THEATREWORLD

INTERNET MAGAZINE


REVIEWS

SOUTHERN ENGLAND

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

 

REVIEWERS WANTED FOR MANY OF THE FOLLOWING (and more!) PLEASE email the Editor:-   GPowner@aol

 

 This page contains reviews at the following theatres:-

(use Search and Find facility)

OXFORD THEATRES:- The Playhouse, New Theatre and Old Fire Station Studio Theatre (occasional reviews)

Chichester Festival Theatre

The Watermill Theatre, Bagnor, Nr. Newbury, Berks.

Theatre Royal, Brighton

Woking, New Victoria Theatre

Southampton - Mayflower

Cheltenham, Everyman Theatre

BRISTOL THEATRES:  Old Vic; Hippodrome; Tobacco Factory

Yvonne Arnaud Theatre, Guildford

Theatre Royal, Windsor

Bury St. Edmunds, Theatre Royal

Mercury Theatre, Colchester

Plymouth - Theatre Royal and The Drum (Studio Theatre)

Theatre Royal, Bath

The Hawth, Crawley

Nuffield Theatre – Southampton

Salisbury Playhouse

The Mill at Sonning

 


OXFORD PLAYHOUSE

Beaumont Street,

Oxford,  

OX1  2LW

BOX OFFICE: 01865  305305

website: www.oxfordplayhouse.com

 

 

 


OLD FIRE STATION STUDIO THEATRE

40 George Street, 

Oxford

OX1  2AQ

BOX OFFICE - 0844 847 2360

www.ofsstudio.org.uk

 

 

 

 

(occasional Reviews)

 


THE NEW THEATRE

George Street

Oxford,  

OX1  2AG

Ticketmaster: 0870 606 3500

Groups Hotline: 01865 723834

 

 

 

 


CHICHESTER festival THEATRE

Oaklands Park

Chichester

West Sussex

PO19 6AP

BOX OFFICE: 01243  781312

Website: www.cft.org.uk

 

Chichester Festival Theatre in association with Duncan C Weldon

Presents

Pygmalion

 

In repertoire until 27th August 2010

 

 

Written by: Bernard Shaw

Director/Designer:  Philip Prowse

 

 

Box Office: 01243 781312

 

 

We are all so familiar with the memorable music and iconic performances of My Fair Lady, that one could be forgiven for thinking that the story without the music may feel a little incomplete.  But that would be forgetting the enchantment of this tale of a flower girl turned into a lady by the professor of phonetics who thought that changing her voice was all that was required.

 

Professor Higgins is of course an emotionally challenged man.  A man his mother couldn’t take to church lest he insult the vicar.  He is moody, irascible and spoilt.  He is incapable of empathy and only interested in people if they are of use to him.  Rupert Everett also imbues him with a restless, edgy attractiveness that is a departure from the Rex Harrison prototype with which we are familiar.  It is a toweringly successful performance that has given his role and the story a new dimension.

 

But during the first twenty minutes I feared for the whole production.  Honeysuckle Weeks as Eliza Doolittle was screechingly incomprehensible in the opening scenes where the cockney flower girl first met the professor on the street.   Although thoroughly convincing in her downtrodden misery, I just couldn’t hear a word she said.  Apart from one further scene when tempers flew, her pitch returned to a normal (and comfortable) range and she was enchanting in the role, particularly in the famous tea party scene where her comic timing was superb.

 

In fact, the whole production is littered with wonderful performances.  Phil Davis as Alfred Doolittle, who would willingly sell his daughter for five pounds, grabbed the limelight in all his scenes.  Stephanie Cole back in Chichester after playing a mother of an entirely different kind in Separate Tables last year, played Mrs Higgins wonderfully; a woman who may love her son but understands the vagaries of his nature only too well.  And Susie Blake as Higgins’ housekeeper Mrs Pierce also deals with this spoilt boy/man with the firmness he so needs.  And what a treat to hear the rich, dulcet voice of Peter Eyre who plays Colonel Pickering, the man with whom Professor Higgins makes a bet; that he cannot take the wretched snivelling girl from the gutter and have her pass as a lady six months hence.

 

But of course it didn’t occur to either of them that Eliza uncovered finer feelings along with her fine clothes and social ease.  They quite forgot that talking about her as if she wasn’t there was injurious to her feelings.  And when the bet had been won, they congratulated only themselves for a job well done as she sat unobserved in the dark.  It was only later, too late indeed that Higgins realises the depth of his own feelings as she prepares for a new life. 

