpudlian single mother ‘with seven hungry mouths to feed’ reads like a ‘who’s who’ of popular music. They include Barbara Dickson, Kiki Dee, Petula Clark, Carole King, Helen Reddy, Clodagh Rodgers, Marti Webb and the current incumbent, Lyn Paul.

Having starred in both the West End and several touring productions of ‘Blood Brothers’, Lyn was hailed, in December 2008, as ‘The Undisputed Mrs Johnstone of All Time’ by fans of the show on the Blood Brothers Online website. She is also rumoured to be producer Bill Kenwright’s  favourite Mrs Johnstone, too.

No pressure there to deliver the goods then, Lyn!

Yet, from the moment she stepped out onto the stage, I felt certain that Miss Paul’s performance would live up to - and perhaps even exceed – my personal expectations.

She looks just right and is vocally impressive, too. Her voice is powerful without being harsh and it is strong enough to travel throughout the auditorium, raising hairs on the backs of necks as it goes. What differentiates Lyn Paul’s performance from most of her peers is her decision to play Mrs Johnstone as a much softer, more sensitive woman. This adds another dimension to the character and effectively stamps Paul’s own personal trademark on the role.

It seems futile, to me, to outline the plot of ‘Blood Brothers’ in this review. Suffice to say that if you don’t know anything about the show that is affectionately dubbed ‘Scouse: The Musical’ then the past quarter of a century has completely passed you by. Instead, it seems more appropriate to focus on the performances and the production.

Whilst I was greatly impressed by Lyn Paul’s depiction of Mrs Johnstone, I am not sure that I’d rate her as my all-time favourite. I’ve seen the role performed by Siobhan McCarthy, Helen Hobson, Marti Webb and the three members of the Nolan clan mentioned earlier. I also have cast recordings of Barbara Dickson, Petula Clark and Stephanie Lawrence.

The Liverpudlian accent is notoriously difficult to mimic convincingly and if a performer is unable to master it perfectly, then it is prudent to underplay it rather than force it as Marti Webb did during her brief stint as Mrs J.  Lyn Paul chooses to err on the side of caution and only gives the merest hint of a Scouse twang.

Where Miss Paul really shines is in her portrayal of a torn mother. The scene in which she inadvertently reacquaints herself with the twin son that she gave away as an infant eight years earlier is heart-rending and played perfectly.

Sean Jones and Simon Willmont were billed as the twins, Mickey and Eddie, who are separated at birth and grow up on opposite sides of the social-class spectrum. However, an announcement made prior to the performance informed the audience that the role of Mickey would be played by the understudy, David Cooper.

As usual, Willmont was outstanding in his portrayal of ‘posh’ Edward. Unfortunately, though, Cooper – despite his seemingly obvious attempt to make the most of his opportunity – fell short as scruffy Mickey, and this affected the portrayal of the relationship between the two brothers.

Robbie Scotcher – one of the best narrators that I have ever seen – gave his usual polished performance. His understated portrayal of this sinister spectre from the shadows combined with the haunting beauty of his singing voice creates a lasting impression for all the right reasons.

Paula Tappenden, as the neurotic and paranoid Mrs Lyons, seems to deliver her lines through a mouthful of marbles, whilst Tim Churchill, as Mr Lyons, mutters and mumbles throughout his performance. You’d think that the middle-class couple, of all people, would have had elocution lessons in their youth. Certainly, though, something needs to be done about diction in both cases.

There is no disputing the status of ‘Blood Brothers’ as a contemporary classic. It has captivated audiences all over the world and won a plethora of awards. However, in my view, the production standards have been allowed to slide.

The relentless rigours of constant touring are beginning to show on some of the scenery. Whilst peeling wallpaper may add an air of authenticity if it were evident in the Johnstone household, it looks out of place and downright tatty when seen in the Lyons’ home.

Since producer Bill Kenwright took charge 21 years ago, the show must have made him a tidy sum. Well, Mr Kenwright, it is about time you started putting in instead of taking out. Failing that, pass the reins over to someone who is prepared to invest some time, money and effort into the phenomenon that is ‘Blood Brothers.’ Having recently celebrated its silver anniversary, it would be a travesty if the brand was allowed to tarnish now.

Steve Burbridge.

Blood Brothers runs at The Sunderland Empire until Saturday 26 September 2009.