The Blue Angel
Open Space Theatre at the Seagull Theatre, Lowestoft
Review published in the Eastern Daily Press and East Anglian Daily Times, 28th November 2011
It’s always good to see a company taking on new challenges and pushing boundaries. To take Pam Gems’ stage version of what was a successful film, does Open Space credit.
Set in decadent Weimar Germany the plot centres on an esteemed, but pompous, ageing professor who falls for a cabaret performer and seeks to give her respectability by marrying her.
He is ostracised by his social circle and does whatever degrading or criminal things it takes to restore his good name.
Emma Martin plays the brazen but vulnerable, ageless Lola, first played in the film by Marlene Dietrich. She makes an excellent, convincing job of it, as does Paul Baker, her infatuated, doomed lover.
Director David Green has applied a sensitive hand to what is a play of fragmented scenes, requiring careful juggling on a small stage. It’s a touring show, and adapts well in different venues.
There is real strength in a large cast of cameo circus/cabaret/burlesque entertainers, including a clown who cannot speak.
Some songs and dances help the dark narrative along, including what became the signature tune, Falling In Love Again. The show has humour, pathos and versatile acting. Warmly recommended.
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Bouncers
MIG at Fisher Theatre, Bungay
Review published in the Eastern Daily Press, 2nd November 2011
Hailing from the Midlands, MIG (Men in Glasses) Productions, a not-taking-themselves-too-seriously company, brought Bouncers to Bungay.
It’s one of John Godber’s classics, and they did a remixed, updated version, with local towns referenced to bring it home. From the opening comic dance routine to the bitter-sweet end, pace never flagged, deftness of touch didn’t falter, laughs didn’t dry up.
Most of the verbal gags came from the original version; such humour is timeless. The physicality was an added comic treat. The play’s social comment is still as barbed, perceptive and close to the mark as ever.
The multiroling, including female roles, was sustained by Chris Pindar, Jon Williams, Martin Voyle and Andy Jones perfectly. Each cameo moment, from club, to door, to bar, to taxi, to hairdressers, was a priceless, believable snapshot of real life.
That it should be the underbelly, the sordid weekend night times, the unpleasant side of real life drawn so graphically, is a mark of Godber’s playwriting skills. That it was interpreted so well, is the measure of this lively, ambitious company on their first foray into our region.
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Ghost Town
Limbik Theatre
at The Cut, Halesworth
Review published in the Eastern Daily Press, 31st October 2011
Suffolk-based company Limbik create new theatre that explores human stories set in epic environments. They are funded by the Arts Council to develop Ghost Town.
As old gold mines are reopened today, including Bodie in California, this play is a timely reminder how after years of prosperity, comes the fight for survival: ‘every boom has its bust’.
Bodie today is a historic park in ‘arrested decay’, but in the 1880s was a town of 10,000 bustling with families, miners, storeowners, gunfighters, prostitutes and thieves. Money, gold and alcohol led to murders on a daily basis.
The challenge for Ben Samuels, Will Pinchin and Sarah Johnson, in devising and performing the work, was to conjure that atmosphere, together with the dark past that humans carry with them and the prices people pay to get by in hard times.
Versatile Dan Friend, stage side, drew from many instruments live music from spookily haunting to sweeping movie crescendo. It was a perfect soundtrack to the struggles.
It’s a work in progress, and the audience were invited to make suggestions which is a healthy creative dimension. This is a company to watch out for in East Anglia and beyond.
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Great Expectations
Hotbuckle Theatre at Seagull Theatre, Lowestoft
Review published in the Eastern Daily Press, 19 October 2011.
Charles Dickens wrote some cracking tales, and this version of a classics was innovative, compelling and dramatic. Produced in story-telling theatre style, with direct-address insights, a talented cast of just five brought to life the rich tapestry of characters who peopled Dickens’ bleak landscape.
Artistic Director, adapter of script and director of the piece, Adrian Preater led as the convict Magwitch, determined to make Pip (a credible Ben Warwick) into a gentleman. Fiona Leaning was Pip’s hard sister and the mysterious Miss Haversham.
Bobbi O’Callaghan played the cold Estella superbly and Christian Rennie completed the company as the affable Joe and the aloof solicitor, Jaggers. Pip was always Pip, but the rest took on the range of minor roles convincingly.
The richness of description, grotesqueness of life and often ironic humour of the original was captured and delivered with a deceptive lightness of touch. Changes with versatile boxes and flowing drapes created memorable scenes as the narrative flowed.
This was a production delivered on the great expectations in full measure. Hotbuckle will be welcomed back to the Seagull on their next tour without doubt.
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The Boy Friend
Phoenix Opera at The Maddermarket Theatre, Norwich
Review published in the Eastern Daily Press, 8 October 2011
1954, when this comic pastiche musical was first produced, was an optimistic period, like the 1920s in which it’s set.
It’s a timely revival, as clear-cut roles, flimsy plot and light songs are an antidote to these darker contemporary times. Director Sheila Duffield has her cast work hard making the most of space and bathed in Riviera sunshine.
The romance of Polly (enchanting Rachel Goodchild) and Tony (dashing Will Arundell), is matched by the enthusiastic company of youngsters who all get engaged, led by the lively and talented Lucy Short.
There is further romance between finishing school headmistress (Pip Jenkinson) and Polly’s father (Christopher Speake), while Tony’s parents (Pat Tegerdine and Andrew Barker) add hilarity played to the hilt.