 

In a departure from the original director Philip Prowse has her married to the doting Freddie, a marriage that seems hardly credible.  Nevertheless this is a minor point in a production that scores a hit in most areas.  If the obviously proscenium set (ready for its inevitable transfer) creates blocking difficulties from time to time as characters mask each other, and if those wretched little red seating stools on the edge of the stage had Higgins and Eliza almost shouting at each across a great divide in one scene it was small beer in comparison to the greater whole.  A beautiful story, well told by a sterling, high calibre cast and finally that mesmerising performance by Rupert Everett makes this a must see treat this summer.

 

Reviewed by Margret Covell for Theatreworld Internet Magazine

 

 

 

 

 

Chichester Festival Theatre

Presents

42nd Street

 

Now playing until 28th August 2010

 

Music by: Harry Warren

Lyrics by:  Al Dubin

Book by:  Michael Stewart & Mark Bramble

 

Directed by:  Paul Kerryson

 

 

Box Office: 01243 781312

 

 

 

42nd Street made its mark in the early thirties as the feel good musical of its time.  Full of positive vibes and toe tapping music it was the perfect antidote to the depression that gripped America.  In a season that has scarcely put a foot wrong so far, the choice of musical for the main house had to similarly lift the spirits, entertain in a light and easy way and leave the audience happily begging for more.

 

And 42nd Street is a perfect choice. From the first moment when the whole company emerge through the large trap door and start dancing as if their lives depended on it, the audience is hooked.  In fact the magic starts when the screen draws back to reveal a fourteen piece orchestra playing the first overture.  This is a classy production in every way with music and dance numbers coming at you in such quick succession, you hardly get a chance to draw breath.  Virtuoso dancing takes you back to the song and dance music of the thirties, perfectly capturing the nostalgic feel of the time. 

 

And of course there’s the relentlessly feel good nature of the storyline.  Small town girl Peggy Sawyer (Lauren Hall) arrives late for the audition of the new musical ‘Pretty Lady’.  She’s told to go home, but fate (and her lucky yellow scarf) intervenes and she gets a chance to try out.  But soon she falls foul of the star of the show, ageing beauty Dorothy Brock (Kathryin Evans) in a way that has far-reaching consequences for them both.  It’s not the greatest script in the world, working best when it’s delivered with a lack of reverence and seriousness, something beautifully achieved in the second half, particularly from the fabulous Tim Flavin as Director Julian Marsh, urging the hoofers to greater efforts and giving young Peggy the kind of pep talk that would send most of us running for the hills.  But it serves its purpose well, if only as glue for the important bits of the show; the song and dance numbers:

 

Fourteen of them to be precise; all memorable, many you will know already.  You’re getting to be a habit with me, Lullaby of Broadway, I only have eyes for you, and of course 42nd Street figure large as does Shuffle off to Buffalo, one of a group of numbers added in the stage version that features assistant choreographer Lisa Donmall as Annie who gives a memorable performance all through.  Her contribution to Andrew Wright’s amazing choreography is an important part of what makes this show what it is.  But this show works so well because there are no weak links; every single member plays their part.  The ensemble singing is superb and need I say more than the orchestra received a standing ovation from a hugely appreciative audience.

 

My only small gripe is the flat grey back screen, which may work well for the occasional black and white projections, but it adds a muted air at complete variance to the action going on in front.  Remembering that this is a thrust stage with no proscenium it’s a little dull.  All is remedied in the numbers when either the screens are turned to reveal spangled glass or drawn back so we can see the orchestra, conducted by the expressive Musical Director Julian Kelly.  Maybe more colourful costuming in the first half would have made a difference, but they were certainly authentic, including the frightful Marcel waved wigs!

 

But with that small caveat, which hardly impacted on my enjoyment of the whole performance, I can heartily recommend it and say that for pure entertainment value you won’t beat it this summer. If you love musicals this is a must see, and one suitable for the whole family.  I can’t imagine a nicer way to spend a couple of hours in the theatre than with this four star winner!

