UK Theatre Network

Sell A Door Theatre Company presents

A Christmas Carol

 

Co-directed by David Hutchinson and Anna Schneider

Music by Richard Reeday

Run from 6th December 2011 to 15th January 2012

Watched on 15th December 2011

Set in the Financial Crisis of 2008

 

Cast-

Stephen Barden- Scrooge

Nick Bechman- Ghost of Christmas Yet To Come

Tara Goldolphin- Ghost of Christmas Present

Katrina Innes- Mrs. Cratchett

Rowena Lennon- Mrs. Maggs

Jess Mack- Ghost of Christmas Past

Charlotte Mason-Apps - Belle

Jenny Palmer- Belinda Cratchett

Christopher Rowland- Fred/fezziwig

Rosie Thorpe- Tiny Tim/ Swing

Lee White- Bob Cratchet

Jonathan Ashby-Rock - Swing/ DSM

 
If you're a fan of physical theatre, then this is a stellar show for you. Bursting to the brim with clever choreography and synchronised dances, David Hutchinson and Anna Schneider have shaken up this Dicken’s classic into a dynamic, humourous and, at times, impressively sinister affair. A spectacular production that highlights the mastery of good direction.

 

Stephen Barden creates a great ‘man of money’ Scrooge. Wrapped up in a tailored suit and in his own self-importance, Scrooge is a man who sees the world as the pursuit of more money and more wealth. In this version, Scrooge is an intelligent articulate Investment Banker, who commands the fear of the people around him, the likes of which he regards as ‘parasites’. The Church’s carol singers are quickly dismissed and his nephew Fred (Christopher Rowland) is sent away- along with all hope of Scrooge spending Christmas with his family. Poor Bob Cratchett (Lee White) gets a good deal of misery from the harsh rules and punishments that Scrooge mercilessly dishes out.

 

It is a truly miserable outlook on Christmas, until we have the arrival of the ghost of Jacob Marley. As the play opens, the jarring disturbed scene of Jacob Marley’s funeral initially gathers all the cast,while setting up the somber tone of the beginning. Scrooge’s late friend and business partner, Jacob, reappears into Scrooge’s room strapped down with heavy chains, representing the toll of his wrong-doings whilst he lived. Bob brings a warning that Scrooge is close to achieving the same fate and forewarns him of three visits by the Ghosts of Christmas.

 

Jess Mack plays a very youthful and innocent Ghost of Christmas Past, playfully scaring Scrooge and giggling. She shows Scrooge the details of his past, but it is easily a past that we can all relate to- nervous First Love, dancing disaster and finding your feet with new people. Laugh out loud awkward conversation ensues when Young Scrooge, played by Nick Bechman, tries and wins the love of Bella (Charlotte Mason-Apps) - the endearing emabarrassment of asking a girl if he can ‘please get you drunk?’ is enough to charm anyone. However, as with Dicken’s original, the pure love he gains is later destroyed as Greed and Vanity take a hold of Scrooge’s heart.

Alongside Scrooge’s memories, we get treated to natural realism from Bob Cratchett’s family. Katrina Innes and Lee White do some great work as Bob and Mrs. Cratchett, showing a wonderful relationship that has a sense of real history. The children, Belinda, Martha and ‘Tiny’ Tim Cratchett (Jenny Palmer, Jess Mack and Rosie Thorpe) talk of Christmas presents and Turkey- all desires that are a little out of grasp in the Financial climate of 2008- and perhaps prevalent in our Credit Crunch of Winter 2011. It seems that the overhauling ecomonic conditions pervade over everyone without prejudice- even Scrooge remarks that the ‘investments are not growing as they should be’. I shift in my seat with dread as the Cratchetts worried over medical bills for Tiny Tim.

