UK Theatre Network

The Talented Mr Ripley was the first of five psychological thrillers written by Patricia Highsmith about the complex character, Tom Ripley.
Orphaned as a young boy and brought up by the abusive and loud aunt Dottie ( Karen Mann), Ripley drifts through life as a con man, forging documents and impersonating others.  Ripley (Marcus Webb) is approached in New York by Herbert Greenleaf (Simon Jessop), a rich shipping magnate who offers to pay him to go to Italy and convince his son Richard (Elliot Harper) to return to the family business. Ripley has a vague memory of Richard but claims to know him well. Claire Lyth’s simple but striking set projects images of moving clouds as a backdrop to Ripley’s arrival in Italy.  He is overwhelmed by the carefree nature of Greenleaf’s life and his relationship with Marge Sherwood (Francesca Loren) and an obsession bordering on sexual for all things Greenleaf, begins to grip him.

Marcus Webb exuded a threatening air as he switched eloquently from humble and wiry to calculating and tragic as Tom Ripley, hiding a volatile character underneath the wide smile, and loud voice. This contrast with Elliott Harper’s slightly vulnerable Richard Greenleaf formed a powerful dynamic and strongly influenced the direction of my sympathies.  The tension caused by Ripley’s prickly relationship with Marge Sherwood made me feel sufficiently uncomfortable and I was surprised to find myself disliking Ripley. After befriending Greenleaf and managing to charm his way into his life, Ripley becomes accustomed to Greenleaf’s lifestyle. Both Greenleaf and Sherwood begin to tire of Ripley.  He suggests a trip to San Remo together without Marge, Greenleaf agrees to the trip intending to shake Ripley off.  The sinister side of Ripley’s character rears its head at this point when he almost convinces a drunken Greenleaf to rape a prostitute who flirts with them, dismissing the incident the next day as unimportant. Later that day the two take a boat trip, Ripley batters Greenleaf to death in a moment of calm desperation after arguing with him about his relationship with Greenleaf and Sherwood, he remains almost impervious for the remainder of the play as he goes on to kill others in order to maintain the lifestyle he yearns for.

The ambiguous nature of Ripley’s character is central to this production. It is at this point of the play that you could almost mistake Ripley for a caring human being. Deprived of the love of a family, he becomes chillingly desperate to endear the dead Greenleaf to Marge, who believes he has left her and the family who believe he has disowned them, by assuming the identity of Greenleaf and sending thoughtful letters and gifts to Marge and Greenleaf’s parents, something the uncaring Greenleaf never did. In doing this, Ripley vicariously basks in a pleasure that should have been Greenleaf’s. Ripley is consumed by paranoia after killing Greenleaf.  He sees himself as Greenleaf in his own mirror in a clever scene where Webb and Harper mimic each other in a frame.  In reference to the uncertainty of his sexuality,  he fantasizes about Greenleaf kissing him. It remains unclear whether this is purely his obsession with Greenleaf’s life, a suppressed sexual urge or again, just a need to be loved. Certain members of the audience were clearly uncomfortable with this notion, but interestingly not offended by the prospect of an on stage rape.  Maybe this was a risky choice of theme for Bob Carlton, but a successful and thought provoking performance. The only problem, although a small one, was the difficulty in showing such a deeply psychological storyline in such a short space of time.  At times the pace felt too rushed where more reflection was needed. But on a whole, the characters were well thought through and convincing.  Sam Kordbacheh had a difficult task playing similar characters but his Italian was impressive, Simon Jessop's Italian accent was comical but fun, Francesca Loren was alluring as Sophia and sweet as Marge, Karen Mann slipped effortlessly between loud Aunt Dottie and sophisticated Emily Greenleaf, and Sam Pay endured some pretty close kicks to the stomach throughout his death scene as Freddie Miles. The set was minimal but highly evocative of Mediterranean scenery and the many on stage changes of costume, well they certainly worked for me. 

The Talented Mr Ripley

by Phyllis Nagy

based on the novel by Patricia Highsmith 

Previews: 12 and 13 Mar at 8pm                      

First Night: Mon 15 Mar at 7.30pm

Performances: Tue–Sat at 8pm

Matinees: Sat 27 Mar and Thu 1 Apr at 2.30pm

Audio Described & Signed Performance: Sat 27 Mar at 2.30pm 

The Queen’s Theatre, Billet Lane, Hornchurch, RM11 1QT

Tube: Hornchurch                                                       

Tickets: £13.50 - £22

Box Office: 01708 443333                                           

Website: www.queens-theatre.co.uk
Cast :
Richard Greenleaf: Elliot Harper
Herbert Greenleaf: Simon Jessop
Reddington/Fausto/Silvio: Sam Kordbacheh
Marge Sherwood/Sophia: Francesca Loren
Emily Greenleaf/Aunt Dottie: Karen Mann
Marc Priminger/Freddie Miles: Sam Pay
Tom Ripley: Marcus Webb

Director : Bob Carlton
Designer: Claire Lyth
Lighting Designer: Matthew Eagland
Voice Coach: Richard Ryder

 

 

 

Vicky Ireland's adaptation of The Hare and the Tortoise at the Queen's Theatre forms part of the Theatre for Young Minds programme which is run by the Theatre's Education and Outreach Department. The scheme will be taking the production to schools and children's venues around Essex and East London, aiming to introduce young children to live performance.