 

Reviewed by Margret Covell for Theatreworld Internet Magazine

 

 

 

 

CHICHESTER MINERVA THEATRE

BOX OFFICE: 01243  781312

Website: www.cft.org.uk

 

Liverpool Everyman & Chichester Festival Theatre

Presents

The Ragged Trousered Philanthropists

 

Playing in repertoire until 28th August 2010

 

Written by: Robert Tressell

Adapted by: Howard Brenton

Directed by: Christopher Morahan

 

 

Box office: 01243 781312

 

 

 

Robert Tressell’s powerful novel of political awakenings and class struggle in Edwardian England is brought brilliantly to life in Howard Brenton’s adaptation for the stage.  Set in the southern town of Mugborough, based on Tressell’s home town of Hastings, a group of workers set about restoring an old house so it is fit for the new owner, Mayor Sweater and his ‘good lady wife’.  But it is soon obvious that greed and corruption are part of the fabric of Mugborough society and the trickle-down effect has the workers of the town exploited and ill used.

 

A rich cast of characters beautifully emphasise the life of the Edwardian Artisan, who although they are living from hand to mouth and always in fear of being laid off still fill their lives with hope and good humour.  A clever set of the house in miniature is the backdrop for the men’s musings and philosophising as they follow orders to cover up cracks, water down paint and generally do ‘a bodged job’ to save money. Frank Owen, an artist and mural painter, convincingly played by Finbar Lynch, is much taken with the romantic ideals of William Morris and exhorts his co-workers to follow the true socialist path, where all men are equal and are able to profit by their labours.  But it is the masked and padded fat cats on the council, (a clever theatrical device) who are raking in the profit with no regard for the people made homeless and starving by their ruthlessness.

 

It is perhaps the unrelenting negativity of these corrupt characters, with their total lack of human feeling and the impotent anger that underpins the dialogue that makes this hard to watch.  Everyone it seems is at fault and according to Tressell, those mostly to blame for the iniquities of the class system and its attendant ability to create wealth are the workers themselves.   They do not believe a better more equitable life is within their grasp so continue with the back breaking work for poverty pay that generates huge profits for their masters.  This story argues that if only they would have the courage to rise up and fight for their rights the new order could assert itself.  It is their acquiescence to the status quo that makes them the ragged trousered philanthropists.

 

But despite an absence of hope, there is lightness and energy in many scenes.  The workers break into song and create entertainments to lighten their load.  The annual beano where the bosses and workers come together to drink and eat their fill is a highlight which beautifully illustrates the hypocrisy that keeps the social order alive.  Foreman Bob Crass ‘I’ve just had eight pints and I didn’t pay for any of them’ (a well judged performance from Nicolas Tennant) finally shows his true colours when offered a promotion if he promises to further cut building costs and drive down wages – and eagerly accepts.

 

The novel became one of the defining works of the twentieth century, with parts of the text known by heart by men up and down the land.  In this clever adaptation by Howard Brenton, who by the way went to school in Chichester, we are shown a harsh view of the pre socialist order.  Social change was in the air, but we are given Brenton’s view that corruption still rules today as he links the past with the present with a house buyer on the make.  This is good theatre, with a brilliant ensemble cast but leaving political persuasion aside, this perspective certainly isn’t uplifting, particularly for one who likes a more balanced view of the human condition.

 

Reviewed by Margret Covell for Theatreworld Internet Magazine

 

 

 

 

Chichester Festival Theatre

Presents

The Real Inspector Hound

&

The Critic

 

Playing in repertoire until 28th August 2010

 

 

The Real Inspector Hound written by: Tom Stoppard

The Critic written by:  Richard Brinsley Sheridan

 

Directed by: Jonathan Church & Sean Foley

 

Box office: 01243 781312

 

 

The splendid Chichester season moves on apace with a tempting two for one offer that is sure to please.  There is something delicious in the notion that the theatre can (ever so gently) parody itself, whilst also – and not so gently satirise the critics who ‘comment’ on their efforts.

