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.

Back Row Productions and Sadler’s Wells present A New Adventures Production

Mathew Bourne’s Swan Lake

Music by Pyotr Ilyich Tchaikovsky Director and Choreographer Matthew Bourne

Set and Costume Design Lez Brotherston Lighting Design Rick Fisher

Associate Directors Scott Ambler and Etta Murfitt

Resident Tour Directors Scott Ambler and Steve Kirkham

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 1^st February 2010.

This is not the classical ballet Swan Lake; it could be considered an interpretation of Tchaikovsky’s music via contemporary dance which has been influenced by ballet. Now fifteen years old it has seen several major re workings and is still constantly evolving. It contains comedy, pathos and positively drips sensuality although some interpret this as sexuality which fifteen years ago tended to be labelled homoerotic, you will have to make up your own mind about this. It stars a prince who is crying out for some kind of emotional contact beyond the dutiful Queen and her corgi dogs. It even laughs at itself when you get a ballet within a ballet set at the opera house and I am sure the abiding image that everyone will take away with them after seeing this is that of the flock of male swans, at once beautiful and dangerous, simultaneously exhibiting grace and menace.

Dominic North gives an excellent performance as the Prince displaying the vulnerability required for this part which is inevitably overshadowed by the swan when he eventually appears. The Queen taken by Nina Goldman maintains a regal air throughout; indeed one could say aloof, not an easy task particularly when one also has to appear sexy as in the dance with the stranger. The third major part which as usual steals the show is that of the swan/stranger admirably played by Richard Winsor, undoubtedly helped by the fact that he has a body to die for.  Maddy Brennan was extremely funny as the girlfriend, whilst Steve Kirkham demonstrated appropriate reserve as the private secretary. Although the stars may catch the limelight the strength of any dance production is down to the ensemble and these dancers are very very good.

Lez Brotherston’s set and costume designs are outstanding, from the simplicity of the swan breeches and the genius of the painted beak to the lavishness of the Royal Ball costumes coupled with the ‘70s nostalgia of the club and the point where the whole of the female cast are Queen clones. I was also impressed by the butterfly costumes worn by the dancers in the spoof ballet. This scene allowed a touch of total glittering fantasy counterpointed by the drab yet still fantastic costumes of the wood demons. I particularly liked the Queen’s scarlet dress,  worn with black petticoats it created a dramatic contrast which was magnified by the fact that everyone else on the stage was wearing black, the effect was stunning. The Queen wore glittering diamante tiaras and some of the costumes were decorated with diamante or sequins.

 The scenery was excellent I loved the tree branches with the full moon shining behind them and there was an interesting effect which created the impression of water. The solidity of the side pillars gave depth to many scenes whilst not appearing out of place in sets as diverse as the park, the street and the palace gates.  Rick Fisher designed the lighting which was superb, from the previously mentioned full moon to spotlights strategically placed to cast the characters’ shadows on the wall, with the Queen’s towering over everyone else’s. This was not the only use of shadow play and there were times I was torn between watching the actors or watching the shadows. Full use was also made of back lighting to turn scenes of apparent solidity into windows onto other scenes.

This production is brilliant and received one of the most enthusiastic responses from an audience that I have seen in this theatre. I applauded till my hands hurt and many people felt the need to stand and applaud. This show is a must see.

Matthew Bourne’s Swan Lake plays Milton Keynes Theatre until Saturday 6^th February 2010. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Birmingham Hippodrome from Monday 8^th February 2010 to Saturday 13^th February 2010.

www.miltonkeynestheatre.com www.swanlaketour.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 1^st February 2010 on behalf of Catherine Brian.

Cinderella
Milton Keynes Theatre
Reviewed on Monday 7th December 2009 by Catherine Brian

Having had to miss last year’s panto, we were determined to get there this year.  And we’re glad we did as we really enjoyed the whole evening.

I don’t think this year’s Cinderella will ever win Panto of the year, but it does its job admirally and the 6 yr old we took with us thoroughly enjoyed every minute, which is the whole point really.  We left the theatre happy and laughing and thinking about how funny and talented Bobby Davro is, and what a shame he is billed as being “star of Eastenders” as if he has never had any other career.  Bring back variety entertainment!

The set and the costumes were really impressive and pretty and did not disappoint throughout.  The Ugly Sisters costumes were, as they should be, fabulous,  each one making a statement being more outrageous as the evening progressed.

