UK Theatre Network

Verdict

Darlington Civic Theatre

Bill Kenwright’s ‘Agatha Christie Theatre Company’ may have earned itself a highly acclaimed reputation for staging first-class productions of work by the so-called ‘Queen of Crime’. But, a word of warning: don’t go to one of their shows expecting to see Miss Marple or Hercule Poirot, nor even Tommy or Tuppence Beresford – you’ll be disappointed!

However, if you do go expecting to see a classy adaptation of one of Ms Christie’s ‘overlooked’ or ‘forgotten’ gems you’ll be in for a pleasant couple of hours. Having already given their stylish treatment to Witness for the Prosecution, Spider’s Web, And Then There Were None, The Unexpected Guest and The Hollow, they are now presenting Verdict, their sixth major production in as many years.

In essence, Verdict is a piece which examines the psychology of relationships between men and women rather than being a traditional ‘whodunit’ of the style usually associated with Christie. It is a play which has many levels and, although the murder takes place onstage, in full view of the audience, thus depriving them of the opportunity of guessing the murderers identity, it is strangely engrossing. Instead, the audience is kept in suspense to see if the culprit gets away with their crime at the expense of framing an innocent. And will the verdict, when it is given, be the right one?

As usual, Kenwright has assembled a stellar cast, led by Robert Duncan and Susan Penhaligon in the central roles. Elizabeth Power provides the moments of light relief in the role of the gossiping char, whilst Mark Wynter, Peter Byrne, Cassie Raine, Holly Goss and Mark Martin (understudying for Lyndon Ogbourne) make up the supporting principals.

Overall, the performances are good (although the Eastern European accents were a little wayward at times) and the production values are high. Verdict may not appeal to Christie purists but, nevertheless, it makes for a compelling and absorbing trip to the theatre.

Steve Burbridge.

 Runs until Saturday 1^st October 2011.

COMMUNICATING DOORS

The Gala Theatre, Durham

The concept of time travel has fascinated playwrights, scriptwriters and novelists for decades, and Alan Ayckbourn is no exception. His forty-sixth play – he is now up to 76! – Communicating Doors, is based on the subject and ponders what lies behind the mysterious locked door in the corner of your hotel room.

This cracking comedy-thriller begins with a dying old businessman, Reece Wells (Ben Porter), attempting to ease his guilty conscience. He calls upon Poupée (Laura Doddington), a dominatrix, to witness the signing of a statement in which he confesses to being involved in the murders of his two former wives. But when his ruthless business partner, Julian (Ben Jones), who is also implicated by the statement, finds out Poupée (‘it’s French for doll!’ she insists) escapes her fate by fleeing through the communicating door and finds herself transported back to the same hotel suite twenty years earlier.

The plot sees the ‘specialist sexual consultant’ confronted with Reece’s second wife, Ruella (Liza Goddard), on the eve of her murder. Can she alter the course of events and save Ruella? And can the pair go back a further twenty years and prevent Jessica (Daisy Aitkens), Reece’s first wife, from being killed, too?

Set in three different time zones, 1990, 2010 and 2030, this clever and complex play has you on the edge of your seat throughout. Liza Goddard gives a brilliant performance as Ruella, and she is supported by a consummate cast. The pace of action is frenetic and following the story requires a certain amount of concentration but, ultimately, this pays off and the audience is rewarded with a fantastic evening’s entertainment.

Steve Burbridge.

Runs until Saturday 18 June 2011.

The 39 Steps

Ion Productions at The Customs House, South Shields

First published in 1915, John Buchan’s classic novel The 39 Steps has been filmed three times for the silver screen. It is also now a stage show that has wowed the West End and Broadway and continues to play in many major cities across the globe, including Berlin, Paris, Rome, Sydney and Tokyo.

Patrick Barlow’s adaptation is a slick spoof of the quintessential spy story that is a rocking, roller-coaster ride which has the suave and debonair Richard Hannay (brilliantly played by Jamie Brown) embroiled in a mix of murder and espionage that sees him fleeing his stylish London bachelor pad for the remote Scottish highlands in an effort to clear his name and solve the mystery of the 39 steps.