 

Our traditional who-dunnit comes in for a dig in the ribs in Stoppard’s glorious sixties spoof.  In a dark manor house on the edge of misty marshland, the inhabitants play cards whilst exchanging brittle dialogue, all the while ignoring the dead body lying by the chaise longue.  The ubiquitous char lady (Una Stubbs) answers the phone with the helpful line ‘Hello, the drawing room of Lady Muldoon’s country residence one morning in early spring’.  Looking on, two critics decide in their own special way just how they will review this piece.  Moon, a shuffling, stooped epitome of the grubby journalist, (Richard McCabe on top form), alternates between pretentious literary pronouncements bearing no relation to the play, whilst bitterly railing against his fate as second string critic to the reviled Higgs whom he wishes as dead as that unseen corpse.  Meanwhile, Birdboot his flamboyant, white suited colleague is eyeing up the totty in the cast whilst proclaiming his fidelity to patient wife Muriel, (a joy of a performance from Nicholas Le Prevost).  But due to an incessantly ringing phone on stage, both critics are gradually drawn into the action with inevitably confusing and hilarious results.  How clever, how funny and deeply satisfying an experience it is; enough within itself, - but more glorious theatre is to come:

 

The Critic, written in 1779 whilst Sheridan was running The Theatre Royal, Drury Lane pokes fun at the whole establishment; from the dramatists with their overly florid prose, to the critics of the day more interested in self aggrandisement than honest opinion.   The same cast take on very different roles with wonderful characters; Dangle, Nicholas Le Provost in top form again, and his fellow critic Sneer (a welcome return from Derek Griffiths) engage in cleverly barbed one-upmanship, whilst entertaining writers Sir Fretful Plagiary played by co director Sean Foley and PR and spin doctor of his day, Puff who famously says that ‘he has reduced the puff to a science’.  Richard McCabe in magnificent form as the bombastic, strutting Puff invites the two critics to a rehearsal of his new play, a tragedy on the Spanish Armada.  The actors have cut the action so heavily as to make it nonsensical, but Puff valiantly continues to parade scene after scene whilst Dangle and Sneer make incredulous and spiteful comments.  Fast paced, reaching almost frenetic speed at times, the dramatic and entirely unexpected dénouement has the audience screaming with delight and surprise.

 

Clever direction by Chichester’s artistic director Jonathan Church and Sean Foley take these plays to new heights.  Every small detail, from costuming to design is brilliantly realised making for a satisfying whole.  Strong performances from this talented cast are assured.  Special mentions must go both to Una Stubbs who cast her own special magic on every role she played, and Joe Dixon, first as creepy villain Simon, followed by Don Ferolo Whiskerandas, successfully overplayed both these roles to huge comic effect. And bravo to whoever cast Richard McCabe and Nicholas Le Provost; they are an inspired pairing.  These plays have not been seen together since their outing at the National with Stoppard and Sheila Hancock directing which had good revues, but they’ve been topped by this production for sure.

 

Take every opportunity you can to hot foot it to Chichester this summer and experience this delight for yourselves.  I promise you will not be disappointed. 

 

Reviewed by Margret Covell for Theatreworld Internet Magazine

 

 

 


WATERMILL THEATRE

Bagnor,

Nr. Newbury,

Berkshire

RG20  8AE

BOX OFFICE: 01635 46044 or

Online at www.watermill.org.uk

 

COPACABANA

 

Music by Barry Manilow

Lyrics by Bruce Sussman and Jack Feldman

Book by Barry Manilow, Jack Feldman and Bruce Sussman

Director and Choreographer Craig Revel Horwood

 

Now playing until 4th September 2010

 

First the good news:  Copacabana is only sung once, at the end of the show.  Wise, considering that the plot of this musical running nearly three hours can be summed up in three verses. 

 

Your impression that I am not a Manilow fan would be correct.

 

I do like Craig Revel Horwood though.  He has directed and choreographed a series of stunning musicals at the Watermill.  I even enjoyed his excellent production of Andrew Lloyd-Webber’s not very wonderful Sunset Boulevard.  But Copacabana is dancing on very thin ice – even for Craig.

 

The plot we all know.  Lola was a showgirl.  Tony always tended bar.  Rico wore a diamond. But just who shot who? 

 

How do you pad that out into a full-length show?  Feathers.  Tiny skin-tight black pants.  A lot of skin.  That’s just the boys.  The girls get heels, headdresses and an immodest amount of jewellery that barely covers their…er…modesty.  And a lot of singing and dancing. 

 

The actor’s dazzling musicianship and choreography that would be welcomed in the West End makes a Herculean effort to inflate the Grammy Award winning song into a whole evening’s entertainment.  Despite the sweat and the talent, despite Craig Revel Horwood’s sterling efforts, the show cannot expunge the fact that it was once a single that ran for all of four minutes and eight seconds.