 

Huge laughs come from the Ghost of Christmas Present, and- boy!- did she present the present party generation. Loud, crass, good-time Ghost of Christmas Present, played by Tara Godolphin, earns the jolly atmosphere with her naughty behaviour, excitable hyperness and a bag stuffed with every party accessory under the Sun (I stopped recording what they were after we reached the cracker joke).

 

Keeping to the Dicken’s original, we end with the Ghost of Christmas Yet To Come. While most versions undercut this part, we are given a well paced version of the Future and what lies in store for the characters. The death of Tiny Tim is accompanied with superb acting and heartwrenching realism. The Ghost itself strikes terror as a build up of rage and anger is unleashed upon the thoughtless Scrooge. The brutatlity of the malicious reactions to Scrooge’s own death is the final horrifying vision that marks Scrooge’s change into a grateful, happy soul. Christmas Day. Morning. And we see the vast contrast in character. And I smile along with him.

 

A jolly musical chorus rounds off this play nicely and I couldn’t help feeling enamoured by the charm of the tale’s message. Scrooge is transformed from a greedy and selfish person, to a warm-hearted and happier soul. The knowlegde that Christmas is just a few days away is a reminder to be kind and giving in this festive period. ‘Tis the season... This play comes across as a very tight,well rehearsed production; and it should with a cast of acclaimed academy graduates. As impressive as rehearsing and performing after two weeks, they all have a fantastic singing repetoire among them. Christmas festive cheer was definitely in the room with a revelry of songs and carols throughout the play that were beautifully delivered. Accompanied by a very well thought-out ad executed score by Richard Reeday, it delivered very highly on the musical theatre scale. My verdict- go see this show before you miss out.

 

Address: Greenwich Playhouse

Greenwich Station Forecourt

189 Greenwich High Road

London SE10, 8JA

Telephone: 020 8858 9256

E-Mail: BoxOffice@Galleontheatre.co.uk

http://www.galleontheatre.co.uk/

 

Tuesday-Saturday @ 19:30; Sundays @ 16:00

(Except 24th, 25th, 26th, 27th, 31st Dec and 1st Jan 2012)

Tickets £13, £10 (concession)

To really get in the festive mood you need some Christmas songs, and there is no better way to hear them than sung by the Rat Pack legends (or actors who perform as them – and are as close to the real thing as we are ever going to get!).

This festive spin off of “Rat Pack Live from Las Vegas” has been a successful touring hit for many years, and there have been a number of Franks, Sammys and Deans who’ve performed the classic songs all over the world. Tonight Chris Mann opened the show as Frank Sinatra, the leader of the pack. With a velvet voice and equally velvet manner, it really did seem like Ol’ Blue Eyes himself was there. Usually with most “tribute” shows, they’ve mastered the voice and if you close your eyes you can imagine it is the star themselves, but Chris Mann has such a look of Sinatra that you can take in the whole performance wide-eyed. As if that wasn’t enough, Nigel Casey as Dean Martin seemed to not only look and sound like the star, but seemed to have the same charisma and charm that he was famous for. His interaction with the audience and his fellow performers made it feel like we really were sharing an evening in the Sands, Las Vegas while watching three of its biggest stars at play.

The third member of the Rat Pack on this show is Sammy Davis Jnr, and this is a very difficult performer to match. I suppose the strength of this kind of show is down to the cast and although George Long had the energy of Sammy Davis Jnr., his vocals didn’t seem to be quite as close a match as his fellow performers. All three were accompanied by Nikki Stokes, Laura Parkes and Jennifer Owen as the Burelli sisters. A fantastic trio who wowed with three part harmony and tight choreography to bring the glamour of these nightclub shows to life. They were also assisted by a fantastic (brass heavy) live band, who gave the whole evening a fantastic sound, and I think received an even bigger applause than the singers for their work. I had never known a trombone could be so tuneful as was shown during the solo from Andy Watson in “I Got You Under My Skin”.

