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
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
Reviews
by Rebecca Vines for Theatreworld Internet Magazine
DERBY
THEATRE
Theatre Walk
Eagle Centre
Derby
DE1 2NF
Box
office: 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
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
Reviews
by Rebecca Vines for Theatreworld Internet Magazine
For more details or individual advice/help - email:
GPowner@aol.com