Only four actors play 139 roles during the performance which lasts just over an hour-and-a-half, and they do so with amazing skill and aplomb. Patricia Whale shines as Annabella Schmidt, the femme-fatale who lands our hero into the sticky situation in the first place, and is also wonderful as Margaret, a Glaswegian girl who has married an overbearing farmer, and Pamela, the aloof society girl who eventually falls for Hannay’s charms and aids him in his attempt to prove his innocence. Craig Richardson and Ian Reay make a hilarious double-act as they portray more characters than I could keep track of – their transformations from character to character, with only the aid of a change of accent and hat or coat, are truly outstanding.

However, it is Jamie Brown’s charismatic and compelling performance as Hannay that steals the show. Every mannerism and movement, every nod and nuance is carefully crafted and perfectly honed. He strikes the right balance between dashing hero and unscrupulous cad and has the audience firmly in the palm of his hand throughout the entire performance.

The use of a limited number of props to denote differing scenes and settings is inventiveness bordering on pure genius. Gareth Hunter’s direction ensures that the pace is never anything short of frenetic and that comedy and parody are skilfully intertwined with suspense and romance. The entire technical team, including James Henshaw for his lighting design and Alison Hickman’s sound operation, are to be commended and congratulated, too.

It is little wonder that this gem of a production has notched up two TONY awards during its Broadway run, an Olivier award in the West End, and thrilled audiences for almost half a decade. You’d be mad to miss it!

Runs until Saturday 11 June 2011.

Growing up with the music of Michael Jackson constantly playing in the background and singing and dancing to his music through the decades, I felt that he was an intrinsic part of my life.  Along with his millions of fans around the world, I mourned the untimely loss of one of the greatest artists of all time and can only wonder at what other hits he may have produced as he returned to performing.

Thanks to the production company Flying Music, in association with Adrian Grant, his work will never be forgotten as they have produced a spectacular concert celebrating the career of the world’s greatest entertainer and undisputed King of Pop!

Established in 2006, THRILLER LIVE moonwalked into the West End after three acclaimed UK tours and standing ovations across Europe. Currently playing at the Lyric Theatre, as well as simultaneously touring the world, award-winning director Gary Lloyd’s THRILLER LIVE brings to life the sensational dancing and distinctive sound of Michael and the Jackson 5.

In a career spanning 40 years, Michael Jackson sold an unparalleled 750 million records worldwide with the Thriller album still the world’s best-selling recording of all time. His music continues to sell in its millions, winning new fans young and old alike.

THRILLER LIVE includes over two-hours of non-stop hit songs in a show that pays homage to the world-class spectacle of Jackson’s legendary live performances.

In keeping with Michael’s lyrics ‘it doesn’t matter if you’re black or white’, the show has a diverse cast of lead vocalists who each bring us their own unique interpretations of his songs. 

With over 10 years experience as a lead and backing vocalist, Ian Pitter is also a gifted musician and have performed with Celine Dion and Beyonce, to name but a few.

Dwayne Wint is lead singer and songwriter of rock band Buddhasugar and has toured in Dancing in the Streets and appeared in Doctors on TV.

Nathan James, is a huge man with long blond hair and is a rock singer who has toured in The Essence of Ireland and Route 66. He’s not someone you’d normally think of as a singer of Michael’s songs, but when you hear him hit those high notes, you know just why he’s there!  Michael Jackson was not only a pop singer, but his range covered rock, R&B and soul and he won awards in all those categories for his Thriller album, so it's fitting to have a variety of singing syles in the show.

Samantha Johnson is a 22 year-old singer, actress and flautist from America.  With a belting voice and powerful stage presence, it’s no wonder she’s attained a following as ‘The Greatest Singer on YouTube’!