The simple staging of this show is one of its best features. The setting is deliberately intended to hark back to the golden era of the Rat Pack, and the use of lead mics, and the clever choreography required to use them well, is a nice touch that when added to the subtle lighting, grand piano and stunning costumes, provides a classy evening of festive glamour that would certainly be worth raising a mulled wine to!

Listings

Mon 5^th Dec – Sat 10 Dec

Mon – Sat eves: 7.30pm

Thuu & Sat mats: 2.30pm

Tickets: £11 - £29

Box Office: 08448 717 647 (bkg fee)

www.atgtickets.com/glasgow (bkg fee)

As the house lights dim to clock bells chiming, the scene is set for Dickens’ dark tale – only to be broken by some beautiful company singing of various Christmas songs in a wonderful “round” arrangement.

 

Like a picture postcard of Dickensian London, the set and costumes are a big clue to the sumptuous production that lies ahead – and the audience are not let down in anyway. With fantastical effects from illusionist Paul Kieve (famous for being Magic Consultant on the Harry Potter films and also to Derren Brown, as well as creating the spectacular effects for the current west end production of Ghost The Musical) there really is no expense spared in this production. The orchestra create a wonderful sound and are accompanied by a very tight company on stage, whose vocal talents and energy do well to overcome what is really a forgettable score. The best effect of all however is Tommy Steele himself. Leading the show at the age of 75, he is very rarely off stage and has the energy of men a third of his age. It is difficult not to like Ebenezer Scrooge when played by Mr Steele and his disparaging remarks and “bah-humbug” throw-away lines provide great humour, in what is already a charming and witty script. He also shows that he still has the voice to carry off songs like “A Better Life” and “Begin Again” with great style and control.

 

A show however cannot survive on its leading man alone, and luckily this is an exceptionally talented company, with a real community feel . Barry Howard is a greatly grumpy Jacob Marley – a far cry from the role that made him famous, as Barry the Ballroom dancer in Hi-De-Hi. He was also involved in one of the most exciting effects in the show, and his first appearance in Scrooge’s bedroom saw the whole audience jump with surprise. Sarah Earnshaw and James Head make exceptional ghosts too, in very different ways. Miss Earnshaw’s rather serene and sweet Ghost Of Christmas Past was a very gentle start to Scrooge’s change of heart, quickly followed by the Brian Blessed style presence of James Head’s Ghost Of Christmas Present. His view of the Cratchit family Christmas gave us a chance to see some lovely performances from the local children procided by Ann Edmonds’ Starstruck Stage School, in particular young Ethan Kerr as Tiny Tim whose touching rendition of “The Beautiful Day” was beautifully sung and would bring a lump to any throat.

 

Director Bob Tomson has put together a very slick production utilising a clever set from Paul Farnsworth. Lisa Kent has created some nice touches in the choreography too, making good use of the set, particularly in the number “Thank You Very Much”. The only downside I can find for this Christmas show is that it is not here for longer, as it would be a lovely treat for the family on Christmas Eve (although I’m sure Sleeping Beauty will be an adequate replacement – either the Ballet in this theatre, or the pantomime in sister venue The Kings). As you only have until Saturday, make sure you don’t feel like the miser and treat yourself to one of the best shows you’ll see this year.

 

Listings

 

Mon-Sat Evenings – 7.30pm

Thu & Sat Matinees – 2.30pm

 

Tickets £11-£32

Box Office: 08448 717 647 (bkg fee)                 
Web: www.atgtickets.com/glasgow (bkg fee)

CHRISTMAS CROONERS

WHITLEY BAY PLAYHOUSE

It may not be Christmas just yet but, with the temperatures dropping, winter is definitely upon us, so why not kick off the festive season a little early. With pantomime season nearly upon us, Theatre 1^st Ltd is bringing Christmas Crooners to various theatres around the UK and Ireland to provide a bit of seasonal cheer – and, judging by the large audience tonight, it’s something people really want this year.