 

But Karen Mann and Julian Littman – as ageing showgirl and ageing club owner respectively – whose shtick channels Jerry Lewis vs Lucille Ball – let us forget Manilow for a few minutes and delight in the sheer silliness of the whole edifice.  For which I give fervent thanks.  Though I must admit there were people in the audience quite happy with the nearly naked dancers.

 

Should you be lucky enough to obtain one of the few remaining tickets for this production I urge you to avail yourself of the Watermill cocktail bar beforehand to ensure sufficient suspension of disbelief.  If, on the other hand, you like Barry Manilow, you’re on your own.  I do, however, suggest you get a doctor’s certificate before attempting the front row.  You can get too close to the flame.

 

 

 

Reviews by Ian Willox for Theatreworld Internet Magazine


THEATRE ROYAL

BRIGHTON

New Road,

Brighton

Sussex

Box Office 08448 717 650 (bkg fee)

Groups Hotline 08448 717 617

Access Bookings 08448 717 677 (bkg fee)

 

www.ambassadortickets.com/brighton

 

 

Bill Kenwright

Presents

Bedroom Farce

 

Now playing until Saturday 31st July 2010

 

 

Written by:  Alan Ayckbourn

Directed by Peter Hall

 

Box Office: 08448 717650

 

 

 

Several years after his first commercial hit Sir Peter Hall persuaded Alan Ayckbourn to give a play to the National Theatre with the line, ‘No doubt you can do very well without the National Theatre but can the National Theatre do without you.’  That play was Bedroom Farce.

 

Nearly thirty five years later it’s on tour after a stint in the west end and is unfortunately showing its age.  Styles of production have radically changed in the intervening years.  What was once charmingly unconventional now seems clunky and more than a trifle contrived.  It is only some strong performances from a talented cast that keep this from falling flat on its face.  The set, designed by the clever and oh so prolific Simon Higlett, is of three separate bedrooms occupied by three of the four couples.  The fourth couple, Trevor and Susannah (Oliver Boot and Natasha Alderslade) are a disastrously over emotional and self indulgent pair who wreak havoc in the lives of the other three as they ‘show and tell’ the drama of their relationship everywhere they go.  Inevitably the ripple effect caused by their problems start to highlight the tiny cracks in the relationships of the three other seemingly contented couples and domestic discord and self doubt is only a step away.

 

But before the mayhem begins we are introduced to the three couples as they begin their evening.  Delia and Ernest so very well played by Juliet Mills and Bruce Montague, are getting ready for a night out at their favourite restaurant as, according to Ernest, Delia celebrates their wedding anniversary!  They wonder how long the marriage of their only son Trevor can possibly last to the rather highly strung Susannah.  If only, they muse, Trevor had stuck with that nice Jan girl.  But Jan (lovely actress Clare Wilkie of Eastenders fame) is now married to the unromantic and somewhat self-obsessed Nick (Maxwell Caulfield, Emmerdale and incidentally married to Juliet Mills these thirty years).  Nick is much more self obsessed than usual as he is confined to his bed of pain having damaged ‘his entire spine’.  But Jan is thankfully leaving him to go to Malcolm and Kate’s housewarming party (excellent performances from Ayden Callaghan and Julia Mallam also of Emmerdale fame).  Malcolm is overly fond of practical jokes so their dialogue is interspersed with many ‘right, you’ve had it now – just you wait…!’ as lost shoes are discovered in odd places and shaving foam sprayed on backs.  But this banter soon stops as the hurricane effect evoked by Trevor and Susannah changes their mood.

 

The darkness of Ayckbourn’s later plays is only just beginning to show itself in this, but it certainly nibbles at the edges with the erratic Susannah being declared ‘quite mad’ by her horrified mother in law and the desperately needy Trevor mindlessly causing offence as he tries to do the right thing.  But it is the three set in one device that results in such a stilted production.  The eyes of the audience endlessly dart from scene to scene, as if they’re watching a game of tennis.  This is exacerbated here by a smaller stage; lively action in the ‘middle bedroom’ inevitably led to the actors encroaching on the ‘rooms’ on either side. 