There is a bit of strange casting, but I guess First Family Entertainment know who puts bums on seats.  Really and truly, Mickey Rooney as Baron Hardup is past it. It’s a shame really, as he is a Hollywood and Vaudeville legend, and sometimes it’s better to leave it at that.  He looked like a bumbling dirty old man on the few occasions he managed to get himself on stage, and it was always a worry for the audience that he would remember what he was supposed to say.  He performs a number towards the beginning of act 1 – I say “performs a number”, as you couldn’t really call it singing by any stretch of the imagination.

We had an “alternate” Prince Charming – very odd on Press Night – Anthony Kavanagh.  The real Prince Charming was apparently otherwise engaged on our Press Night. (Why would you cast a ‘C’ list celebrity who can’t do the whole run??) Mr Kavanagh isn’t a very good alternate though.  He can’t sing in tune and can’t act. He kind of did the job to keep the kids happy, but really, I think an actor or musical theatre performer currently between jobs would have made a far better alternate and no doubt have been cheaper to hire.
 
On the plus side, Anthea Turner pulls it out of the bag.  I wasn’t expecting much, and clearly she is no actress, but what she is, is very clever, as she knows her strengths and plays to them.  Her wand is a feather duster and she wears impossibly high heels – which kind of says it all really.








Local girl Louise Dearman from Leighton Buzzard, plays Cinderella brilliantly.  Louise has worked in Musical Theatre all her life, both on tour and in the West End and it was nice, after the MK Theatre publicity machine building her up all year, including starring in her own celebrity evening of entertainment to celebrate the 10 year anniversary of MK Theatre, that she was able to spend Christmas at home and be a wonderful leading lady to boot.  She sings beautifully, as I’m sure I’ve said in many a review, if only Simon Cowell, Amanda Holden and Piers Morgan could hear Louise sing they’d realise that the wee Scottish lady can’t really sing that well at all.

Chris Nelson as Dandini was very good – he’s funny, he’s talented, he’s appealing and I’m sure he has a great future ahead of him - but I’m not so sure he looks the part of Dandini.  He’s not how I imagine your average Dandini looking.  He looked nothing like Prince Charming – surely part of the plot is that they exchange places and Dandini becomes the Prince – how believable that is in this instance is questionable.

Chris Dennis and David Langham played colourful Ugly Sisters.  I’m not sure I warmed totally to them.  I preferred the short one – Chris Dennis - purely because I thought David Langham’s portrayal was way too near the mark. David Langham is really very tall.






Bobby Davro was, as I expected he would be, was very funny indeed.  He knows his job and does it wonderfully.  There was a slow boring bit at the beginning when makes his first entrance with a shopping trolley, but I suspect it has to stay as it advertises the sponsors, Robinsons.  (Panto was much more fun when the sponsors were Cadbury’s!) There were a couple of bits that I thought were a bit near the mark and really should have been cut.  The kangaroo at the end of Act 2 was hilarious.  Worth going to see this pantomime for that one 10 minute set if nothing else.

When I say things are too near the mark, I totally take on board that they will go over the heads of the 4, 5 and 6 year olds, but I doubt once today’s children get to 7 or so, that these jokes will go unnoticed.  Maybe I’m too traditional, but a couple of times I felt uncomfortable, and I know some grandparents who went who also felt uncomfortable.  I think it’s unnecessary for this smut to be in family entertainment.

The pantomime also has the totally unnecessary appearances by the winners of the MK’s Got Talent shows – Holly Brewer is the Fairy Assistant  - have you ever heard of the fairy having an assistant before? Adam Gates is MC Domo – he does a 16 bar rap at the beginning of the ball scene in Act 2.  I had to have it explained to me why he was there and who he was.
 
There is a capable chorus of 8 dancers but why is it that these days the male pantomime dancers always seem to be the campest male dancers from the audition?  I want to see manly macho male dancers, so that when they dance with the girls they look like couples.  It’s not their physical strength, more how they hold themselves and look.

Finally, there is an able juvenile chorus of babes – but they are so under-utilised it’s hard to know why they weren’t just dispensed with – or maybe it’s just tradition.