As the lights went down the curtains opened to reveal a simple but practical set, consisting of a fire place, Christmas tree, rocking chair and a few other items.  Its design succeeded in bringing a homely feel and brought back memories of the video for Bing Crosby and David Bowie’s “Little Drummer Boy”. The live band “The Jazz All Stars” were also on stage and blended in well with the overall feel and visual.

The four piece band led by the show’s Musical Director (Martin Hughes) on piano, was excellent and played with a perfect laid back swing feel. The show itself pays homage to Christmas favourites from Bing Crosby, Nat King Cole and Frank Sinatra, with a few other swing numbers thrown in for good measure.

To perform the music of such legendary vocalists is challenging enough, but to become those singers in look, manner and voice is a huge ask of any performer. The show, therefore, really requires three exceptional performers to achieve what it sets out to do.

Chris Vincent as Bing Crosby is very much the glue that holds the show together and he produced a great performance. Not only does he have a more than passing resemblance to Bing, but the attention to detail in his mannerisms, vocal tone and inflection were superb. A few times, when the lighting was subdued, you could actually be mistaken for thinking you were watching the original. Robert Grose , as Nat King Cole, brought a fantastic level of energy and charisma to the role but, while his songs were all well sung, he never quite got the gentle and subtle Nat King Cole tone.

As I previously mentioned the show requires three exceptional performances and unfortunately this was where the production fell slightly short. While Bing and to a large part Nat were brought to the Playhouse stage, unfortunately Frank didn’t make an appearance. Instead we got Jonny Parker whose suspect vocals and lack lustre characterisation (an American accent and a hat does not make you Sinatra), really pulled the show down. 

That being said, Director Stephen Leatherland, has created a solid show with a great relaxed, almost informal feel about it. The song selection was fantastic featuring all the classic Christmas songs (White Christmas, Jingle Bells, Let It Snow), add to that some cheesy gags and a bit of audience participation, and the audience headed out into the cold, humming a tune and feeling suitably festive.

Reviewed by Gareth Hunter 

Reviewed byRichard Howell-Jones

           Charles Dickens caught the spirit of Christmas so well with his original tale of the redemption of Scrooge that further interpretation is neither necessary nor desirable. Happily, then, the Manchester Library Theatre Company’s production of A Christmas Carol stays true to the letter as well as the intent of this, arguably Dickens’ most popular work.

          A strong and experienced cast portray the characters we know and love with every evidence of enjoyment, striking a chord with an audience composed almost entirely of school children - and on a Monday morning too! David Beames’ Scrooge glued the entire production together as the other actors, multiply cast, swirled through his life and showed him the error of his ways, led by Abigail McGibbon (Christmas Past), Kath Burlinson (Christmas Present) and a startling Christmas Yet To Come of whom Gary McCann (Designer) should be justly proud. Paul Barnhill’s Fred Scrooge, the old man’s nephew, drives his middle-class scenes with the same intensive Peace and Goodwill to All that Jack Lord provides as the poverty-stricken Bob Cratchit. Claude Close’s Jacob Marley is just plain scary, a fascinating contrast to his jolly generous Fezziwig. Geoff Steer (Choreographer) gave the ensemble plenty to do but managed to make it seem impromptu, matched by a set of appropriate carol-based songs from Conor Mitchell, culminating in a courageous, and at times impressive, piece based on Handel’s Unto Us a Child is Born.

          Of course, everyone knows that children make a tough house. As soon as the house-lights rose for the interval, several wanted to know why Scrooge had changed colour from brown to white as he got older. This was adroitly handled by one of the accompanying adults who suggested that he’d become paler as he spent more time indoors; whether or not this was the intention, it casts no shadow on Darren Kuppen, whose teenage Scrooge cleverly captured the point of his downfall, and who also entertained as the perhaps appropriately-named Tupper, Fred’s roving-eyed guest. Another query was how Marley’s hat had been so wicked as to deserve the great length of chain which festooned it, when Marley himself seemed quite lightly burdened by comparison. And, unfortunately, Tiny Tim, seeming healthier than Dickens intended and having the wrong sort of trouble with his limp, was held to be less than convincing.

