LET IT BE

Let It Be

West End Production

Prince of Wales Theatre, London

Thursday 8th November 2012

The Beatles were an undisputed pop phenomenon, and love them or hate them their music still attracts a diverse and passionate fan base.  This West End production, at the Prince of Wales for a short filler run before the Mormon's come to town next year, is a perfectly pitched tribute to the greatest and most successful boy band ever.

Split into four sections, with a costume and set change for each, we open on the humble beginnings in Liverpool, transforming with iconic styling into St Pepper, opening act two with the flower power of The Magical Mystery Tour, and closing with John in a white suit and a shoeless Paul as they bring the Abbey Road album cover to life.  Each section is designed with absolute clarity and astute attention to detail, sensitive to the fact each audience would be littered with fervent experts.

Over 20 of the band's biggest hits are included, tracking them through their 10 years together.  Excerpts of adverts and news clippings are interspersed with live streaming of the on-stage band on large screens either side of the stage, allowing for scene changes to be neatly and entertainingly covered.

Two groups of musicians share the eight performances each week, extremely talented and looking the part.  Not much call for acting as such, as the songs keep on coming, but each looks the part and portrays the mannerisms and stage prescence of their respective member of the fab four.  Playing each number live, with an array of different guitars to suit each scene, they are a very talented group of performers.

Not a musical at all but most definitely a high-budget, well-executed tribute show, this is a must-see for any Beatles fan.

SEUSSICAL

 

Seussical

Springers AODS

Cramphorn Theatre, Chelmsford

Tuesday 6th November 2012

 

From the moment the audience enter the Cramphorn auditorium this week, the "Wow!" factor is waiting to greet them.  An exuberant, imaginative and well-constructed set covers the whole stage and climbs the back wall towards the band, without ever inhibiting the relatively limited acting space.  Immediately setting the mood for this surreal musical, the programme is also wonderful with some excellent imagery throughout, thoughtfully designed to fit perfectly into the style of the show and whetting appetites with beautifully simple adverts for Springers next events.

 

With the mood well and truly set, there are some lovely off-stage successes elsewhere too - the lighting is suitably colourful, with a brave attempt at follow spotting in the studio-style theatre mostly well executed, and the sound levels were spot on.  As far as I could tell voices were not miked, but the excellent live band did not overpower the vocals - a difficult balance in such a small space.  There were successes with the costumes too - the birds were full of gorgeous chorus girl glamour with an excellent contrast between Gertrude and Mayzie, The Cat in the Hat looked like he had stepped straight out of the book, the General looked perfectly smart and authoritative and the colour theme for the Whos worked very well.  For me, a few of the characters looked a little unfinished - Elephant ears attached to Horton's hat, Monkey tails trailing out from the Wickersham's trousers or a Turtle shell backpack on Yertle.  Only small additions, much like the pouch on the Sour Kangaroo, that could have stepped these costumes up a notch - worth the effort for such a visual show.

 

Mat Smith played the iconic Cat in the Hat, cheekily creeping about the stage causing mischief and narrating us through events with humour and charm.  Young thinker JoJo was given an excellent portrayal by Aaron Crowe who remained entirely in character throughout, complete with cheesy grins and wide-eyed innocence, and sang with clarity and control.  Horton, the naively lovable elephant, was skilfully played with notable physicality and a very strong voice by Ian Pavelin.  Deborah Anderson was eminently watchable as Gertrude, with superb characterisation and a beautiful singing voice.  Melissa Smart strutted in her beautiful costume as Mayzie Labird, bringing class and glamour to the stage as well as a pretty singing voice and considered characterisation of the selfish party bird.  Natalie Petto belted her soulful number as the Sour Kangaroo and her sour pout was well maintained, although her facial expression could have gone even further into a grimace to suit the over-the-top style of this exuberant show.  Embracing the outrageous on the other hand, Barry Miles was gloriously audacious as General Genghis Khan Smitz - face contorting and eyeballs rolling continuously.

 

This is a deceptively difficult show to sing, and the cast coped admirably with the tricky changes in timing and pace throughout the production.  The group numbers were sung with a smooth mix of vocals, and were well choreographed so as not to make the stage seem over-full - especially during the final court scene. 

 

With the curtain call taken at exactly 9.30, the performance times remain accessible for families with children to attend the weeknight performances - an essential consideration with the target audience for this show.  "When can we come here again Daddy?" was the question on the lips of the cute little girl who left the theatre on her Dad's shoulders just in front of me - what higher praise can there possibly be?