The Shetland Ponies are nice but again, totally wasted.  Why weren’t they walked around the stage? Why did they enter upstage, only to be walked prompt side of centre stage and then walked off as the curtain fell?  What a waste.  I’m not sure half the children would have noticed them if their relevant adults hadn’t pointed them out.

As I said at the beginning, this is a very funny enjoyable evening – surely the proper Prince Charming will be able to sing so make sure you go when he’s on – I think he’s on all the time from around 20th December. 

As a pantomime, it ticks all the boxes - it looks good, it’s funny, it’s professional and we left feeling happier than before we went.  At 2 and a half hours, it’s a tad on the long side for the little ones, and our 6 year old was ready for her bed by the time it finished.

Cinderella plays Milton Keynes Theatre from Friday 4th December 2009 until Sunday 17th January 2010.  Tickets range from £17 to £26 with family, school and group discounts available.  Milton Keynes Theatre Box Office: 0844 871 7652 (bkg fee)or go to the website http://www.ambassadortickets.com/Milton-Keynes-Theatre

Reviewed by Catherine Brian at Milton Keynes Theatre on Monday 7th December 2009

Bill Kenwright and Laurie Mansfield in Association with Universal Music

Present

Dreamboats and Petticoats

Book by Laurence Marks & Maurice Gran

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 16^th November 2009.

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

www.miltokeynestheatre.com www.kenwright.com

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

The Queen's Theatre returns to its repertory roots with this digging up of Emlyn Williams 1928 warhorse A Murder Has Been Arranged, once a staple of regional theatres and weekly reps but now rarely done outside Amateur Dramatic circles. I was rather looking forward to seeing this play brought back from the dead, my interest in Williams being tweaked by David Cottis' splendid revival of The Druid's Rest at the Finborough this summer. Unfortunately, if there is a case to be made for A Murder Has Been Arranged – and I severe doubts – this production doesn't do much to argue it.

A Murder Has Been Arranged is a thriller which bucks the rational trend of most plays in that genre by including a genuinely supernatural element – a ghost actually appears. The setting is the stage of a West End Theatre, where wealthy old Sir Charles Jasper is celebrating his birthday and hoping he'll live past 11 O'clock, as at that hour he will inherit four million pounds; otherwise, the money will go to a long lost relative, Maurice Mullins. Predictably Mullins appears, yet he's not the only one with a motive for murder, as the handsome young masher hanging round the old man's younger wife also has good reason to want Jasper dead.

The play has a potentially intriguing meta-theatrical element, with most of the characters dressing up in Shakespearean costume and much of the action being those intrigues and lust of the middle classes which were the staple fare of West End audiences between the wars. Sadly, it can't be said that Williams really does anything that interesting with his conceit, and the production never finds a theatrical style to persuade us that the play is anything but a dated and daft dodo. This is compounded by most of the cast seemingly possessed by a palpable contempt for the material. The staging has none of the kinetic verve usually served up with relish by the show's director, Bob Carlton. After the interval, as the acting became ever more arch and coarse whilst the characters rave on about the dead walking the stage and the vitality of the evening becomes equivalently zombified, I idly wondered whether the whole thing wasn't a great big mickey-take of what Peter Brook identified in his seminal The Empty Space as "the deadly theatre" – theatre which exists with no real passion and without any purpose. But it grieves me to say that the production is most likely an example of deadliness rather than a wry comment on it.

A Murder Has Been Arranged is an evening with little wit and still less wonder, except that it does make me wonder why Carlton has chosen to put on a play he appears to have so little interest in making live for his audience. Stephen Daldry's production of An Inspector Calls shows that it is possible to make a creaking old thing breathe for contemporary theatre-goers, although it's admittedly a better play to begin with. Anyone keen on collecting revivals of rarities from the West End's vaults might force themselves down to Hornchurch to watch this corpse stalk the stage, but anyone wanting a living, breathing and truly haunting piece of theatre would be better off steering themselves elsewhere.

The Queen's Theatre, Billet Lane, Hornchurch.

Box Office: 01708 443333

30 October - 21 November 2009

Mon-Sat 8pm, Matinees Thu & Sat 2.30pm

 Northern Ballet Theatre

 Presents

 A Christmas Carol

Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 13^th October 2009.

