UK Theatre Network

Aladdin

The Customs House, South Shields

For me, the festive season officially begins when I review my first pantomime or Christmas show – and I cannot think of a more magical or wondrous way to kick things off than this year’s production of Aladdin at The Customs House, South Shields.

As tradition dictates, the cast is led by Ray Spencer MBE and Bob Stott as Tommy Wishy-Washy and Widow Dotty Twanky, respectively. The linchpins of ‘the little panto with the big heart’ are joined by fellow stalwarts Peter Darrant (The Evil Abanazar) and Graham Overton (Sultan Sanddancer), whilst Afnan Ifthikar (Genie) returns for a third consecutive season and Alice Brown (Princess Amira) performs in her second. Steven Lee Hamilton (Aladdin), Iain Cunningham (PC Hacker) and Ryan Lynch (PC Blaggitt) all make a welcome return to the South Tyneside venue, having previously appeared in pantomime at The Customs House, whilst Christina Berriman-Dawson (Slave of the Ring) joins the team for the first time.

Of course, everyone knows the rags-to-riches tale of the poor, but honourable, laundry boy who defeats an evil sorcerer and wins the heart of a beautiful princess. However, I doubt that you’ll have ever seen the story told with as much zip, charm and attack. Indeed, the sheer energy, enthusiasm and effort, evident on stage, enchanted and mesmerised the audience in equal measure and had spirits soaring higher than Aladdin’s marvellous magic carpet.

The production values associated with this technically ambitious production are second to none. Paul Shriek is to be commended for his riotously colourful comic-book sets and the vast array of costumes which vary from being bold and bright to outrageous and outlandish to gloriously garish, depending upon which character is wearing them. The script, co-written by Graeme Thompson and Ray Spencer, contains more slapstick, comedy capers, crafty cons, sing-along songs, silly jokes and festive frolics than you can shake a seasonal stick at and it sparkles as brightly as the legendary jewel of Jarrow.

Solid performances are delivered from each and every member of the cast. Ray Spencer and Bob Stott lead in the comedy stakes, with their inimitable brand of madcap mayhem being delivered in the style of true vaudevillians. They are ably supported by Graham Overton as the bumbling Sultan and Iain Cunningham and Ryan Lynch as the inept policemen. Steven Lee Hamilton, who is carving himself an impressive career in the world of musical theatre, shines brightest during his musical numbers, whilst Afnan Iftikhar has been perfectly cast as the Genie of the Lamp and puts in the best performance I have ever seen him deliver. Alice Brown and Christina Berriman-Dawson take two roles which could easily be overlooked, that of Principal Girl and Slave of The Ring, respectively, and make them absolutely integral. And only Peter Darrant could play Abanazar with more mince than a Dickson’s pie and still keep the character sinister and menacing.

This production of Aladdin is packed with magic and mystique and contains more Eastern promise than a certain well-known brand of Turkish Delight. So, climb aboard your magic carpet or take a rickshaw ride to The Customs House and experience some real treasure of the Orient.

Steve Burbridge.

Aladdin runs until Saturday 7 January 2012.

 

 

 

 

　

Set in the deep southern state of Georgia, PARADE is a powerful and moving piece of work by Jason Robert Brown about the true-life story of the conviction of a Jewish factory manager, Leo Frank, for the alleged rape and murder of a young girl who worked in his factory.

From the beginning of his time living in Georgia, Frank (Alastair Brookshaw) never felt comfortable or felt he fitted in with its people or customs. He yearns to be back home in NY. Even the Jewish folk in Georgia behave differently he feels. This set-up of the society against the Jew is the theme that permeates the action of the story to it's tragic end. Anti-Semitism was as rife in the deep south at the time as was the struggle for race equality.

There is no circumstancial evidence strong enough to convict either Frank or Newt, an old factory worker they also question; but the local Governor has got to pin this on someone - the people are demanding it.

They say of Newt - 'let him go...hanging another nigga ain't enough this time. We gotta do better' and so Frank gets convicted of the crime.

Laura Pitt-Pulford as Lucille Frank, Leo's wife, has all the warmth, dignity and passion required for the role. Determined to stick by her husband, knowing his innocence, she is totally committed to securing his release. An excellent actress who brilliantly embodies the emotional heart of the story to the end; two of her solos 'You Don't Know This Man' and 'Do It Alone' being especially memorable. As husband and wife they work extremely well together. The culmination of their relationship in the final prison scene and their emotional rendition of 'All the Wasted Time' is particularly moving.

Alastair Brook establishes Franks' work - obsessed, clinical, nervous character from the outset and he grows on us as the story unfolds. The God he prays to in vain for a reason why he has been placed in this position does not come through for him in this lifetime but, interestingly enough, this case proved to be the catalyst for the birth of the Jewish Civil Rights Movement in the US.