 

HEDDA GABLER

Hedda Gabler

Old Vic Production

The Old Vic, London

Monday 5th November 2012

A far cry from the last production in which I saw Sheridan Smith - Legally Blonde at the Savoy - Ibsen's iconic creation, a role described as the "female Hamlet", is the latest character explored by this exceptionally versatile actress.  Captivating from her first entrance, she enthrals throughout.  Shades of different character traits - a feminist, a victim of circumstance, an idealist - but overall she is a manipulative villain, set against the world, hungry for a power she can control.  Her acts are that of a madwoman, but she never portrays madness - only a dedication to a personal motive driven by her frustration - responsible for her actions, never irrational.  Complex and fascinating, Hedda is played with intelligence and a keen understanding. 

Adrian Scarborough is never upstaged however, in a wonderfully buffoonish characterisation of the soft academic husband Tesman.  Soft and weak, it is immediately clear how a headstrong young woman would become bored in such a marriage.  A sprightly and joyful performance. 

With a strong supporting cast including Anne Reid and Fenella Woolgar, the production is slick, and powerful, with a drama building throughout to a climactic final scene.

An exciting and enthralling piece of theatre, made unforgettable by Smith's stunning performance.

ROOM ON THE BROOM

Room on the Broom

Tall Stories

Civic Theatre, Chelmsford

Sunday 4th November 2012

Based on the best-selling children's book by Julia Donaldson & Axel Scheffler, this live version of the witch and her cat aboard their increasingly busy broomstick tours the UK prior to a stint at the Lyric Theatre, London.

Opening outside of the story, with the four actors seemingly on a camping trip, the real action took time to get going and the noise levels in the auditorium began to rise as the children struggled to engage.  However, as soon as the witch and her cat arrived the show took off. 

Slick and well executed, the story was familiar and the songs were catchy and nicely woven into the story.  Some wonderfully integrated puppetry was used to depict the various additional passengers on the broom, with all four actors working multiple characters at different times. Some more opportunities for audience participation would have gone down well, and possibly a small volume increase on the microphones - especially early on when trying to capture the children's attention. 

Billed as ages 3 and up, I would suggest that only a very attentive 3 year old sitting near the front would be likely to engage sufficiently to enjoy this particular show, but the slightly older children seemed to thoroughly enjoy the experience. Easy to see why it has become a best-seller, this is a bright and energetic portrayal of a delightful story that gives children the chance to see these beloved characters come to life. 

COUNT MAGNUS: TWO GHOST STORIES BY M R JAMES

Count Magnus: Two Ghost Stories by M. R. James

Nunkie Theatre Company

Cramphorn Theatre, Chelmsford

Saturday 3rd November 2012

As the lights go down in the auditorium, as far down as they can, the first action we see is the lighting of the few on stage candles that are to be the only light throughout the show - and so the atmosphere is set for a chilling evening of ghostly storytelling.

Fighting at first against the barrage of sound of a local firework display, our host made himself the centre of everyone's attention immediately with his engaging style.  With only a few items of stage furniture to assist with the atmosphere - no sound effects, lighting changes or additional props - this was a show entirely reliant upon the delivery of the central narrator and upon the story he was telling. 

The utter silence in the auditorium for remarkably long periods - not even an obligatory cougher, as seems the norm during most productions - displays just how far Robert Lloyd Parry had succeeded in absorbing the almost full Cramphorn audience into his tales.  Two old-fashioned ghost stories, one either side of the interval, made for an evening that felt both spooky but also warmly familiar.

An unusual evening at the theatre, perfectly situated in the intimate space at the Cramphorn.  Highly recommended.

THE ONLY WAY IS EPIC

 

The Only Way is Epic

Al Murray: The Pub Landlord

Civic Theatre, Chelmsford

Friday 2nd November 2012

 

The Only Way is Epic, so named one must assume for the hit TV series set in our home county, Al Murray's Pub Landlord hit Chelmsford this week to put the world to rights with his own brand of opinionated humour.

 

Front row seats guaranteed you a part in the show, as with impressive improvisational skills the Pub Landlord generated the first third of the evening on the spot, and continued to reference all he had learnt throughout the rest of the night - a feat of memory worthy of any self-respecting pub landlord. 

 

With much reference to the well-placed city boy along the front row who really took a bashing when the show began in it's intended direction, the bulk of the act was centred around the state of the country and the world - financially, behaviourally, morally - and thence inspiring all to go forth and fix it.

 

Arguably a man's comic, the largely male audience had beer-filled bladders by the end of the lengthy first half, but everyone seemed to enjoy the non-stop comedy delivered with raucous energy and a knowing twinkle.  It would be easy to dismiss this loutish character's stubborn patriotism and working beer pump prop as belonging to an incautious idiot, but Al Murray's keen intellect and creative approach to reaching his audience generates an entertaining evening of comedy for however high your brow may sit.

 

THE HOUND OF THE BASKERVILLES

 

The Hound of the Baskervilles

cut to the chase...

Queen's Theatre, Hornchurch

31st October 2012

 

 

The Queen's renowned rep company cut to the chase... have chosen a loving send-up of both the agelessly popular literary creation Sherlock Holmes, and of themselves in this creative spoof adaptation of The Hound of the Baskervilles. 