Firstly congratulations to the Northern Ballet Theatre on their 40^th birthday. It is productions such as this that has enabled them to survive to maturity. If you enjoy contemporary ballet then you will love this rendition. If you are not particularly fond of ballet then the subject material makes this performance particularly accessible and I believe you will enjoy it in spite of yourself. Naturally Dickens’ dialogue is missing and it definitely helps if you know the story but for the most part the Company has kept close to the tale Dickens told. You might ask why bother with ballet; why not deliver the performance in prose? The answer is simple; dance is a more emotive medium and can inform this story in ways that cannot be achieved by players alone.

Scrooge is taken by Darren Goldsmith who for three quarters of the performance does not dance which accentuates how well he dances during the remainder. I particularly enjoyed the “reverse strip” where he dresses on Christmas morning. Sharing the limelight is Hironao Takahashi who plays Bob Cratchit. Whilst I believe it is divisive to single out members of a dance ensemble I feel it is only fair to mention the ghosts of Christmas past, present and future played respectively by Julie Charlet, Tobias Batley and Michael Berkin. The whole troupe gave a remarkable performance supported by children from the Myra Tiffin Performing Arts School.

The dancers are supported by a complete orchestra of approximately thirty people, lead by the first violin Geoffrey Allan and conducted by John Price-Jones. The superb quality of the orchestra clearly enhanced this production and effectively compensated for the lack of dialogue. The music portrayed many different moods and emotions ranging from classical to Christmas carols which are sung.

The costumes are lush ranging from Dickensian street clothes rich in velvet and brocades featuring bonnets and top hats to the fantasy outfits worn by the phantoms and ghosts. Particular mention must be made of the outfit worn by the ghost of Christmas future, a representation of the Angel of Death which is superb if somewhat frightening. As someone who doesn’t like feathers I found it particularly uncomfortable. I was more comfortable with the costumes of the ghosts of past and present.

The scenery was fairly simple consisting primarily of a mezzanine below which was a double sided pair of walls giving us the outside and inside of Marley and Scrooge’s office and with some alteration a Victorian street scene and the inside of the Cratchit’s home. Scrooge’s bed figured heavily although not always as Scrooge’s bed, for example when his tombstone rose out of it. Good use was made of lighting and special effects, such as snow in different forms.

This was an excellent production which was clearly well received by the audience as there was extensive applause at the end of the show, I thoroughly enjoyed this performance and would urge others to go and see it.

A Christmas Carol plays Milton Keynes Theatre from Tuesday 13^th October 2009 to Saturday 17^th October 2009.  Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee). The tour then continues playing Sheffield Lyceum Theatre from 10^th to 14^th November 2009.

www.miltonkeynestheatre.com www.northernballettheatre.co.uk

2009 Reviewed by Sue Marks at Milton Keynes Theatre on Tuesday 13^th October on behalf of Catherine Brian.

Richard O’Brien’s  Rocky Horror Show

Produced by Bill Kenwright

Directed By Christopher Luscombe

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 5^th October 2009.

What can I say about the Rocky Horror Show? If you don’t know and love it then you should do yourself a favour and go to see it. If like me and I suspect the majority of the audience you do know and love it, you will not be disappointed with this production. Naturally there are concerns about the role of Frank n Furter which Tim Curry made so much his own both on stage and in the Rocky Horror picture show. However, these concerns are unfounded as David Bedella is superb in this his second tour (he took the role in 2006/7) as Frank n Furter.

The other person who talks directly to the audience is the Narrator, a part taken by Steve Pemberton perhaps best known for his role in the League of Gentlemen. Again an excellent performance and I doubt I will ever forget him telling a heckler to “save your breath as you’ll need it tonight to blow up your girlfriend”.

The show is opened by Kara Lane as the usherette and it is only because I have a programme that I know she also takes the role of Magenta as she gives two wonderful but entirely different performances.

We then see Janet and Brad ably played by Hayley Flaherty and Mark Evans, supported by the Phantoms who whilst not having a major part do make a major contribution to the ambience (and are the understudies). A car journey, a flat tyre and a hike in the rain see Janet and Brad arriving at Frank n Furter’s castle. Personally I’ve always wondered why a Transylvanian castle is sat happily in the American countryside but sometimes you just have to suspend disbelief. The door is opened by Riff-Raff played by Brian McCann and they quickly meet Frank n Furter’s other servants Magenta and Columbia played by Ceris Hine. The remaining characters are Rocky played by Dominic Tribuzio and Eddie played by Nathan Amzi who also takes the role of Dr Scott.