 

Not all plays survive the test of time.  Whilst this has the Ayckbourn quality mark literally written all over it, maybe not enough time has elapsed for it to go from dated and old fashioned to classic theatre.  Perhaps like Noel Coward, a welcome and grand resurgence of Ackbourn’s early plays awaits in the future.  Meanwhile and particularly if you are nostalgic for the seventies, a pleasant enough evening awaits you at the Theatre Royal.   

 

 

 

 

Reviews by Margret Covell for Theatreworld Internet Magazine

 

The Theatre Royal, Brighton is one of the most elegant of playhouses.  Whilst so many of our old theatre have ripped out wooden panels in favour of Formica and replaced chandeliers with florescent lighting, the Theatre Royal skillfully manages to retain its charm and character whilst presenting an eclectic programme of drama, dance, musicals and comedy.  Perfectly situated in the heart of Brighton, opposite the Prince Regent's Royal Pavilion, it is also wonderfully convenient for late night trains (thus easily accessible from London), an array of good restaurants and, if you desire, a thoughtful late night stroll along the beach to savour the evening's theatre fare.

Brighton Theatre Royal has many concessions, family tickets and special offers - why not join their mailing list and reap those rewards - contact the Box Office 08700 606 650 for full details.

Brighton is served by fast frequent train service from London  Victoria B.R. Station and late night trains are available thus making an evening trip to Brighton Theatre Royal to see some of the excellent productions they host, perfectly viable.  

 

www.theambassadors.com/theatreroyal


NEW VICTORIA THEATRE

WOKING

The Ambassadors

Peacocks Centre,

Woking

Surrey, GU21 1GQ

BOX OFFICE 01483 761144

Website: www.theambassadors.com/woking

 

 

 

 

 

Reviews by Sheila Connor for Theatreworld Internet Magazine


THE MAYFLOWER THEATRE

SOUTHAMPTON

Commercial Road

Southampton

SO15 1GE

BOX OFFICE: 02380 711811

Website: www.the-mayflower.com

 

 

Monty Python's

 

SPAMALOT


Now playing until 31 July

 

 

Monty Python fans will be heading to Southampton this week to catch the first UK tour of Spamalot, based on the cult classic film Monty Python and the Holy Grail.

But whether you are a Python enthusiast or not, lovers or loathers of the traditional musical or Pantomime will delight in the silliest version of King Arthur and The Knights of the Round Table ever told. From killer rabbits to hurtling cows with lashings of French-Anglo stereotypes, this is a delightful cheesy show with amateur dramatic-style scenery.  The film may be 35 years old but there are surprisingly many topical references with the odd local jibe thrown in. To conclude the panto feel an unsuspecting audience member was dragged on stage for their claim to fame with plenty of embarrassment!

Marcus Brigstocke, better known for his stand-up comedy than acting makes a sweet and bumbling King Arthur alongside ex-Eastender Todd Carty – his equally bumbling and gauntless sidekick Patsy. MP fans get a special treat as Eric Idle makes an on screen appearance as God.

Exactly the night out I was expecting, this show makes for a fun evening. Have a laugh, throw political correctness out the window and sing-along to Always Look On The Bright Side Of Life to your heart’s content.

 

 

Reviews by Ellen Holbrook for Theatreworld Internet Magazine


EVERYMAN THEATRE

Regent Street

Cheltenham

Gloucestershire

BOX OFFICE: 01242 572573

www.everymantheatre.org.uk

 

 

 

Reviews by Rebecca Vines for Theatreworld Internet Magazine


BRISTOL - OLD VIC

King Street

Bristol

BS1 4ED

BOX OFFICE 0117 987 7877

www.bristol-old-vic.co.uk

 

BRISTOL OLD VIC – THEATRE ROYAL

 

 

Reviews by Richard Jones for Theatreworld Internet Magazine

 

STUDIO

 

 

 

 

 

Reviews by Richard Jones for Theatreworld Internet Magazine

 

 

 


BRISTOL HIPPODROME

St Augustine's Parade

Bristol

Avon

BS1 4UZ

BOX OFFICE: 0870 6077500

Website: www.bristol-hippodrome.co.uk

 

 

LES MISÉRABLES

A musical based on the novel by Victor Hugo

Music by Claude-Michel Schönberg

Lyrics by Herbert Kretzmer

Original French text by Alain Boublil & Jean-Marc Natel

 

Now playing until 7th August 2010

 

Les Misérables has, throughout its 30 years existence, always been a musical that has left indelible imprints through its staging and performances.