Alongside the leads, the whole cast give committed, energetic performances, but a special mention must be given to Terry Doe, who really does shine with all the charisma and quality of a musical theatre star in the making as Riley in 'A Rumblin' and a Rollin'' (ably supported by the excellent Abiona Omonua as Minnie, the Franks' servant), and later as Jim Conley in the chain gang with 'Blues: Feel the rain fall'.

This is truly an outstanding show with a strong score, fine cast and slick production values and should be on anyone's current theatre - going list.

Southwark Playhouse until September 17

Music and lyrics by Jason Robert Brown, book by Alfred Uhry

Management:Danielle Tarento, in association with Joe Fredericks and Southwark Playhouse

Cast:Alastair Brookshaw, Laura Pitt-Pulford, Simon Bailey, Mark Inscoe, Kelly Agbowu, Jessica Bastick-Vines, Michael Cotton, Terry Doe, Natalie Green, David Haydn, Abiona Omonua, Philip Rham, Samantha Seager, Victoria Serra, Samuel J Weir

Director:Thom Southerland

Design:John Risebero

Sound:Theo Holloway

Lighting:Howard Hudson

Musical direction:Michael Bradley

www.southwarkplayhouse.co.uk

Joe Brown  on Thursday 3^rd March 2011

I always get slightly nervous when I enter an auditorium only to find I’m probably one of the youngest there… and I’m no spring chicken! But I needn’t have worried with Joe Brown who had no problems entertaining us all from the start to the end. The evening was clearly separated with a very cosy relaxed seated, slightly folk styled first half followed by a more dynamic, energetic (as much as an old guy can) slightly folk styled second half.

The line up was Mike Nichols on Bass (of many types), Phil Capaldi on Drums (of many types) and Roland Jones on Guitar (you’ve guessed... of many types) plus Pete Brown, who showed us that he had inherited his dad’s talent and then learnt just a little bit more, entertaining us with some of the songs from his own repertoire.

Joe played the obligatory guitar when necessary but seemed to favour the Rock Banjo or Roll Mandolin, with the occasional splash of Fiddle, Ukulele and Mandola, all lending themselves perfectly to the play list which contained a varied content of both covers and Joe’s own material. I especially enjoyed Ram Jam’s ‘Black Betty’ with lead Mandolin and Chas ‘n’ Dave’s popular ‘Ain’t No Pleasin’ You’ and then ending the evening with a very touching song called ‘I’ll See You In My Dreams’ – I suggest you all buy this one, if you don’t  like it straight away, i believe you will one day! The added bonus of the whole band being able to sing made for some great vocal harmonies to enhance the alternative compositions often used.

Joe was clearly in his element on stage and obviously enjoyed not only singing and performing but also was totally at home chatting with his long standing fans who also enjoyed reminiscing about the life and loves of yesteryear, making sure that we all knew who his famous friends were.

The whole experience created by the band and especially Joe and Pete was relaxing and fun, and I think everyone left smiling, glad they’d made the effort, mid-week ‘n’ all! They are touring right through to 27th April 2011 throughout the UK and if you fancy a nice night out then you couldn’t do much better than go see Joe!  www.joebrown.co.uk

Reviewed by:
Malcolm Emms

Tin Can podcast has launched. Short audio cinema free for you to download and listen to on the move. 
4 pieces are available now and two more every two weeks will be uploaded for your listening pleasure.
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A challenging two-handed one act play which intrigues its audience by presenting two different perceptions of a situation.

 

Steve Hay is Reg Armitage, a slightly curmudgeonly Scottish ornithologist who, pretty much by chance, finds himself living in model Dymphne Pugh Gooch’s flat whilst she is away.  Unfortunately Dymphne, beautifully played by beautiful Alexa Brown, needs to reclaim her living space sooner than expected and the two find themselves sharing the flat. 

 

David Halliwell’s play might be examining an existential theme but at least it has enough wit to hold the audience rather than baffling them entirely.  Sarah Dodd’s production is simply staged with little more than a couple of chairs, a table, two plinths and some white lines to define the space and she is served well by strong performers who have to deliver some fairly hefty monologues alongside the more snappy dialogue as Reg, Dymphne, and thus the audience, discover their ideas of who they are and how the other will react are often way of mark.

 

Occasionally the lighting, which was probably meant to assist the audience in knowing whose perception we were following, only served to confuse on the first night at the OFS Studio and the production was further hindered for this reviewer by uncomfortable seating.  However, the actors were strong, with Steve Hay particularly good at engaging the audience, and although both characters could have been unlikeable they succeeded in winning over both us and each other.