This show relies heavily upon its music and therefore needs an excellent band, which are:  Steve Hill Musical Director/Keyboards, Dave Webb Saxophones, Steve Willingham Guitars, Ron Humphrey Bass Guitar and Paul Matthews Drums. The musicians were situated on a mezzanine at the back of the stage which made them an integral part of the show.

The scenery and props were simple but effective; in particular excellent use was made of fabric upon wooden frames which when lit from the back was virtually transparent but lit from the front made extremely effective wood panelling. I particularly liked the minimalist car which effectively consisted of four wheels, two seats, a radiator grille and a pair of hand operated windscreen wipers (but interestingly no windscreen).   Another excellent touch was the monitor screens, steam punk in style and used to enable some excellent cartoon work and puppetry. Perhaps the most obvious and heavily used scenery were the ladders which could be moved about the stage and were rendered more interesting by having gaps and partial rungs.

Excellent use was made of lighting including spotlights held by the phantoms at one stage. Effects were limited but appropriate and included thunder, lightening and the use of a smoke machine.

The costumes are vital to the Rocky experience and this production was no exception. There were slight changes from the original, for instance Magenta wore a rather fetching black lace number rather than the French maid’s outfit of the original, which may possibly have been disconcerting for those members of the audience wearing maid outfits. Traditionally the Rocky ethos encourages audience participation and some of the audience had dressed for the occasion which is fun. However, a few people at the front stood up to dance and wave lighters around and whilst I’m not a killjoy I wasn’t sorry the usher discouraged this. I’m sure the people sitting behind them were relieved too. Any reasonable person would be aware that if they stand up the people sitting behind them will be unable to see. Some people seem to think that fulfilling their personal pleasure overrides the rights of others.  When challenged they react as if people are being mean to them. At the end of the show many people stood up which I consider an appropriate time for such audience participation.

This is a really excellent production that is not to be missed.

Rocky Horror Show plays Milton Keynes Theatre until Saturday 10^th October 2009. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee).

The tour then continues playing Bromley – Churchill Theatre from October 12^th to 17^th 2009.

www.miltonkeynestheatre.com www.rockyhorror.co.uk

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 5^th October 2009 on behalf of Catherine Brian.

Hi all

Hope you're having a great week.  I'm pleased to say that this week's newsletter has the first review from Wales !  I've been trying to get someone reviewing over there for a while as it was the only part of the UK where we didn't have representation. 

I was also delighted when I got news this week that MAKING IT IN HOLLYWOOD, the documentary I've been making for two years, has been accepted in SHEFFIELD DOCUMENTARY FESTIVAL on the 4th-8th November.  The delegates listing is like a Who's Who of the UK and International Film Business, with commissioning execs from BBC, C4, Sky and lots of people with the word "acquisition" in their title. Fingers crossed they have a look at Making It In Hollywood. I'll keep you posted.

Have a great week and don't forget to book up for Indie Film Night below to help me support Independent Filmmakers.

Douglas McFarlane
editor@uktheatre.net
UK Theatre Network
http://www.uktheatre.net

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Support YOUR INDIE FILM NIGHT

In association with Raindance and Shortwave Film

Wednesday, October 7th at 7:30pm

http://ukfilm.eventbrite.com/

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THE YORK REALIST RIVERSIDE STUDIOS

Published by: OLIVER VALENTINE on Saturday 26th September 2009 08:09pm

THE YORK REALIST                             RIVERSIDE STUDIOS

Their could be no better 70th birthday present for Peter Gill, founder and director of the Riverside Studios, than this superb revival of his 2001 Oliver-nominated play, The York Realist. This tribute is also a gift for the audience too.

It’s 1961 and George is part of a dying breed of traditional farmers, living in a rural farm on the Dales. He is a down to earth bloke whose world is turned upside down when he falls in love with John, the assistant director of The York Mystery Plays for which he is rehearsing for. He is torn with leaving his mother, and the possibility of marriage to local lass Doreen, for an illegal affair with another man (homosexuality was not decriminalised until 1967), and a career as an actor in London. But when his mother dies, and he is free to pursue his own pathway, the realist in him makes him doubt his ability follow his true desires.

Read more >>>>>

http://www.uktheatre.net/magazine/read/the-york-realist-----------------------------riverside-studios_336.html

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Blood Brothers

Published by: Steve Burbridge on Monday 21st September 2009 05:09pm

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.