 

It does describe itself as “a musical based on the novel by Victor Hugo” although in fact it features two hours forty minutes of soaring contemporary aria music along with catchy tunes all of which an audience can leave the theatre humming. Not a spoken word is uttered throughout.

 

Over the years as expected of a show of the scale and complexity of Les Misérables, lighting and sound here under the control of Paule Constable and Mick Potter respectively enhance the imagery along with the superbly evocative costuming of award winning Andreane Neofitou.  What is new and goes near to capturing that holy grail of unity of presentation is the scenic and image design of Matt Kinley. The ability to project images on to a backdrop creating a series of locations from the sewers of Paris through to the theatrically memorable demise of Javert adds so much to the effectiveness of this production.

 

John Owen-James as Jean Valjean follows in the wake of previous actors who have played this role over the years to critical acclaim here playing and singing with such intensity, integrity and depth that unequivocally he joins the best in this role of honour.

 

Equally Earl Carpenter shows his long association with the role of Javert making him a more than worthy opponent for Valjean as over the years he pursues his quarry in an attempt to bring him to book only realising the true qualities of the man when as a matter of honour he takes the only way out as he sees it.

 

The intensity and commitment of the whole of this cast of over forty in number throughout this year long tour is impressive.  The Thénardiers as played by Ashley Artus and Lynne Wilmott might be a thoroughly unpleasant and ruthless couple on paper but do bring a welcome shot of comic performance to much audience appreciation particularly in their ‘Master of the House’ routine so well known and loved in the canon of this show.

 

And the children do not let the side down either as they do have crucial parts to play from the young Cosette’s ‘Castle on a Cloud’ to Toby Prynne’s spirited Gavroche and his ‘Look Down’ and ‘Little People’ refrain.

 

Both Rosalind James and Katie Hall gave the adult Éponine and Cosette full value and depth to these crucial roles.

 

A sell out run at Bristol is only what this show deserves featuring a fully committed cast, full-on orchestral support under the direction of Peter White, and under the direction of Laurence Connor and James Powell who see the show with new eyes. Original directors Trevor Nunn and John Caird can rest in the knowledge that the offspring they brought to the world has come of age and will continue to thrive for some time to come yet.

 

Reviews by Richard Jones for Theatreworld Internet Magazine


TOBACCO FACTORY

Raleigh Road

Southville

Bristol

BS3 1TF

BOX OFFICE: 0117-902-0344

www.tobaccofactory.com

 

TOBACCO FACTORY – THE BREWERY STUDIO THEATRE

 

 

 

 

Reviews by Richard Jones for Theatreworld Internet Magazine


YVONNE ARNAUD THEATRE

Millbrook

Guildford

Surrey

GU1  9UX

BOX OFFICE:  (01483) 44 00 00

Website: www.yvonne-arnaud.co.uk

 

THE TEMPEST

 

By William Shakespeare

 

The Guildford Shakespeare Company in association with Guildford's Yvonne Arnaud Theatre.

 

University of Surrey Lake, Guildford.

 

Playing until 7th August.

 

This company find the most idyllic setting for their productions and this is the most beautiful of all, and very appropriate for a play which begins with a shipwreck.   Surprisingly after weeks of drought the skies were cloudy and threatening rain, and as the spirit Ariel invoked a mystical storm, the thunder crashed, the magician Prospero beat his drum, and there were a few anxious glances to the heavens.

 

This is not quite Prospero’s ‘dainty or delicate’ Ariel, the ethereal ‘tricksy spirit’ expected, but perhaps Irishman Caolan Byrne is more in the style of a Leprechaun.   A very fine actor with his speeches well paced and expressive, his voice almost breaking when pleading for his liberty “Remember I have done thee worthy service”, but this is a despondent Ariel and his moments of silent watchfulness are not totally convincing.   To be fair he was often meant to be invisible, but this was not always apparent. 

 

Director Hannah Chissick keeps the actors constantly on the move with many a saunter around the circumference of the large lake to surprise us when they finally appear  through the trees or from under the weeping willows, yet sometimes has them transfixed in statuesque immobility, the victims of magic, something they manage perfectly, hardly even a blink among them.  

