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
(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
Reviews by Rebecca Vines for Theatreworld Internet Magazine
BRISTOL - OLD VIC
King Street
Bristol
BS1 4ED
BOX OFFICE 0117 987 7877
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
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
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COLCHESTER
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Royal Parade,
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Southampton
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