          As far as the adults were concerned, there was only one criticism: that the production seemed curiously muted, as if reluctant to upset or disturb. Granted it’s intended for a family audience, but Scrooge’s character here hadn’t far to travel from miser to benefactor. The catch-phrase ‘Humbug!’ lacked conviction and his ill will towards Cratchit’s desire to take all Christmas day off might have resulted from a headache. This was really the flaw, for without clearly-seen malice there can be no great redemption – all one gets is a man in a good mood, having been in a bad one. This has the further effect of making Cratchit’s amazement at his employer’s change seem overdone, which is unjust.

          But these are pips in the Christmas orange, inconvenient but scarcely detracting from the enjoyment. From simple beginnings, the performance builds in intensity to a joyous and confidently complex finale, subtly led by Performance Musical Director, Isobel Waller-Bridge, leaving its audience with a worthy, perhaps timely, reminder of the true spirit of Christmas. Rachel O’Riordan directed.

 

A Christmas Carol byManchester Library Theatre Company is at The Lowry until 8 January 2011

Prices: £12.50 - £16.15

Box Office:0843 208 6010

Performance schedule & online booking: www.librarytheatre.com or www.thelowry.com

 

Tin Can Podcast, the free online audio drama company, have launched their Christmas Festival.  Check out the first three new plays.
NEW PODCASTS: Our first three Christmas plays are online now:
The Magical Tree by Jonathan Brown (http://tinyurl.com/xmasplays1)
Gristletoe by Andy Marchant (http://tinyurl.com/xmasplays2)
Nativity Play by Stella Farrington (http://tinyurl.com/xmasplays3)

There are 9 more to come.

Tin Can Podcast 

He sees you when you’re sleeping,

He knows when you’re awake…

 

Santa is shown in a very different light in Jeff Goode’s Christmas comedy “The Eight: Reindeer Monologues”, which is being performed at The Store (formerly The GRV) in Edinburgh this festive season.

 

One of Santa’s reindeer accuses him of sexual harassment and as the media descends on the North Pole and as the rumours start spreading we find out a whole new story about the now tainted Saint. With each deer's confession, the truth behind the shocking allegations becomes clearer and clearer. ...and murkier and murkier… and funnier and funnier!

 

“The Eight Reindeer Monologues” is a very successful alternative Christmas show in the USA and is performed constantly there. For some reason the play is hardly known in this country, so hats off to Peapod Productions for bringing the show to Scottish audiences.

 

So if you fancy a break from the Christmas shopping, fed up with watching “The Great Escape” or “The Sound of Music” for the millionth time and want an alternative to a panto or family show then this is the show for you. No shopping, no kids and no Julie Andrews. What more could you want, eh?

 

 

“The Eight: Reindeer Monologues”

 

16-19 December 2010

8pm

 

The Store (formerly The GRV) – Guthrie Street, Edinburgh

 

Tickets: £10 (£8 concessions)

Available on the night at the door

 

www.peapodproductions.co.uk

 

 

Happy Christmas Everyone!

 

 Treasure Island is arguably one of the greatest works of storytelling in the English language. It developed from an imaginary map that Stevenson and his stepson Lloyd Osbourne had devised on holiday and this goes some way towards explaining the book's appeal among children. The tale is the archetypal nineteenth century ripping yarn, set in the “golden age of piracy.” Our narrator is Jim Hawkins, son of a guesthouse owner on the west coast of England sometime in the early eighteenth century. To the inn come firstly an old buccaneer who has a map of Captain Flint's treasure, and secondly a group of pirates under the command of ominous blind man Pew. Jim Hawkins, in an act of bravery and cunning, gets hold of the map before this rabid mob gets it. He delivers the map to Squire Trelawney, and together they set off for Treasure Island in the Squire's schooner. The rest of the crew, apart from Dr Livesey, are selected by Long John Silver. The latter and his men try to mutiny and get hold of the treasure themselves but Jim intervenes and through a series of enthralling adventures we find ourselves on Treasure Island with the marooned Ben Gunn and ever closer to the treasure itself.