Members of Cut to the Chase welcomed the audience into the small village, children could sit in the middle to enjoy the action from all sides. I was shown to my seat by Earnest the Tortoise, the unlikely hero, whilst Gussy Spike, the melodic hedgehog sang us a song and the other characters played us in with a guitar and an accordion.  

The evil, fiddle toting Rhoda Skunk informs us, "I'm a business skunk," as she reveals her plans to turn the whole countryside into tarmac, leaving Earnest and his friends homeless in the process. Earnest and Gussy intend to fight Rhoda and Judge Fairweather decides that the matter will be resolved in a race around the town. Harold Bigfeet, the Hare who performs cartwheels and ballet style leaps, will represent the fast team and Earnest, the methodical and thoughtful tortoise, will race for the slow team.

Harold plays many tricks on the honest Ernest including switching road signs, but the audience (eventually) inform Earnest of this.  Suddenly the story takes a twist when aliens appear from another world and abduct the racers, leaving the fate of planet Earth in their hands.

Important issues were touched on, such as the need to slow down our fast paced lives and the danger of roads was nicely included during the Green Cross Code song. All sound effects and musical accompaniment were provided by the ever resourceful cast.

Never work with children and animals?  Well, the animals in this production were extremely well trained and the children were quiet as mice, sometimes too quiet, but judging by the looks of awe on their faces at the singing and dancing characters, they were highly entertained.

  

The Hare and Tortoise

The Queen’s Theatre Foyer, Billet Lane, Hornchurch RM11 1QT

Tube: Hornchurch

Tickets: £5

Box Office: 01708 443333

Website: www.queens-theatre.co.uk

 

The Hare and the Tortoise stars cut to the chase… members
Sarah-Lee Dicks
Rew Lowe
Lucy Rivers
Adrian Salmon
Joe West

Directed by Patrick O’Sullivan
Design by Rodney Ford
Music by Steven Markwick 
Choreography by Emily Parker.

The Queen's Theatre Hornchurch.

Directed bt Matt Devitt, this production featuring members of the multi talented resident company, Cut to the Chase, promised a sizzling, swinging evening. 

Hot Mikado is a revitalised version of the Gilbert and Sullivan classic Operetta, The Mikado. 
Set in 1940s Japan, the comically unconvincing Japanese characters with an unconvincing array of American accents, remind us regularly that, 'Oh, we are Japanese.' 

The Set is a mixture of a Japanese garden furnished with lanterns and a tiny bridge and a Chicago style jazz club. The energetic cast swap instuments and costumes throughout.
The story begins with Nanki-Poo looking for his lover Yum-Yum, who is destined to marry the marvelously funny Chief Executioner, Koko (Shaun Hennessy).  He warmed the audience up almost immediately with fun references to recent events such as MP's expenses, in his clever version of 'I've got a little list'.  In spite of the many obstacles thrown in their way, such as laws that carry punishment for flirting, the demands of the Mikado for regular executions and the Chief Executioner's inability to actually execute anyone, Nanki-Poo and Yum-Yum finally find a way to be together. 

Although the singing was impressive, (Kim Ismay as the fearsome Katisha performed two incredibly powerful solos) most of the songs were difficult to understand, making the storyline a little tricky to follow. The relatively small stage space seemed to hinder the performers' movements during some shaky dance routines but they compensated with their talent for live music, all playing at least one instrument.  

Georgina Field as Peep-Bo breezed through her dance routines.  Comfortable in her space she 
swapped between the saxaphone and clarinet so quickly, I may not have noticed if I wasn't so captivated by her performance. Steve Pretty was brilliantly corrupt in his sleazy All Gentlemen of Japan role and Stuart Organ as the Mikado performed a great drum solo during the Mikado Song.  Joined by most of the cast this was probably the most impressive, well coordinated and vigorous part of the show.

Although I didn't quite feel the sizzles, the music certainly swung, the audience clapped along out of time and there were plenty of feet tapping away in the aisles.  

All in all a fun show, once the cast began to enjoy themselves.