Keenan Munn-Francis plays the young Jackson and shows huge confidence and ability as he belts out the Jackson Five songs.

For me though, the night was made perfect by the presence of Sean Christopher, as he sang and danced as Jackson in the later years.  The routines with him and the backing dancers in white suits, when he performed the Moon Dance, stole the show and everyone was on their feet whooping and cheering.  Also when the video showed Jackson putting on the diamond encrusted white glove and cut to Sean standing there in the same costume, we almost felt that Jackson was back with us.  All his moves were identical and the vocals were spot on, making him probably the best Jackson impersonator of our time.


The show is supported by a talented cast who are Chikezie Eze, Oggie, Todd Holsworth, Shae Carroll, Jermaine Johnson, Magnus Einang, Sophie McDonald, Tarnya Neil, Crystal Hantig, Mary Weah and Becky Hicks.



The MD  is Ryan Alex Farmery and his excellent band of musicians are John Maer, Thomas J Indge, Mike Modesir, Ant Law, Gabor Dornyei and Adam Kovacs.

For the most thrilling evening’s entertainment where you can expect your favourite Jackson songs delivered by an exceptionally talented cast and live band, including the smash hits: I Want You Back, ABC, Can You Feel It, Off The Wall, , The Way You Make Me Feel, Smooth Criminal, Beat It, Billie Jean, Dirty Diana, They Don’t care About Us and Thriller plus many more, this show should not be missed!  Michael Jackson’s spirit is in the heart and soul of this show and will live on forever!

Thriller Live plays at the Waterside until Saturday 11th June, with performances on:
 

Wed 08 Jun 2011
7:30pm
Thu 09 Jun 2011
7:30pm 
Fri 10 Jun 2011
5:00pm 
Fri 10 Jun 2011
8:30pm 
Sat 11 Jun 2011
4:00pm 
Sat 11 Jun 2011
8:00pm

Tickets from £24.50 available online www.ambassadortickets.com/aylesbury or call 0844 871 7665.

For further tour dates visit www.thrillerlive.com

Reviewed by:
Yvonne Delahaye on
6th June 2011

It goes without saying that Agatha Christie is ‘Queen of the Whodunnit’ and a literary force to be reckoned with. Only the Bible is known to have outsold her collected sales of roughly four billion copies of novels. ‘The Mousetrap’ is now the longest-running play in the world and it has been performed at St. Martin’s Theatre in the West End of London since 1952.

Following the success of ‘The Hollow’, ‘The Unexpected Guest’, ‘And Then There Were None’ and ‘Spider’s Web’, the Agatha Christie Theatre Company presents the next instalment in the highly acclaimed series, Christie’s undisputed masterpiece, ‘Witness For The Prosecution’, under the direction of Joe Harmston.

Having originally began its life in 1925 as the short story ‘Traitor Hands’, ‘Witness For The Prosecution’ only became a play when, in 1953, Peter Saunders, the producer of ‘The Mousetrap’ convinced Agatha Christie that the piece would adapt well to the stage. After detailed research on all the legal aspects, she wrote the play quickly and it opened on October 28^th in London. The success of the London production was swiftly followed by a production on Broadway and then, in 1957, by the celebrated Billy Wilder film starring Marlene Dietrich, Tyrone Power and Charles Laughton.

The story begins when Emily French, an ‘elderly’ woman who recently left her considerable estate to the handsome and charming young Leonard Vole, is found dead. Though he strongly protests his innocence, all the circumstantial evidence points towards him and Leonard (Ben Nealon) quickly becomes the prime suspect. His plea hinges not only on the testimony of his German wife Romaine (Deborah Grant), but also on the skill of the renowned barrister, Sir Wilfrid Robarts QC (Denis Lill).

Ben Nealon, who will be recognised by many for his role as Lt Forsythe in ‘Soldier, Soldier’, is excellent as the plausible and slightly naive Vole and quickly has the audience rooting for him. Deborah Grant (‘A Bouquet of Barbed Wire’ and ‘Not Going Out’) grabs the part of Romaine with both hands and is magnificent as the frosty foreigner. Denis Lill is brilliantly blustering as the feared and respected barrister.