Read more >>>>>

http://www.uktheatre.net/magazine/read/blood-brothers_333.html

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”Three of the Best from 24:7” to land in London!

Published by: Douglas McFarlane on Sunday 27th September 2009 08:09am

”Three of the Best from 24:7” to land in London!

For six years now our annual 24:7 Theatre Festival has been a springboard for new writing and acting talent in the North West.

Just last week the Octagon Theatre, Bolton, hosted “Three of the Best from 24:7” to appreciative audiences.

Now, supported by The Co-operative (and for one day only: Thursday, 15 October!), the Three will transfer to London’s Young Vic as part of our drive to put regional work on a national stage.

Read more >>>>>

http://www.uktheatre.net/magazine/read/%EF%BF%BDthree-of-the-best-from-247%EF%BF%BD-to-land-in-london!_337.html

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Richard Parker

by Douglas McFarlane on Sunday 27th September 2009 08:09am

Richard Parker Review by Rick Allden

An hour long play consisting of two actors and two benches might sound like the typical small scale, wry-smile, nice but forgettable production that theatre is so often deluged with.   Not so.  Richard Parker is a genuinely stand-out work that shows us how theatre should really be.

http://www.uktheatre.net/magazine/read/richard-parker_338.html 

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A Christmas Carol

FAMILY TICKET AVAILABLE - SAVE £35!

2 ADULTS AND 2 CHILDREN JUST £95.00

This enchanting, feel-good musical version of Dickens' much-loved timeless tale of Scrooge is set to delight young and old alike this Christmas.

http://www.uktheatre.net/magazine/read/a-christmas-carol_339.html

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UPCOMING EVENTS

Summer Holiday (5-10 October 2009)....8 days to go...

1867.....29 days to go...

Perseus and the Gorgon's Head.....34 days to go...

Romeo and Juliet....39 days to go...

To Have or Not to Have?......40 days to go...

http://www.uktheatre.net/events

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UK FILM

Now in cinemas.........

CREATION (The True Store of Charles Darwin)

http://www.ukfilm.tv/magazine/read/creation_48.html

Rain Man

Adapted for the stage by Dan Gordon.

Based on the MGM motion picture story by Barry Morrow.

Directed by Robin Herford

 Reviewed by Sue Marks at Milton Keynes Theatre on Monday 14^th September 2009.

A flier for this play quoted the Sunday Telegraph as saying “guaranteed tears as well as laughter”. I did not find this was the case, true there were some poignant moments but I found this the most “feel good” play I have seen in a long time. The play opens with a brash Charlie Babbitt wheeling and dealing in his office and barely breaking stride when told of his father’s death. He then attends the funeral of his estranged father and is shocked and angry to learn that the multi millionaire has left his fortune to someone else. There is another shock in store when he discovers the beneficiary is his elder brother, Raymond, an autistic savant who has lived in an institution for many years. Charlie was unaware he had a brother but in an attempt to recover his lost inheritance checks his brother out of the home he has lived in for the past twenty six years. The play illustrates the interaction between the brothers which forges a bond between them. Eventually Charlie, who was initially motivated by financial gain, finds a relationship with his brother more rewarding.

Charlie Babbitt is played by Oliver Chris who is excellent in the role, allowing his character to gradually change during the course of the play. Initially he is brash but with a reasonable smattering of charisma. However, one’s opinion of him deteriorates as he goes through the episode of pulling his brother out of his home for financial reasons, reaching a low at about the same point that his girlfriend leaves because he’s a user. Having assassinated his character in the first half of the play it is rebuilt in the second half when his more human side is displayed starting with the events from his childhood. Revelations about his past explain some of his apparent lack of feeling. Oliver was also very amusing and interacted well with the other characters.

Raymond Babbitt is played by Neil Morrissey and I found his performance stunning. His portrayal of an autistic savant was not only realistic but displayed a sensitivity which added something to the role. He illustrated the reliance autistic people have upon their rituals and routines to cope with even minor changes in the world around them.  Although Neil is one of our best known actors he was still able to be believable in this part, immersing himself entirely in the character. The gestures with his arms were particularly convincing and effectively maintained throughout the performance.

