THEATREWORLD

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MIDLANDS THEATRES - REVIEWS

REVIEWERS NEEDED TO COVER SOME OF THE LISTED VENUES ....AND MORE!

(to find a specific production use the "find/search" facility on your Internet server, and enter the title)


 

Selected reviews appear on this page for productions at: BIRMINGHAM REPERTORY COMPANY; BIRMINGHAM HIPPODROME;  THE ALEXANDRA THEATRE - BIRMINGHAM;  

THE ROYAL SHAKESPEARE COMPANY AT STRATFORD-UPON-AVON;  THE BELGRADE THEATRE, COVENTRY; THE HAYMARKET THEATRE, LEICESTER; THE GRAND THEATRE, WOLVERHAMPTON, WORCESTER - Swan Theatre;  MALVERN THEATRES:     DERBY THEATRES;    NOTTINGHAM PLAYHOUSE, COURTYARD THEATRE, HEREFORD

 


BIRMINGHAM REPERTORY THEATRE

BOX OFFICE:  0121  236  4455

www.birmingham-rep.co.uk

 

 

PERMANENT REVIEWER REQUIRED FOR THIS VENUE - please contact The Editor via email:  GPowner@aol.com


THE ALEXANDRA THEATRE

BIRMINGHAM

BOX OFFICE: 0870 607 7544

 

PERMANENT REVIEWER REQUIRED FOR THIS VENUE - please contact The Editor via email:  GPowner@aol.com


THE HIPPODROME

BIRMINGHAM

BOX OFFICE: 0121  622 7437

www.birmingham-hippodrome.co.uk

 

Permanent Reviewer required for this venue - please contact The Editor via email:  GPowner@aol.com


THE ROYAL SHAKESPEARE COMPANY

STRATFORD-UPON-AVON

 

Box Office: 01789 295623 (open 9am - 8pm Mon - Sat)

 

KING LEAR

by William Shakespeare

 

Royal Shakespeare Company, Courtyard Theatre, Stratford-upon-Avon  

 

Now playing in repertory until June 21st

 

 

Just as playing Hamlet is to the rising actor his defining achievement, so playing Lear is to the established performer, seeking to set a crown upon his lifetime’s effort. At the age of 56, albeit more than thirty years after he first joined the Royal Shakespeare Company, Greg Hicks’ voice may still be a little too young for the role, but he offers a coherent and convincing interpretation, blending harshness and pathos, which justifies the decision to include the play in this season’s RSC repertoire so soon after Ian McKellen’s 2007 performance.

 

Jon Clark’s lighting makes a striking effect as the play opens, giving a feeling of fresh and subtle thought as a shadowy tableau forms itself, and Lear’s independence and authority are established by his smilingly taking his court by surprise in his first entrance, but, as more of Jon Bausor’s design is revealed, the overall shape of the production becomes a little less satisfactory. Taking the line, as set out in an essay by Rene Weis in the programme, that the play reflects a dysfunctional state, threatened with disintegration in the post-Gunpowder Plot climate of fear, David Farr sets it in a derelict warehouse with cracking walls and faulty electrics (later adding the impression that Gloucester lives in a lock-up in an industrial unit by flying in a rolled metal doorway). The central weakness of this concept is that it cannot do justice to Shakespeare’s broader insistence that the cruelties which Lear suffers are not just a reflection of the frailties of the Jacobean state, but a part of the timeless human condition, as the third act exposes him to the terrifying power of the natural world. I would have valued more naturalistic approaches to the storm than the localised shower pouring down on Lear and the Fool from a battery of searchlights, and the lightning from flickering strip lights. The costumes run through a range of periods, starting with medieval furs and leathers and ending in First World War military, focusing in between on a largely Dickensian look. While this widens the scope of the play, it also runs the risk of confusing its statement.

 

But the emotional heart of the play works its proper effect.  Geoffrey Freshwater’s excellent Gloucester is richly affecting, both in the blinding scene and in his pilgrimage thereafter, and the Pieta-like image of Lear cradling the dead Cordelia is painful and pitiful. Both Freshwater and Hicks give strength to the whole production, as does the androgynous figure of Kathryn Hunter as the Fool, in traditional cap and bells, seeming somehow to suggest a boy and an old man at the same time, and delivering the lines with both subtlety and clarity. Darrell D’Silva brings exactly the right qualities of strength and compassion to Kent, and Kelly Hunter and Katy Stephens render passionately Goneril’s and Regan’s relish of power and assertion of self. In spite of one or two rather sketchier characterisations, it is a strong ensemble performance.

