All aspects of Oscar Wilde's story of Dorian Gray are beautifully captured by Matthew Bourne's company.

The emotions and moral intricacies of this gothic fable are performed in a visually exciting, and captivating way; and Terry Davies' score greatly adds to this and portrays the emotions. Gray is a hedonistic and narcissistic young man who makes a pact with the Devil to never age and to become immortal. He lives a immoral and excessive life until he finally gets bored with it all. He falls in love; but has a terrible secret to hide. Whilst his physical beauty shows nothing of his lifestyle or Faustian pact; his 'painting' hidden in the attic bears the scars of every one of his debauched deeds- creating a hideous image of who he really is. Except, in this production, Bourne has chosen to physicalise this painting in the form of a doppelganger of Gray- a decision which highlights the themes of duplicity in Gray's novel, and makes a much more powerful image for the audience; which makes Gray's fears and need to hide the truth even more believable.

The dancer's capture this often chilling tale with such ease, and it is truly gripping to watch. A modern design puts Wilde's story firmly in the 21st century; showing how it truly is a universal tale; and fits perfectly with our current image-obsessed world. The dancer's costumes firmly capture this modern and edgy world; where beauty and image are everything. The stark lighting of Paule Constable also capture's the black and white-ness of this fashion society. The dance style is alluring and seductive; and Richard Winsor brilliantly portrays Dorian with real passion and emotion.

It is clear that Bourne has put a great deal of thought into his choreography and devising of the

production; and it pays off. Both avid fans of Wilde's work, and new visitors to the tale will thouroughly enjoy this production and the twists that Bourne has added- his modern interpretation; and bringing the homosexual subtexts of the novel to the forefront, for example.

A most enjoyable and thought provoking night out. It's a must for everyone.

LISTINGS

Dorian Gray

Wed 30 Sep – Sat 3 Oct

Wed – Sat eves 7.30pm

Tickets: £19 - £35

Box Office 0844 871 7647 (Bkg fee)

www.ambassadortickets.com/glasgow (Bkg fee)

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

After a critically acclaimed run in London, A View From The Bridge stops in Glasgow for one week as part of a very limited national tour.

Arthur Miller has created many tragic heroes in his time, and many of his plays focus on situations surrounding family loyalty and responsibility. A View From The Bridge seems to combine many of his themes in one play, and it’s humour and drama still provides entertainment to this day. The political statements that speak to us about our lives today, including the immigrant workers, the struggles for money are the background in which to place a simple story about misplaced love and loyalty.

This current production has pulled in two heavy hitters to lead the cast. Ken Stott as Eddie Carbone, a hardworking longshoreman, and Mary Elizabeth Mastrantonio as his wife Beatrice. The family unit is completed by orphaned neice Catherine, played by Hayley Atwell, whose movement into adulthood at age 17 provides the crux of the story. I’m unsure as to whether it was down to Lindsay Posner’s direction or Miss Atwell’s own performance, but her physical portrayal did seem a little too contrived and forced. Also there were some strange costume choices which seemed to contradict the script itself which I was very surprised to see in a production of this standard. On the other hand Ms. Mastrantonio’s minute movements are precisely placed and timed to make maximum impact. With the most genuine accent of all the cast, and probably the most genuine emotions throughout, she stood up to the powerhouse performance from Ken Stott, and definitely shone for me in this piece. Mr Stott had probably the most difficult of tasks as the character of Eddie is required to show huge shifts in emotion over very short periods of time. This could easily look “over-the-top” or forced, but the grounded performance from this diminutive actor ensured that it never crossed that line.

The story opens with the arrival of two immigrant Italian cousins, who are each met with different responses from the family (and also from this critic). Gerard Monaco as the hardworking family man Marco drew the audience into the likeable and humble side of his nature, while giving brief glimpses of the strength (both in character and physicality) which lay beneath. Harry Lloyd however, as Marco’s brother Rodolpho, was a different matter. Again, little production errors (like not dying the roots for someone who is supposed to be playing a natural blonde in a period piece!) didn’t help with the continuity of this character. The expressiveness and vivaciousness of this character was shown a little too excessively, and again I believe this may be down to direction more than the actors portrayal.