The auditorium of the Rose is changed into a pirates' paradise (set design – Paul Wills) complete with treasure map, anchors, boats, fishing nets, ropes, and a treasure chest. The floor is transformed into the ocean by the beautiful lighting (designed by Ben Ormerod) and the sound of waves crashing against the shore. There are many cheerful seafaring songs in the show including What Shall We Do with the Drunken Sailor, 15 Men on the Dead Man’s Chest, The Good Ship Hispaniola, and the highly addictive tune Treasure Island Bound which set the right mood for this great swashbuckling adventure.  There are good performances throughout - Harry McEntire plays an endearing Jim Hawkins, Richard Bremmer convinces as the charismatic Long John Silver, and Daniel Goode provides the comic element of the show as the hilarious but touching Squire Trelawny.

This show is great fun and a Christmas treat for the whole family!         

11 December - 9 January
Tickets £7 - £29.50
Box office: 0871 230 1552
© Rose Theatre - Kingston 2008. 24-26 High Street, Kingston, KT1 1HL

Peter Pan

Northern Stage, Newcastle upon Tyne

Northern Stage’s Christmas productions are, traditionally, presented as an alternative to pantomime. Last year’s excellent production of Hansel and Gretel was the perfect example of how to re-tell a well-loved tale without slapstick, audience participation and double entendres – and it worked.

This year’s presentation of Peter Pan claims to ‘rediscover the charm of the original story that has enchanted children for nearly 100 years.’ In doing so, the auditorium has been redesigned and the traverse stage means that the use of scenery and dropcloths is out of the question. However, some inventive use of props sees the beds of the Darling children being adapted to recreate Neverland and the deck of The Jolly Roger, Captain Hook’s ship.

Not all the changes are as effective as this, though, and I was left wondering as to why Tinkerbell has been transformed into a size-zero Teletubby with the voice of Sweep from The Sooty Show.

The decision to distance the production from all elements associated with pantomime seemed slightly half-hearted in certain respects. Personally, I’d have preferred it if they’d gone the whole nine yards and included a ‘dame’ or avoided the cross-dressing completely. Either way, it would have been better than Thomas Dyer-Blake’s cringingly embarrassing performance as Annabelle the nanny, which was mediocrity in a mob-cap.

I also found the image of the two mermaids, played by Caroline Reece and Juliet Thompson, caressing each other and stroking one another’s hair to be gratuitously homoerotic, rather disturbing, and totally inappropriate for a children’s production.

Much of the magic of the tale has been destroyed by the obsession to be innovative and avant-garde and the few opportunities to enchant and enthral were shamefully squandered: the fantastic sparkling clockwork crocodile was only required to trundle from one side of the stage to the other on a couple of occasions, whilst the flying scenes were devoid of any magic at all – how can a child engage with the story and really believe that Peter Pan can fly if they are subjected to watching the actors fastening themselves into the harnesses first?

Stephen Sharkey’s script is laden with great chunks of verbose dialogue which, I would imagine, might be quite difficult for children to penetrate and comprehend. He might have been wiser to cut some of the dialogue in favour of a few more swashbuckling scenes, of which there was a distinct lack.

Credit must be given to Louis Roberts, who gave an energetic and engaging performance in the title role. Christian Bradley as Captain Hook, Micky Cochrane as Smee and Tilly Gaunt as Wendy all did their best to inject some excitement into the piece.

Sadly, the pursuit of style over substance has resulted in a production that has no magic, no heart and no soul.

Steve Burbridge.

Peter Pan runs until Saturday 9 January 2010.