But this is a production that boasts perfect performances right across the board from a stellar cast. Robert Duncan (‘Drop The Dead Donkey’) as the affable solicitor, Mr Mayhew contrasts well with the sometimes irascible Robarts, whilst Mark Wynter, as his courtroom adversary, Mr Myers QC drives him to distraction with his constant interruptions and annoying mannerisms. Comedy relief comes in the form of Elizabeth Power (‘EastEnders’) as Janet McKenzie, Miss French’s bitter housekeeper, and Hannah Redfern as Greta, Sir Wilfrid’s ditzy secretary.

The stunning set, designed by Simon Scullion, is almost a character in itself, the attention to detail is exquisite and, combined with the authentic 1950s costumes by Brigid Guy, lighting design by Douglas Kuhrt and sound design by Ian Horrocks-Taylor, a powerful atmosphere is evoked that really sets the tone of the piece.

The dialogue is beautifully written and harks back to an era when words were chosen to employ and convey meaning, rather than just strung together as they are nowadays. The cast, seeming to realise this, never waste a single word or carelessly throw away a wonderful line.

Christie’s London of the 1950s is a world where everyone seems to be harbouring a dark secret, and this gripping courtroom drama will keep you guessing until the final, fatal moment. Don’t miss it!

Steve Burbridge. 

Runs until Saturday 20^th November 2010.

Inside Job

Darlington Civic Theatre

Brian Clemens, perhaps best known as the creator of cult classic The Avengers, Bergerac, The Professionals and Bugs, is the author responsible for penning this latest thriller to be presented by theatre impresario Ian Dickens.

Set on the Costa Del Crime, in a remote Spanish villa a mile or so outside Marbella, the plot revolves around the ludicrously named Dutch Holland (Matt Healy). Enjoying a hedonistic life in the sun, under the alias of ‘Larry’, he encounters the stunning Suzy (Michelle Morris), a femme-fatale who makes him an offer he finds impossible to refuse . . . until he later meets her violent, alcoholic husband Alex (Christopher Villiers), who presents an even more tempting proposition.

Ostensibly, Inside Job is a typical stage thriller, complete with dodgy deals, despicable double-crosses and double-bluffs aplenty. What could have been a tense and taught three-hander degenerated somewhat into something of a comedy due, for the most part to some rather stagey over-acting.

Matt Healy’s crook, on the run from Interpol, started off charismatically enough but his tendency to over-exaggerate every gesture, movement and facial expression resulted in his character becoming more of a caricature.

Christopher Villiers’s portrayal of Alex made the character seem as camp as a row of fluorescent pink tents, whilst Michelle Morris, as Suzy, failed to compellingly convince as a woman who is the lust object of many a male desire.

The true star of this production was the set. The Mediterranean converted farmhouse, with its conservatory-style furniture and focal-point chimney breast, evoked a real sense of place. Although the programme notes do not credit a specific ‘set designer’, I can only make an educated guess that it is ‘technical director’ David North who should be applauded.

On the whole, the production is an enjoyable affair that could be transformed into something far more special if the director, Giles Watling, instructed his actors to bring their performances down a little. Nevertheless, Inside Job will undoubtedly appeal to all those theatre-going amateur sleuths out there.

Runs until Saturday 24^th July 2010.

Columbo – Prescription: Murder

Darlington Civic Theatre

The dishevelled Lieutenant Columbo is an iconic figure in the world of the television detective genre, and Peter Falk’s portrayal of the character between 1968 and 2003 ensured that the hit series achieved cult status. Now, the case that launched the legend, ‘Prescription: Murder’, has been returned to the stage with Middle Ground Theatre Company’s production.

Former star of television series ‘The A Team’, Dirk Benedict takes on the title role and has the unenviable task of walking in the shadow of the legendary Peter Falk. Although the character of Columbo does not appear on stage until a fair way into the plot, when Benedict made his entrance it was to warm applause from the audience.