  
22 May – 13 June

Hot Mikado

Book and lyrics adapted by David H Bell

Music adapted and arranged by Rob Bowman

 

Previews: Fri 22 May and Sat 23 May at 8pm     First Night: Tues 26 May at 7.30pm

Performances: Tue–Sat at 8pm                             Captioned Performance: Wed 3 Jun at 8pm

Matinees: Thurs 4 Jun and Sat 13 Jun at 2.30pm             Signed Performance: Wed 10 Jun at 8pm

Audio Described: Sat 13 Jun at 2.30pm

 

The Queen’s Theatre, Billet Lane, Hornchurch RM11 1QT

Tube: Hornchurch

Tickets: £13.50-£22

Box Office: 01708 443333

Website: www.queens-theatre.co.uk

The Queen’s Theatre Hornchurch

Chris Bond, writer of Sweeney Todd, The Demon Barber of Fleet Street, the play that inspired Stephen Sondheim’s musical, directs the play for the first time at the Queen’s Theatre Hornchurch.

After the success of Tim Burton’s film, I was expecting an all singing all dancing spectacular, and was more than pleasantly surprised as the experience proved to be quite different. Not a song in earshot. 

Originally a character from a Thomas Peckett Prest serial “The String of Pearls”, based on a French story about a Murderous barber, Sweeney Todd appeared in Victorian penny dreadful newspapers and was later dramatised by George Dibdin Pitt in the form of a melodrama. Chris Bond developed the character of Sweeney Todd, giving him a reason other than money to embark on his murdering spree.

Benjamin Barker the barber (Shaun Hennessy) is arrested and sent to an Australian prison on false charges by the corrupt Judge Turpin (Stuart Organ), who is determined to take his wife, Lucy (Lindsay Ashworth) away from him. After sending Barker away, Judge Turpin subjects Lucy to violence and rape. It is rumoured thereafter (mainly by Mrs Lovett) that Lucy gives poison to their baby daughter, then takes her own life. The daughter, Johanna (Lucy Thackeray) survives. Years later Barker returns, renaming himself Sweeney Todd and after learning the fate of his wife and daughter, who is now a ward of Judge Turpin, he concocts a horrific revenge plot. Resuming his place in the Barbershop, above the excitable Mrs Lovett who vies for his love and attention, they form a terrifyingly calm and seemingly normal partnership.

The atmosphere is strikingly created by Mark Walters' dark visions of Victorian London and scenery that slides with ease between the crooked houses of the dull streets to the upstairs, downstairs view of Todd’s barber shop and Mrs Lovett’s pie shop. The subtle lighting casts sinister shadows onto the cellar where you can almost smell the bloody stench that rises in a fog from down below. Todd tilts his victims cleverly from his barber chair down a chute into the underground graveyard. But the most captivating effect of this production has to be Carol Sloman’s violin. She stands as an onlooker, subtly reacting to her surroundings as she plays chilling music during the eeriest moments. She is joined in turn by many of the characters on the piano, forming an excellent accompaniment and sound effects.

Gregor Henderson-Begg injects an element of pantomime as Tobias Ragg, the unwitting, high-strung orphan who bursts with infectious energy onto the stage as the con man, Adolfo Pirelli’s assistant, entertaining the audience with his well-choreographed clumsiness. After Pirelli’s sudden disappearance- he recognises Todd and tries to blackmail him- Tobias becomes Mrs Lovett’s assistant, always grateful for one of her gorgeous pies as payment for selling them.

Diana Croft’s Mrs Lovett is an endearing, thigh slapping good old cockney character in spite of her stomach-churning plan to use Todd’s victims as pie fillings. It really is hard to dislike these characters, I felt the need to be more appalled by the subdued Todd (Shaun Hennessy), but as he sliced his way through the throats of the men responsible for his misery, arcs of blood pumping into the air, I found myself siding with the audience, who clapped and cheered him, delighted with his performance.

Stuart Organ's performance as Judge Turpin is disturbing, as he foams at the mouth, whipping himself in disgust at his own actions, although ultimately failing to repent, intent on taking Johanna as his wife. You almost want to watch this with one eye covered. He mainly appears with his ally, Beadle (Julian Littman) who corroborates in his corruption.

Lindsay Ashworth is the beggar woman who passes through the streets almost ignored but is a heartbreakingly solitary figure at the piano; she most definitely hides a deep sorrow under her rags.

Simon Jessop’s Italian accent is as comically unconvincing but likeable as the con man Alfredo Pirelli himself.

Lucy Thackeray gives Johanna wide-eyed innocence as she flirts with the affable Anthony Hope (Sam Kordbaceh). Their story finishes as the only happy one.