 

The familiar story is told by just three actors and a musician, each of whom are frantically running around, moving props and changing costumes as they portray all of the characters in the spooky tale.  Slipping in and out of character throughout, we also see moments of the actor's own supposed reactions to the production - Greg Last's fear of the scary story, Jonathan Markwood's diva-like reaction to a derogatory tweet.

 

Some well executed sections to bring out touches of humour - I especially enjoyed the top-speed reenactment of the whole of Act 1 at the top of Act 2.  The cast were  mostly well organised and wholly committed throughout, and the madcap comedy was well maintained while keeping remarkably close to the events in the real story.  I think anyone without a prior knowledge of the peril inflicted upon the house of Baskerville may have struggled to keep up with the intricacies of the plot, but it wouldn't have spoilt the enjoyment of the show.

 

Perhaps not quite as slick or impressive as some of the previous excellent cut to the chase... offerings this year, but undoubtedly entertaining silliness nonetheless.

 

 

KISS ME KATE

Kiss Me, Kate

Witham Amateur Operatic Society

Witham Public Hall

Tuesday 30th October 2012

Pretty much the closest a musical theatre society is likely to come to performing Shakespeare, Kiss Me, Kate is a traditional, old-fashioned musical. Incorporating a show within a show, we open on the backstage of a Baltimore based production of The Taming of the Shrew, where old flames Fred and Lilli are playing the leads and dredging up animosity of years gone by while unintentionally reigniting their affections, reflecting the volatile relationship of their Shrew characters Petruchio and Kate.  

Fred was played with an assured confidence and relaxed ease by David Slater.  Energetic and slick, this was a reliable performance with a clear and controlled singing voice.  Lilli, his Kate, was performed by Julie Codling, full of attitude and coping very well with the huge vocal range required.  The battle of their relationship was well played, with some venomous facial expressions and believably hateful delivery.  However, Fred was more cowering under Lilli's rage than flirting, apologetic for his insensitivity rather than appealing for her love, which made it difficult to be convinced that she would run back to him at the finale.  Some more work needed in the Direction to bring out the essential subtle line drawn between the couple's love and their hate. 

The Bianca role, played by Lois Lane within the show, is taken on here by the beautiful Robyn Gowers.  Sparklingly radiant in her glamorous outfits she shone as the comedy bimbo.  Her misbehaving boyfriend Bill was played by Ollie Barrett - a wonderful dancer who moved around the stage with poise and captivating presence.  Bianca's Shrew suitors were well done by Joe Gray and Mark Ellis, with some impressively entertaining acrobatics thrown in. 

I understand any amateur society's desire to include as many members as they can in the chorus, but the stage at the Public Hall did not comfortably accommodate the large numbers of people in the group numbers.  Fewer people on stage would have allowed more room for the mostly well executed choreography, which instead became smaller and less energetic as performers danced so close together.  The sound generated from the singing of these group numbers was good however, especially the act two opener "Too Darn Hot". 

It is a shame when the hard work and dedication of the performing talent in a show is plagued by a tardy backstage.  Taking so long for a scene change that the actor must re-start a scene is unforgivable, although David Slater covered brilliantly, was entirely unfazed and the audience were generously forgiving.  The lighting could perhaps have done with better notes rather than simply a script as there were a few early blackouts, and some shaky moments of follow-spotting too.  Also some costume malfunctions along the way, but most disastrously for poor Robyn Gowers' skirt during her "Tom, Dick or Harry" number.  She carried on valiantly though, with considerate help from her three suitors, as she barely missed a step of her choreography and kept smiling broadly throughout. 

Old fashioned musical theatre, produced with some old fashioned charm.  Spotting Oklahoma! advertised as their next show does not fill me with anticipation however.  Perhaps it's time for WAOS to consider something more modern, to match the talented youth they are attracting into the society - a refreshing pace change for the members that may even attract a new audience.

SECONDS OUT

 

Seconds Out

Reform Theatre Company

Cramphorn Theatre, Chelmsford

Monday 29th October 2012

 

After enjoying Reform's spring visit with Nick Lane's My Favourite Summer earlier this year, this premier tour of the same author's Second's Out was eagerly anticipated. 

 

An almost empty set allowed for each of the various locations to be seamlessly linked through a simple move of a chair or change in lighting.  A decision integral to maintaining the pace of the performance, it worked excellently.  A varied and well executed lighting plot made for a successful distinction between each scene.