Julie Hewitt is the very gallic assistant and the Grande Tango dancing pair are outstanding.
Music is spot on, with Eric James leading a little band featuring songs which are actually well known, The Boy Friend, Safety in Numbers, Sur La Plage and I Could Be Happy With You.
Phoenix Opera, momentarily stepping from Verdi and Puccini into musical theatre offer a charming, innocent little piece that delights, amuses and warms.
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Equus
London Classic Theatre at
Playhouse Theatre, Norwich
Review published in the Eastern Daily Press, 22 September 2011
As much psychological study as play, Equus is a powerful, yet sensitive insight into a repressed and awkward teenager, facing his development and relationships, hiding in a world of TV commercials.
Locked in a tight, semi-circle of light and minimal blocks, contrasting with the dark openness of the Playhouse stage, psychiatrist (Malcolm James) narrated the case: why a 17 year old youth blinded six horses.
Conflict and tension came from the doctor teasing information from each character, asking, provoking. ‘When you’re in the adjustment business, you’re never short of customers’.
All-seeing eyes and the mother’s (Anna Kirke) Biblical equine images affected everyone. Symbolic horse heads hung in the shadows. Scenes flowed from psychiatrist’s study to stable to the boy’s home. His parents emerged with little glory.
Believing he‘d been given a truth drug, the boy (Matthew Pattimore), retold the attempted lovemaking with the girl (Helen Phillips) and why he blinded the horses. Their nudity reinforced the boy’s vulnerability.
London Classic Theatre brought this horrific, compelling and thought-provoking work to a packed house including many informed and appreciative students, which speaks well for the future of serious drama in the region.
Filed under: Reviews
Guys and Dolls
Guys and Dolls
at the Maddermarket Theatre, Norwich
Review published in the Eastern Daily Press, 17 September 2011.
Good to see the Maddermarket enthusiastically relishing the challenge of another classic musical. And they’re doing it brilliantly.
Set in New York’s 1950s seedy underworld, the unlikely love between a gambler and a Salvation Army sergeant is well sustained.
Every comic possibility is delivered with panache. The 3-piece band are outstanding.
Director John Mangan has done a creatively, deft job, alternating locations, maintaining pace and allowing song gems like The Oldest Established, I’ll Know, A Bushel and a Peck, Take Back Your Mink, Sit Down You’re Rocking the Boat and Luck Be a Lady to speak for themselves.
He plays and dances a mean sidekick, clown-like character in it, too.
Melissa Sampson portrays the difficult buttoned-up/falling in love role, while Frederick Goymer as her redeemed sinner lover, is sincere, talented and effective. Barry Parsons as the big thug is convincing.
In the subplot, Trevor Burton plays slippery Nathan Detroit with perfect timing, and Louise Brighton his long-suffering fiancee of 14 years.
The supporting cast of Sally Army, ‘Hot Box’ girls and a motley crew of mobsters and no-goods are fun and gifted, making for a great evening out.
Filed under: Reviews
Folk East
Folk East at The Cut, Halesworth
Review published in East Anglian Daily Times, 2 Sept 2011
A dry run for a major folk festival during next year’s August Bank Holiday, Halesworth’s Cut presented acts from the wide range of contemporary folk music during this year’s holiday.
The final night started with Bridget Cousins, accomplished on celtic harp, followed by Horses Brawl, a talented pair of versatile craftsmen-musicians, taking fragments from medieval to Swedish.
Mike Heron was co-founder of The Incredible String Band, and he brought a new ensemble which included his daughter Georgia, with new songs and a couple of ISB classics from the 1960s, ‘The Tree’ and ‘A Very Cellular Song’.
He doesn’t look his 69 years, and his still-inventive music interpreted by talented young performers brought the era and the culture flooding back. Most of his group were Trembling Bells, a highly-rated contemporary outfit who played with skill, energy and fun at the rock end of the folk spectrum.
The whole evening was a happy mix of traditional genres with experimental styles, fusing cultures and history, and all done lovingly from many instruments. That’s the way new folk is going, and it augurs well for the big event next year.
Filed under: Reviews
Comedy of Errors
RoughCast Theatre Company,
at The Cut, Halesworth
Review published in Eastern Daily Press, 27 June 2011
Purists might gulp, but RoughCast took liberties with Shakespeare’s fiendishly complex plot of absurdities, coincidences and unlikely encounters to make a hilarious night out.
They plunged headlong into the box of theatrical genres and tricks. Director Paul Baker cleverly shaped lots of character quirks and movements, at times somewhere between the physicality and slapstick of commedia dell’Arte and manic farce, with a nod to panto.
The story is the often imitated one of noble twin brothers separated years ago and twin servants who didn’t know about each other. Aiding confusion, the nobles are called Antipholus, while both servants rejoice in the name Dromio.
The lords (Steven Phipps and Mark Burridge) conveyed the increasing insanity convincingly. The zany naivety of their servants (Peter Long and Simon Evans) went down a treat. Alice Mottram as the young wife is a star in the making, and her sister (Emma Martin) handled well the ludicrous falling in love with the unmarried twin nobleman.
Sundry merchants, an Abbess, jailers, the Duke and an expensive courtesan gave admirable support in making the language alive and accessible. A really enjoyable addition was a small band who punctuated the action – a musical chorus. Wonderful!
Filed under: Reviews