In addition to his visual impressiveness, Benedict also had every mannerism and nuance of the character honed to a tee and his performance was consistently excellent. Patrick Ryecart, as the murderous Dr Flemming, performed his role with a strength and assuredness which ensured that he was in no way overshadowed by the dogged detective.

The supporting cast – Karen Drury (Claire Flemming), Elizabeth Lowe (Susan Hudson), George Telfer (Dave Gordon) and Karren Winchester (Miss Petrie) all give top-notch performances, too.

Michael Lunney’s direction keeps up the momentum and, although the identity of the murderer is no mystery (in true ‘Columbo’ style), the suspense is maintained in the taut game of cat-and-mouse played between Dr Flemming and Lt. Columbo.

John Goodwin and Andy Martin are to be commended for the design of the effective set and the backstage crew must be congratulated for some of the slickest scene changes I have ever seen at a theatre. Similarly, the lighting design, by Bob Hodges, adds an additional element of atmosphere to the proceedings.

Indeed, ‘Columbo: Prescription Murder’ is a first-class production that, at times, drew audible gasps of shock and surprise from the audience. As Dr Flemming observed: ‘You are magnificent, Columbo!’

Steve Burbridge.

The 39 Steps

The Gala Theatre, Durham

First published in 1915, John Buchan’s classic novel The 39 Steps has been filmed three times for the silver screen. It is also now a stage show that has wowed the West End and Broadway and continues to play in many major cities across the globe, including Berlin, Paris, Rome, Sydney and Tokyo.

Patrick Barlow’s adaptation is a slick spoof of the quintessential spy story that is a rocking, roller-coaster ride which has the suave and debonair Richard Hannay (brilliantly played by Dugald Bruce-Lockhart) embroiled in a mix of murder and espionage that sees him fleeing his stylish London bachelor pad for the remote Scottish highlands in an effort to clear his name and solve the mystery of the 39 steps.

Only four actors play 139 roles during the performance which lasts just over an hour-and-a-half, and they do so with amazing skill and aplomb. Katharine Kingsley shines as Annabella Schmidt, the femme-fatale who lands our hero into the sticky situation in the first place, and is also wonderful as Margaret, a Glaswegian girl who has married an overbearing farmer, and Pamela, the aloof society girl who eventually falls for Hannay’s charms and aids him in his attempt to prove his innocence. Richard Braine and Dan Starkey make a hilarious double-act as they portray more characters than I could keep track of – their transformations from character to character, with only the aid of a change of accent and hat or coat, are truly outstanding.

However, it is Dugald Bruce-Lockhart’s charismatic performance as the slightly smug Hannay that steals the show. Every mannerism and movement, every nod and nuance is carefully crafted and perfectly honed. He strikes the right balance between dashing hero and unscrupulous cad and has the audience firmly in the palm of his hand throughout the entire performance.

Peter McKintosh is to be congratulated for his beautiful set design, which is as functional as it is beautiful. The use of a limited number of props to denote differing scenes and settings is inventiveness bordering on pure genius. Maria Aitken’s direction ensures that the pace is never anything short of frenetic and the comedy and parody are skilfully intertwined with suspense and romance.

It is little wonder that this gem of a production has notched up two TONY awards during its Broadway run, an Olivier award in the West End, and thrilled audiences for almost half a decade. You’d be mad to miss it!

Steve Burbridge.

Runs until Saturday 1st May 2010. 

The Woman In Black

Darlington Civic Theatre

Stephen Mallatratt’s spine-chilling adaptation of Susan Hill’s novel, The Woman In Black, arrived at Darlington Civic Theatre last night, filling the stalls and circle in the process. This long-running production (it is now in its 21^st year at The Fortune Theatre in the West End of London) opens with Arthur Kipps (Robert Demeger) monotonously reading from his manuscript which contains the details of a long-kept secret and a terrifying curse.