 

This company like their productions to be fun, and Chissick makes the most of the humorous aspects with the excellent Stephen Darcy as the comical drunken butler and Matt Pinches’ hard-working hilarious Tricolo keeping the audience laughing as they introduce Caliban to the fiery liquor.   These two also double up as Alonso, King of Naples and his brother Sebastian, involving some very quick changes of clothes and, on the subject of costume, the theme is Victorian but I wonder why magician Prospero is the only one in rags - just a thought.

 

I have always felt sympathy for Caliban.   It was his island after all before Prospero made him a slave and Rikki Chamberlain gives him some pathos as well as the savagery.   A very fit and surprisingly agile Caliban, he shows resentment, anger and bewilderment at his unfair treatment and, although there was virtually no rain, he was constantly being drenched.

 

Prospero is a powerfully proclaiming Bill Ward (formerly Charlie Stubbs in Coronation Street) and his  daughter is recent graduate Leonie Heath who was impish and playful as Moth in Love’s Labour’s Lost a few weeks ago and now enchants with a demure and innocent Miranda, eyes wide with wonder and delight at her first sight of a young man, Ferdinand (the handsome Jack Brear). 

 

The play goes with a swing with plenty of surprises along the way - not least the large, illuminated ‘paper’ boat sailing across the lake to the astonishment of a family of ducks about to settle down for the night.

 

There could not be a more perfect setting for this tempestuous play or a more beautiful and romantic ending.  The two young lovers are silhouetted against the darkness of the lake and trees as the action proceeds in front of them then, still standing, they drift off on a raft across the lake as the lights fade.   A scene which will stay in my mind for a very long time - superb!

 

 

Tickets and details on www.guildford-shakespeare-company.co.uk    or Box Office 01483 304 384

 

 

Reviews by Sheila Connor for Theatreworld Internet Magazine


THEATRE ROYAL

WINDSOR

Thames Street

Windsor

Berkshire

SL4  1PS

BOX OFFICE:  (01753) 85 38 88

Website: www.theatreroyalwindsor.co.uk

 



 

 

 

REVIEWER REQUIRED – PLEASE CONTACT THE EDITOR:  GPowner@aol.com

 


 

THEATRE ROYAL

BURY ST EDMUNDS

Westgate Street,

Bury St Edmunds.

Suffolk

IP33 1QR

BOX OFFICE: 01284 76905

Website: www.theatreroyal.org

 

 

Reviews by Robert Wright for Theatreworld Internet Magazine

 


MERCURY THEATRE

COLCHESTER

Balkerne Gate,
Colchester,
CO1 1PT.

BOX OFFICE: 01206 573948

www.mercurytheatre.co.uk

 

REVIEWER REQUIRED FOR THIS VENUE - Contact the Editor by email:-  GPowner@aol.com

 


PLYMOUTH

THEATRE ROYAL

Royal Parade,

Plymouth

Devon

PL1 2TR

BOX OFFICE: 01752 267222

Group Sales 01752 260960 / Minicom booking (for hard of hearing) 01752 600290

website: www.theatreroyal.com

&

THE DRUM (STUDIO THEATRE)

 

 


THEATRE ROYAL

Sawclose,

BATH

BOX OFFICE: 01225 448844

www.theatreroyal.org.uk

 

 

Reviews by Rebecca Vines for Theatreworld Internet Magazine


THE HAWTH

Hawth Avenue

Crawley

RH10 6YZ

BOX OFFICE: 01293 553636

Website - www.hawth.co.uk

 

 

 

 

Reviews by Sheila Connor for Theatreworld Internet Magazine


NUFFIELD THEATRE

University Road

Southampton

Hampshire

SO17 1TR

BOX OFFICE: 023 8067 1771

website - www.nuffieldtheatre.co.uk

Email - info@nuffieldtheatre.co.uk

 

Reviews by Ellen Holbrook for Theatreworld Internet Magazine


SALISBURY PLAYHOUSE

Malthouse Lane

Salisbury

Wiltshire

SP2 7RA

BOX OFFICE:  01722 320 333

Website: www.salisburyplayhouse.com

 

 

 

Reviews by Myra Bennett for Theatreworld Internet Magazine Internet Magazine


 

THE MILL AT SONNING

Sonning Eye

Oxfordshire

BOX OFFICE: 01189 698000

Website: www.millatsonning.com

 

 

 


For more details or individual advice/help - email: GPowner@aol.com