Over and above the performances mentioned above, Allan Corduner as the choric character of Alfieri. Although playing a part of the story as the Lawyer, it’s in the sections of narration where his authoritative tone makes it’s mark.

The scaling down of the set for this tour works well and the main living room set, design by Christopher Oram, works extremely well. The lighting design, by Peter Mumford, complements both the set, and the acting superbly, despite their being a few technical glitches on the opening night.

Although there were a few negative points, these were far outweighed by the positives in this production. As this is it’s only Scottish venue, they have luckily been able to add some extra seats this week, and they will be needed, as the chance to see these two leads deliver such strong performances should not be missed.

Listings

Mon 1:    7:30pm

Tue 2:     7.30pm

Wed 3:    7.30pm

Thu 4:     2.30pm, 7.30pm

Fri 5:       7.30pm

Sat 6:      2.30pm, 7.30pm

Tickets: £

Box Office: 0870 060 6647 (bkg fee)  web: www.theatreroyalglasgow.com

Ken Stott, Arthur Miller, Dorian Gray, Chitty Citty Bang Bang, Quadrophenia and that's just for starters...

This spring looks set to be an amazing time for all Scottish theatre goers as the King’s and Theatre Royal will be playing host to some phenomenal productions!

At the King’s there’s still time to book for the devilishly brilliant musical

The Witches of Eastwick (28 Apr – 9 May) starring Glasgow’s own Marti Pellow. Other season highlights include Quadrophenia (2- 6 Jun), a brand new production based on the iconic movie with music by Pete Townsend; Roald Dahl’s The BFG (1 – 5 Sep) a whizzcracking show which will excite Dahl lovers young and old; The Silver Darlings, directed by Kenny Ireland, (8-12 Sep), an epic adventure based on one of the most cherished Scottish novels of the 20^th Century; Chicago (5 – 10 Oct) will razzle and dazzle its way on stage with Gary Wilmott and Eastender’s Emma Barton (Honey Mitchell) and of course the ultimate classic adventure story Chitty Chitty Bang Bang (20 Oct – 14 Nov); this fantasmogorical award-winning musical is in Glasgow for 4 weeks only and stars Barbara Rafferty as Baroness Bomburst. Finally it’s never too early to book for the King’s panto and this year we present Snow White and the Seven Dwarfs (4 Dec – 17 Jan), with a brand new script and never before seen sets and costumes.

At the

Theatre Royal we are delighted to announce we are one of only three British tour dates for Arthur Miller’s A View from the Bridge (2-6 June). This electrifying production boasts an outstanding cast featuring Scotland’s own Ken Stott and Hollywood star Mary Elizabeth Mastrantonio. A View from the Bridge is currently storming the West End and we are thrilled to be the theatre bringing this production to Scotland. Our series of drama continues with an exciting co-production by two of Scotland’s acclaimed companies, the Dundee Rep Ensemble and the National Theatre of Scotland with Peer Gynt (23 – 27 June). A raucous and radical interpretation of Ibsen’s classic Peer Gynt takes its audience on a truly wild and theatrical journey.

Other not to be missed shows include the stunning

Imperial Ice Stars with Cinderella on Ice (9 – 13 Jun); the much-loved family musical Annie (4 – 8 Aug); West End sensation Tim Flavin in Singin in the Rain (1 – 5 Sep); Matthew Bourne’s Edinburgh International Festival sell-out hit Dorian Gray (29 Sep – 3 Oct) and later in the year don’t miss one of the most popular Scottish plays of all time, The Steamie (2 – 7 Nov).