The scenery was minimalist but effective.  It seemed appropriate not to distract the audience from the powerful interaction between the actors. However, whilst not intrusive it held greater complexity than would appear at first sight and effects ranged from photographic backdrops through offices, palatial portals, airport lounges to Vegas hotels.

I thought this was a particularly enjoyable play and judging by the applause at the end the rest of the audience agreed.

Rain Man plays Milton Keynes Theatre until Saturday 19^th September 2009. Milton Keynes Theatre Box Office 0844 871 7652 (bkg fee). The tour then continues playing His Majesty’s Theatre Aberdeen from Tuesday 22^nd to Saturday 26^th September 2009.

www.miltonkeynestheatre.com www.rainmanonstage.com

Reviewed by Sue Marks at Milton Keynes Theatre on Monday 14^th September 2009 on behalf of Catherine Brian.

UK Productions bring Singin’ In The Rain to a rather wet and windy Glasgow, adding some bright spots to the evening.

There are a number of good points to this current tour of Singin’ In The Rain, but unfortunately these are equalled by a number of bad points. It’s never easy to recreate a film on the stage, especially something as spectacular as the MGM’s Technicolor extravaganza Singin’ In The Rain. The story of the introduction of “talking” pictures into the movie industry had some spectacular set pieces in the film, however, it appears that instead of coming up with an ingenious design to try to recreate that magic, UK Productions have gone cheap and made a rather basic set with very few design features to dazzle. Luckily the enthusiastic and talented ensemble added their own dazzle making the chorus numbers a highlight in this show. Using some very witty choreography, which encomapasses some of the traditional elements you’d expect of Singin’ In The Rain, along with some other clever dance elements, choreographer Graeme Henderson sets out his stall well. The fact he is also playing the role of Cosmo Brown is a testament to his talents. It was only a shame that his own “big number”, Make ‘Em Laugh, was not given the same amount of wit, but I think this was more due to the directed elements than the choreography and performance.

The other principals are all extremely able, however I was disappointed in the rather restrained performances from Tim Flavin and Jessica Punch as the leading man, Don Lockwood and his new love interest and aspiring actress, Kathy Selden. Both these performers are obviously talented, but don’t seem to deliver the full impact required for the leading performances. It seems much of this is down to Alison Pollard’s direction, as the final lead principal, Amy Griffiths playing the beautiful, but gratingly voiced Lina Lamont, seemed to be much the same, until her own “big number”. In this performance of What’s Wrong With Me we got the chance to see that even while playing the “can’t sing, can’t dance and can’t act” Lina, Miss Griffiths can definitely sing, can definitely dance, and uses her fantastic acting ability to hide these great talents throughout the rest of the show!

That said, Mr Flavin and Miss Punch did have moments where they got to show off their performance skills. The character of Kathy Selden does seem to shine during the choral numbers she’s involved in, and stands out during the fantastic set-piece of Good Morning (including the iconic sofa-tipping moment from the movie). This received the longest applause of the evening, as it was a non-stop, high energy dance routine involving the three leads doing what they seemed to do best. Mr Flavin, alongside Mr Henderson, also showed off the fancy footwork during Fit As A Fiddle and Moses Supposes, two high energy numbers with lots of character.

Unfortunately all the low points came together at the end of act 1, with the iconic title number. The rather bland set and lighting design was no more evident than when the “rain” started. One strip of water falling along the front of the stage and a rather lacklustre song and dance from the leading man, meant that this was unfortunately the low point of the show. There were no puddles for the leading man to splash in, and by using the whole stage to dance, he spent so little time in the rain, he was barely damp. If he’d done this number in the rain outside on Hope Street, they could’ve saved a fortune on the rain machine, and created a much better effect!

The live Orchestra (can 7 people really be credited as an Orchestra?) were fantastic and did give a very full sound. Along with the great harmonies from the ensemble, the hummable tunes and showstopping numbers, you can see why although this is probaby the original juke-box musical (Arthur Freed asked Betty Comden and Adolph Green to come up with a show using his best songs), it has managed to stand the test of time. That said, I think UK Productions need to spend some time and money on this classic to give it the performance it deserves.

Listings Info:

Tue 1^st – Sat 5^th June

Tue – Sat eves 7.30pm

Thurs & Sat Mat 2.30pm

Tickets: £12 - £30

Box Office: 0870 060 6647          www.ambassadortickets.com/glasgow