THE WAR OF THE WORLDS - ALIVE ON STAGE

 

Jeff Wayne's musical version of

The War of the Worlds - Alive on Stage

Recorded at the O2 Arena
Cineworld, Braintree
Sunday 14th April 2013

"The chances of anything coming from Mars are a million to one, he said..."  Filmed in December 2012 in front of a sell-out crowd at the O2 arena, Jeff Wayne conducts a 45 piece orchestra in his epic musical version of H. G. Wells' science fiction story, The War of the Worlds.

 

Concert style, the orchestra are key and dominate the stage, impressive in scale and quality.  In this multi-media production however the space is well used, with high quality filmed scenes on a 100ft "animation wall", live action from a small cast of players, holographic interaction with the absent narrator, and an enormous alien robot complete with heat ray.

 

The narrator is played by Liam Neeson, filmed as part of both the animation wall scenes and as a holographic presence on the stage, interacting with the live actors.  His delivery is grave and absorbing throughout, and although there is just too big an age gap to be a convincing other half to Jeff Wayne's daughter, he otherwise fits the role ideally.  Marti Pellow is part of the live-action cast to sing the thoughts of the narrator, his powerful singing voice a testament to his many years now in musical theatre.  The Artilleryman is performed by Ricky Wilson of the Kaiser Chiefs, with impressive acting skills throughout the descent of the character's wits, and bringing his rock toned voice to a frenzied 'Brave New World'.  Parson Nathaniel and his wife Beth are played by giants of musical theatre Jason Donovan and Kerry Ellis.  Their scene together, facing the reality of the alien invasion as the Parson's belief that the devil is responsible takes over his senses, is a particularly absorbing section with both the strength of their voices and the weight of their touching performances captivating the huge live audience. 

 

Filmed with delicacy of timing, camera changes were natural and never distracting, and while close ups of actors and musicians were plentiful not a moment of the many on-stage spectacles were missed.  A fantastic way to catch a show you've missed, although no real comparison to live theatre.

 

 

GREAT EXPECTATIONS

 

Great Expectations

Live from London's West End

Cineworld, Braintree

Thursday 7th February

 

 

This was the first time that a West End show's opening night was filmed and transmitted live, and audiences responded favorably to the new medium with 7,500 people nationwide attending their local cinema to watch the arrival of the celeb-spattered audience, interviews with the Director and audience members, as well as the play itself in its entirity.  Attractive enough to those of us within relatively easy reach of the West End, but particularly advantageous to those further afield.

 

The camera work was excellent, offering a range of views and close ups without missing a moment of action.  Less impressive was the quality of the interviews carried out before the show and during the interval, with the insightful and enthusiastic Director being asked questions he had already answered by an interviewer who was clearly not listening to him. 

 

Dickens' epic tale must have been a daunting canvas from which to begin a stage adaptation that wouldn't have audiences aching in their seats.  Despite sticking only to the basics of the plot, through the repetition of key catchphrases the characters are dramatically, and at times grotesquely, charicatured into flambouyant portraits of themselves.  I wonder whether, without prior familiarity with the plot, an audience member would have understood the intricacies of the purpose each character played in the life of young Pip, but there was no doubt of who was who.  Annoyingly, almost every other sentence was addressed directly to the character's name - "What Larks Pip", "I don't want to play Miss Havisham", "Tell me Mr Jaggers" - a structure slightly more necessary in a novel, but wearingly repetitive on stage.

 

The pace was speedy, and the very many scenes were seemlessly linked with subtle changes of lighting and slick concealed exits around the stage.  This was made possible through the excellent set design, which impressed from the moment the curtain opened.  With the story told in the style of a memory play, adult Pip begins in Miss Havisham's dining room, complete with cobwebbed wedding cake and imposing fireplace.  He remains on stage through much of the action, watching his memories come to life with the audience, and bringing an artistic explanation as to why the many locations dealt with in the plot are all confined to that one room in Satis House.  A neat and successful way to deal with this potentially obstructive obstacle of adapting Dickens' work for the stage.

 

With the overall effect slightly too sylised for my taste, it was undeniably dramatic and made a long and detailed story into a fast paced thriller.  Impressive design makes it an enjoyable spectacle, but with a predictable script and exaggerated characterisation it is perhaps suited to be an introduction to Dickens, rather than a treat for exisiting fans. 