To

DOWNLOAD copies of both the King’s Theatre and Theatre Royal brochures please log on to

The Carl Rosa Opera Company presents:
HMS PINAFORE
With John Savident as Sir Joseph Porter
And the Carl Rosa Opera Company and Orchestra

Theatre Royal, Glasgow
Tues 10 – Sat 14 March

HMS Pinafore sails in for Theatre Royal Premiere

Following the hugely successful West End run and UK tour in 2008 of The Mikado, acclaimed company Carl Rosa Opera are setting sail this Spring and Summer with a brand new production of another favourite from the Gilbert & Sullivan canon, HMS PINAFORE which premieres at the Theatre Royal.

High seas, high dudgeon and high hopes of everything turning out well, abound in this glorious light opera with Carl Rosa Opera’s Artistic Director Peter Mulloy at the helm. Setting the action in 1805 after the death of Lord Nelson, Mulloy’s fresh new production, with a distinct Dickensian flavour, acknowledges in its stunning design Gilbert’s original plan to have Nelson’s flagship HMS Victory represented onstage.

John Savident, whose career boasts extensive stage, tv and film work but is known to millions as butcher Fred Elliot in Coronation Street, joins the company in the role of Sir Joseph Porter. Determined to take a wife, a matter not of romance but rather social status, he finds himself caught up in pursuits of the heart beyond his control, together with memorable characters such as the lovely Josephine, her father Captain Corcoran, love-struck Ralph Rackstraw and Buttercup.
 
In this sparkling production, sailors, matters of social standing and secrets all simmer alongside one another, promising a scintillating (and at times wonderfully silly!) story of star-crossed lovers and birth-swapped babies.

Will Dick Deadeye scupper plans for a happy resolution? Will the truth be revealed after all? Will true love run its course or will everyone be left all at sea without their hearts’ desire?

Held in great affection as well as high regard, Carl Rosa Opera continues in its ethos to present work of the highest standard to audiences both familiar with and new to the world of opera. This remarkable and entirely self-sustaining company is proud to offer a participation programme of education and training alongside its producing work. Carl Rosa Opera’s profile is enhanced by its work internationally as well as in the UK and is committed to nurturing future talent as well as offering insight and access into the world of performing and performance with a world-class company.


http://www.ambassadortickets.com/news_detail.aspx?ID=122
 

Published by Clare Brotherwood on Thursday, February 5 2009

Bill Kenwright’s latest production certainly proves that the show does go on - and that it is invariably all right on the night, whatever the problems.

Pack of Lies’ impressive cast was to have included Roy Marsden - for 14 years PD James’ detective hero Adam Dalgliesh.

But on Tuesday, Kenwright himself told an opening night audience at the Theatre Royal Windsor that less than a week before Marsden had fallen ill and Daniel Hall, whose TV credits include My Family, Kingdom, Midsomer Murders, The Bill, Judge John Deed and Hope and Glory, had stepped in.

With just three-and-a-half days’ rehearsal, including an all night session with the rest of the cast, Hugh Whitemore’s thriller was a triumph.

Set in 1960 Ruislip and based on true facts, Pack of Lies revolves around the Jacksons, a quite frankly, dull family, who are drawn into the nightmare world of deception and treason when a stranger enters their lives.

The role of the stranger is pivotal - and Hill’s performance was quite amazing as he settled into his character with apparent ease, totally convincing us that he was who the programme said he was, exiting only once to check his lines but making it look like it was all part of the plot.

Pack of Lies opens up all sorts of demons when an ordinary family find they have to keep a secret and choose between their loyalty to their friends and their loyalty to their country.

The emotions involved sometimes make it hard to watch, especially as the strain of her situation begins to tell on the painfully dull Barbara Jackson, played so sensitively by Jenny Seagrove.

Simon Shepherd as ‘pipe and slippers’ man, Bob Jackson, is totally unrecognisable, as is Judy Garland’s younger daughter, Lorna Luft, an altogether totally unexpected member of the cast, seeing as she plays a woman living in a semi in Ruislip. However, she is no ordinary suburban housewife and plays her character to the full - a loud, loving Canadian who still manages to fit in a few bars of a song.

Pack of Lies continues at the Theatre Royal Windsor until February 14 and then goes on tour until April 11 when it goes into London’s West End.