Kipps enlists the assistance of a young actor (Peter Bramhill) in the task of telling the story and, he hopes, breaking the curse that has haunted him for many years. He is adamant that his tale should not be lauded as a public spectacle or cheap gimmick to fill theatres, but should only be told to his family and friends to aid his peace of mind.

The story begins when a young Kipps, employed as the assistant of the elderly solicitor, Mr Jerome, is sent to attend the funeral service of the ancient spinster Mrs Drablow and, afterwards, organise the affairs of her estate. This task takes him on a long journey north, changing trains twice and crossing a causeway to a remote island, to Eel Marsh House.

As events unfold, the inventive use of limited props, recorded sound effects and projections of ghostly shadows, heighten the sense of anticipation and create added suspense. Only two actors appear on stage throughout – Bramhill as the young Kipps, and Demeger as an array of contrasting characters – and both deliver excellent performances. It is odd that the attention of an entire audience can be captured and held by only two performers, limited sets and scenery and only a handful of props, yet this is entirely true of this production.

The tension mounts slowly – almost as though you are not aware that it is happening at all – until the spectral appearance of the title character elicits shrieks and screams from the over-excited schoolgirls who make up a vast proportion of the audience. This gathers momentum and, as the play progresses, reaches deafening proportions.

The series of events that are responsible for the appearances of the cadaverous ‘woman in black’ and her anguished curse, when revealed, are heart-rending. However, any sympathy that the audience may feel for her is dispelled when the final cruel twist is played out.

Linda Barker.

This production was reviewed by Linda Barker on behalf of Steve Burbridge.

The Woman In Black runs at Darlington Civic Theatre until Saturday 13^th March 2010

Fatal Encounter

Darlington Civic Theatre

Francis Durbridge is one of the world’s most prolific thriller writers and his name is synonymous with intricately detailed and beautifully written ‘whodunits’.  Fatal Encounter is the fourth of Durbridge’s plays to be staged by theatre impresario Ian Dickens, and he has done a jolly good job of it to boot.

The story revolves around Joanna Mansfield, played by the wonderful Anita Harris, the wife of a successful publisher, Howard Mansfield (Michael Howe). For quite some time, Joanna has been acting rather strangely and her neurosis, paranoia and general jumpiness is beginning to cause Howard concern.

A series of bizarre events, including her handbag being stolen during a mugging then being left outside the couple’s front door with contents fully intact, lead up to Howard returning home one evening to find that Joanna has shot Perry Kingsley (Aaron Bixley), the husband of her best friend, Grace (Susan Skipper). In an effort to protect his fragile, vulnerable wife, Howard elects to take the rap for the shooting himself and, unwittingly, embroils himself in a world of international blackmail and conspiracy.

Anita Harris is on top form in the role of Joanna and her performance is so accomplished that, despite the skill and talent of her co-stars, she dominates the entire piece. That said, the performances given by Nicholas Ball, as the dogged detective Inspector Coldwell, Neil Stacy, as the soave, sophisticated art dealer Mark Adler, Susan Skipper, as the rather beautiful best friend, and Michael Howe, as the harassed husband, are entirely commendable. A supporting cast made up of Aaron Bixley, Michael Kirk, Miranda Magee and Michael Carrington serve the principals admirably.

Durbridge’s script crackles along at a rip-roaring pace and he throws plenty of red herrings into the mix, confounding even the most diligent of audience members. Ian Dickens’s direction is sharp and dynamic, keeping the momentum up throughout.

The action takes place in the home of Howard and Joanna Mansfield, at 28 Clifton Place in Holland Park, and the wonderful set is beautifully dressed. In fact, the only mystery that remained unsolved at the end of the performance was who should be given the credit for its design. I could find no credit in the programme notes.

This production of Fatal Encounter is a resounding success and comes highly recommended.

Steve Burbridge.

Runs at Darlington until Saturday 27^th February 2010, before touring to Tunbridge Wells and Plymouth