 

50TH BIRTHDAY OPEN DAY

 

50th Birthday Open Day

Civic and Cramphorn Theatres, Chelmsford

Saturday 8th September 2012

 

 

To commemorate the 50th anniversary of the opening of the first professional, live theatre in Chelmsford, and fitting nicely into the annual national Heritage Open Days scheme, the Civic and its younger sibling the Cramphorn opened their doors to the public for a day of theatrical celebration.

 

Visitors arrived in their hundreds to enjoy this free event, with entertainment on offer throughout the day to get anyone enthused. 

 

For the youngest theatre-goers, New London Road's innovative Just Imagine Story Centre offered a creative outlet in the Cramphorn foyer, including children's illustrations being created by Poddington Peas illustrator Colin Wyatt.  With face painting, an array of costumes to try on, and the chance to try your hand at booking your own commemorative ticket, the foyer was bustling with activity all day.  In the Cramphorn auditorium the most was made of the studio space, with seating swept aside to make way for fascinating display boards and various free workshops to get people involved in singing, dancing and musical theatre. 

 

Over in the Civic, the bar was constantly bedecked with delightful musical accompaniment from some of the many guests who perform at the theatre's Wednesday lunchtime concerts.  The ever popular D'Ukes performed a set on the pavement to the pleasure of many enjoying their al fresco sandwiches in the glorious September sun.  In the auditorium a plethora of local talent performed tasters from their most recent performances, including Tomorrow's Talent with excerpts from Our House and Rent, Chelmsford Young Generation Musical Society with selections from their upcoming production of Les Miserables (School Edition), Springers Amateur Operatic and Dramatic Society performing numbers from All Shook Up, Chelmsford Ballet Company dancing choices from their recent Tales of Beatrix Potter and Chelmsford Amateur Operatic and Dramatic Society with a preview of their forthcoming Titanic the Musical. 

 

The highlights of the day however were the hugely popular backstage tours, taking interested groups around the theatre into the usually unseen areas; the workshop, green room, dressing rooms and even on the stage itself.  Knowledgeable and enthusiastic guides imparted gems of knowledge on fully booked groups, including a detailed technical demonstration on stage from Technical Manager Andy Chafer complete with an array of lights, smoke machines and pyrotechnics.  The tours were well executed and brilliantly received and would be a welcome addition to the theatre's regular programme.

 

Organiser Bethany Walker and the committed team at the Civic Theatre excelled themselves with a varied, entertaining and well structured day, that showed off all the qualities of this busy receiving house.  A diverse turnout of patrons with an age range spanning many decades kindles hope for the popularity of live theatre, and a busy new season of local entertainment in Chelmsford.

 

FRANKENSTEIN

Frankenstein

National Theatre Live

Cineworld, Braintree

Sunday 24th June 2012

Ahead of his Olympic-sized commission in charge of the 2012 Opening Ceremony, Danny Boyle directed this sell-out production of Frankenstein at the National Theatre.  Adapted by Nick Dear, the play tells Mary Shelley's story of the genius young doctor and the creature he brought to life, but turns the story on it's head and begins with showing us the creature's first experiences in the world from his own point of view.

National Theatre Live is an unprecedented scheme for bringing new audiences to the exciting work of the National Theatre.  At cinemas across the country, and the world, screenings of different productions at the NT are shown live as they happen, and Frankenstein was no exception.  Now more than a year on, due to popular demand, the recorded screenings are being shown again for a limited few showings.

In this groundbreaking production, Johnny Lee Miller and Benedict Cumberbatch alternated the roles of Doctor Frankenstein and The Creature.  My screening saw Johnny Lee Miller as The Creature, in an absorbing performance of physical and emotional embodiment.  Electric from his first moments, as we watch him learn to stand and walk, and developing steadily in voice and movement throughout he is entirely captivating.  Unforgettable.  

Benedict Cumberbatch, as the doctor whose brilliance inspired the creation of a monster, was just as mesmerising.  Played with more than a hint of madness beneath the genius, his performance was fraught and exciting.  Supported by a strong cast, the production was everything that should be expected from the National Theatre, and more.

A wonderfully imaginative set manages to be both grand and sparse with ingeniously smooth changes between a variety of locations.  The lightbulb ceiling was beautifully symbolic, and the site of young William's murder around lake Geneva was simple but excellently realised.  The physical theatre used to create the entrance of a train was breathtaking on screen, and must have been even more striking in the theatre.

A fantastic production, which having sold out so quickly last year, it was only possible to see again via the NT Live season of cinematic showings.  Long may this continue.