 

 

 

 

Reviews by Andrew Wihffin for Theatreworld Internet Magazine

 

 


GRAND THEATRE

WOLVERHAMPTON

 

BOX OFFICE: 01902 42 92 12

Website:  www.grandtheatre.co.uk

 

WITNESS FOR THE PROSECUTION

By Agatha Christie

 

Now playing until Sat 6 March

 

 

Written by the Queen of thrillers, Agatha Christie, Witness for the Prosecution began its life as a short story called Traitor Hands. In 1953 the then producer of The Mousetrap, convinced Agatha Christie that the story would transfer easily to the stage. She began the rewrite and it opened in London in October of the same year.

 

The action takes place in the Chambers of Sir Wilfred Roberts QC (Dennis Lill) and later in number one court of The Old Bailey. When Mr. Mayhew (Robert Duncan) brings in perspective client Leonard Vole (Ben Nealon), Sir Wilfred is sure that there will be no hope of getting a positive result against his charge of murder.

 

However when Voles wife (Caroline Oakes) later calls in at the chambers to meet Sir Wilfred, she gives doubt to the whole situation and Sir Wilfred becomes determined to get a non guilty verdict for his client Leonard Voles.

 

In the courtroom, the role of Mr Justice Wainwright is played by stage and TV veteran Peter Byrne. He brings an air of command to the judicial situation and a certain amount of comedy in his responses to witness’ evidence. Prosecutor Mr. Myers QC is played by Mark Wynter and Jennifer Wilson plays the role of jealous housekeeper to the murdered woman.

 

As in all of Agatha Christies works there are several twists and turns throughout the drama. I actually thought I had it all sorted, but once again the methodical mind of Ms. Christie comes up trumps.

 

With a wonderful set and a most prestigious cast, the play is a must for all would be sleuths. It runs at the Wolverhampton Grand until Saturday 6th March.

 

 

 

STOP PRESS

I was also lucky enough last night to be wined and dined at Sopranos a new local Wolverhampton restaurant. It was however all in the name of theatre as we were there to see a preview of The Sopranos an all female singing group of international talent, who will be performing for one night only at the Wolverhampton Grand on Sunday 28th March. The stunning Sopranos will be singing timeless classics from the world of Opera Pop and Broadway. From the short preview that I saw the show is sure to be a hit and tickets are now on sale.

 

 

Reviews by Fran and Steve Onions for Theatreworld Internet Magazine


HAYMARKET THEATRE

LEICESTER

 

REVIEWER NEEDED FOR THIS VENUE - Please contact the Editor via e-mail:-  GPowner@aol.com


THE BELGRADE THEATRE

COVENTRY

BOX OFFICE: (024) 7655 3055

 

REVIEWER NEEDED FOR THIS VENUE - Please contact the Editor via e-mail:-  GPowner@aol.com


SWAN THEATRE

WORCESTER

BOX OFFICE: 01905 27322

 

REVIEWER NEEDED FOR THIS VENUE - Please contact the Editor via e-mail:-  GPowner@aol.com


MALVERN THEATRES

FORUM and FESTIVAL

Grange Road

Malvern

Worcestershire

WR14 3HB

BOX OFFICE: 01684 892277

www.malvern-theatres.co.uk/

 

 

 

Reviews by Rebecca Vines for Theatreworld Internet Magazine


DERBY THEATRE

Theatre Walk

Eagle Centre

Derby

DE1 2NF

Box office: 01332 255 800

Group/Schools Booking Hotline (10+):  01332 255 413

Typetalk Box Office Number: 18001 01332 255 800

 

DERBY LIVE

Market Place, Derby, DE1 3AE

Box Office: 01332 255800

Website: www.derbylive.co.uk

E-mail: boxoffice@derby.gov.uk

 

 

 

 

Reviews by Mike Wheeler for Theatreworld Internet Magazine


CHESTER GATEWAY THEATRE

Hamilton Place

Chester, CH1  2BH

BOX OFFICE: 01244 340392

 

CURRENTLY “DARK”

 

 

Reviews by Jonnie Woodall for Theatreworld Internet Magazine


LYCEUM THEATRE

Heath Street

Crewe

Cheshire CW12DA

BOX OFFICE: 01270 537333

www.lyceumtheatre.net

 

Reviews by Jonnie Woodall for Theatreworld Internet Magazine


NOTTINGHAM PLAYHOUSE

Wellington Circus

Nottingham NG1 5AF

BOX OFFICE: 0115 941 9419

Minicom: 0115 947 6100

The Box Office is open Monday to Saturday from 10.00a.m. - 8 p.m. and Sundays and Bank holidays 2 hours before any performance.

Book Online - www.nottinghamplayhouse.co.uk

Email - enquiry@nottinghamplayhouse.co.uk

 

 

Reviews by Elaine Peel for Theatreworld Internet Magazine


THE COURTYARD THEATRE

Edgar Street

Hereford

HR4 9JR

Box Office 01432 359252

www.courtyard.org.uk

 

 

Reviews by Rebecca Vines for Theatreworld Internet Magazine


For more details or individual advice/help - email:

GPowner@aol.com