 

Sy, an omnipresent protagonist, was our guide through the peaks and troughs of the story.  Played by Ryan Cerenko, Sy was a likeable and recognisable character.  Recently graduated from university but working in a bar in his home town, he tirelessly maintained his immature friendship with his school friend.  Portrayed with innocent loyalty, a clear confident delivery and a charming awkwardness in his sporting prowess, this was an eminently watchable performance.  Kivan Dene's Tom blossomed from a puerile lout to a dedicated and controlled sportsman.  His sharp delivery generated much of the comedy, and his careful characterisation made for a believably dislikable rogue who became gradually easier to warm towards.  The three female characters were each portrayed by Amy Walsh.   She was straight and level headed as Sy's fiancee Vicky, with a brilliantly voiciferous release during the final Boxing match, but particularly shone as the complicated bimbo Zoe with some truly touching moments as the story developed.  David Walker was hilarious as Foster, the Boxing coach with the skeletons in his closet.  His gruff, eccentric characterisation was made all the more amusing for the constant insistance on wearing only his underwear.  As Foster's back story is revealed however, the humour was entirely set aside to make way for a positively heart wrenching performance in the climax of Act 2.

 

The writing is excellent, with plenty of slick, fast-paced wit - especially through Act 1 - but also a proper story which was gritty and full of realism, even within the somewhat exaggerated characters.  Reform Theatre produce this style of play with confidence and skill, and this is a production well worth catching.

 

THE FULL MONTY

The Full Monty

Leigh Operatic and Dramatic Society (LODS)

Palace Theatre, Southend

Saturday 27th October 2012

Closely based on the original British film of the same name, David Yazbek's musical version of The Full Monty translates the action across the pond to Buffalo, NY.  Much more than a strip show, The Full Monty offers a witty and insightful script as well as a host of catchy numbers in a well-rounded full scale musical.  

This production was technically extremely slick.  The numerous scene changes that weave the plot around various locations were neatly dealt with using black backcloths and some well-designed set pieces (including a car!), unobtrusively manoeuvred by the organised crew.  Each scene was thoughtfully lit helping to differentiate the locations and, most importantly, the final blinding flash of the backlight - which is the sole protection against the performers modesty in the final second of the show - was perfectly timed.

Richard Harrison took on Jerry, the unemployed Buffalo steel worker with child maintenance debts and the entrepreneurial vision to initiate the amateur strip show.  His smooth, powerful singing voice was perfect for the challenging range of songs required by this lead role - effortless and consistent with a particularly impressive falsetto.  To pull off this part Jerry needs to be a realistic character - someone to whom the audience can relate, and with whom they can sympathise - a depth of characterisation that Richard managed to convey with confidence and charm, developing a particularly adorable relationship with son Nathan (an assured, natural Callum Yeoman).  

His best friend Dave, played by Simon Lambert, is just as complex a character with issues of his own, which needed a little more conviction to establish the emotional storyline with wife Georgie (a very likable portrayal by Kathy Clarke, with a beaming smile).  Simon delivered his comedic scenes very well however, and the chemistry built with Jerry made them convincing friends, delivering an excellent number with "Big Ass Rock".  Neil Lands played uptight ex-boss Harold, sharp suited and particularly capable in his comic delivery - if a little less convincing in his role as ballroom dance expert.  His effervescent and glamorous wife Vicki was taken on by the charismatic Danielle Jameson, who was fantastically entertaining but needed more clarity in her diction at times.  Paul Standen took on the "Big Black Man" role of the elderly Horse in a very funny portrayal.  His gorgeous, rich voice was quiveringly enjoyable and suited his song perfectly.  The geeky, closeted Malcolm was characterised by Peter Brown in an excellently pitched interpretation that placed the captivating mummy's-boy straight into the depths of the audience's heart.  Peter produced a truly tear-jerking performance at Malcolm's mother's grave with the beautiful "You Walk With Me", and there was a swell of joy through the auditorium when he and Ethan (delightfully played by the charming David Shipman) held hands to complete the number.  Jeanette, a bizarre character, inserted perhaps to help us believe in the success of the final number, was played by Helen Sharpe.  Helen was completely brilliant in her delightfully throwaway characterisation of the hilarious old timer, who despite being unashamedly shoe-horned into the plot is an integral source of comedy in the dance rehearsals.  

There is an essential realism in all of the characters that provides the basis of the show's success, and Director Sallie Warrington has led an entire company of talented members to create a well polished, thoughtfully developed production.  The action is integrated through a series of excellently delivered musical numbers, led by Musical Director Stuart Woolner who also conducted the consummate band.  

However much the plot is understood and enjoyed for it's emotional layers and witty dialogue, there is no escaping the fact that the six courageous gentlemen who take on the lead roles will have to give the audience what the majority of them came for...  Whooping, cheering and almost baying for blood by the time the final scene arrives, the excitable (mostly female) house must be an intimidating audience.  Full of confidence however, and having created a charming group of lovable characters by that point, these gents seemed to relish in the reveal.  A very entertaining production, LODS should once again be proud of their achievement.  I look forward to their interpretation of The Drowsy Chaperone next year.