The play stays true to its melodramatic form as it reaches its conclusion.  More killings take place, just at the point where you think there can be no one else to kill.  The poor Tobias discovers the true secrets to Mrs Lovett's recipes, appearing from the depths of the cellar, crazed and confused. Sweeney Todd learns the truth about his wife's life and Mrs Lovett's lies.


Cut to the Chase, The Queen’s Theatre’s resident company of actor-musicians demonstrate a passion and adaptability to slide in and out of a number of characters in this fun performance.

---

6 – 28 March

Sweeney Todd: The Demon Barber of Fleet Street

By Chris Bond

 

 

Previews: Fri 6 Mar and Sat 7 Mar at 8pm

First Night: Mon 9 Mar at 7.30pm

Performances: Tue – Sat at 8pm

Captioned Performance: Wed 18 Mar at 8pm

Matinees: Thurs 19 Mar and Sat 28 Mar at 2.30pm

Signed Performance: Wed 25 Mar at 8pm

Audio Described: Sat 28 Mar at 2.30pm

 

The Queen’s Theatre, Billet Lane, Hornchurch RM11 1QT

Tube: Hornchurch

Tickets: £13.50 - £22

Box Office: 01708 443333

Website: www.queens-theatre.co.uk

 

"The actor Robert Morley was once asked by a reporter when we first opened in Leeds, what the play was about.  'I haven't the faintest idea, old chap,' he boomed.  And then, with a broad smile, 'But it's enormous fun doing it, all the same."

Alan Aykbourn (From www.alanayckbourn.net)

How The Other Half Loves opened at the Library Theatre, Scarborough on 31 July 1969. 

Matt Devitt's production of the play at the Queens Theatre Hornchurch, ensured the audience - most of whom would remember the television adverts for shake and Vac and 3p Curly Wurlys that entertained us on large screens during set changes - took a delightful trip back to the 70s.  

The set was a strange cross section of 2 living rooms, one obviously inhabited by more affluent residents than the other.  Shabby seats were lined up next to a comfortable 3 piece suite, a drinks cabinet equipped with sherry for all tastes and decanter stood in one corner, babies toys were scattered in another. 

Aykbourn requires an audience to engage the imagination and witness two seperate households whose lives criss cross before us. The bumbling Frank Foster, played by an animated Stuart Organ, is the employer of both Bob Phillips (Sam Kordbacheh) and William Featherstone (Simon Jessop).  Kim Ismay's Fiona Foster has the comical grace of "The Good Life's"  Margot as she calmly and quite coldly carries out her affair with Bob. 

The play begins with the Foster's, and Bob and Teresa Phillips, simultaneously beginning their day at home. Bob and Fiona are being questioned by their other halves about their late arrival home the previous evening.  The Foster's conversation is peppered with misunderstandings, what is said and what is heard in this household are clearly two separate things.  Theresa Phillips is constantly put down by her adulterous, drunk husband. Bob and Fiona use the twitchy, nervous Mary (Lindsay Ashworth) and eager to please the boss, William Featherstone, as alibis for their sordid meetings. Each tells their spouse that they are helping the Featherstones with their marital problems, Bob claiming that William has admitted to an affair and Fiona claiming that Mary has too.


The confusion builds slowly with a few laughs along the way, mainly at the extremely dated humour. The play's famous dinner table scene doesn't fail to have the audience belly laughing with every move.  The Featherstones swivel cleverly in their chairs between Thursday's dinner party at the Fosters and Friday's at the Phillips'. Their expressions change from serious attention to Franks pointless stories, to sheer exasperation at the drunken violent scene unfolding between the Phillips, you can't help but be swept away by the energy of the scene. 

The whole cast manage to overact just enough to make the audience's journey through this classic farce suitably uncomfortable. Lots of face pulling, double meanings and blunders cause groans and laughter.  As wrong accusations fly about who is having an affair with whom, the play reaches it's conclusion.  There is no resolution, affairs are forgiven, apologies made, but it ends on an uplifting note, with the promise of more fun to come.

A fun, tongue-in-cheek, energetic look at the underlying problems of social issues, marriage, power and gender inequalities of the time, themes that still resonate today.

running time: 2 hours 25 minutes
(including a 20 minute interval)


Listings
Tuesday-Saturday  8.00pm
Matinees
Thursay 12th Feb 2.30pm
Saturday 21st Feb 2.30pm

- Captioned performance - Wednesday 11 February
- Sign Language Interpreted performance - Wednesday 18 February - Interpreted by Ivan Osborne
- Audio Described performance - Saturday 21 February - Described by Hannah Dunton

Box Office: 01708 443333

http://www.queens-theatre.co.uk/index.htm