DIAL M FOR MURDER

Dial M for Murder

Made in Colchester

Mercury Theatre, Colchester

Saturday 15th February 2014

The first play of 2014's Made in Colchester season tells the story of Tony, who is convinced his wife Sheila is having an affair. He decides to kill her in what he believes is the perfect murder....that is until it all goes terribly wrong.

The play is a murder mystery that asks more of a 'why' than a 'who' and with its twists and turns has audience members gasping.

It is hard to pick out any single performance when every cast member contributed towards a flawless production.  The struggle between Kelly Hotten's Sheila and Robert Perkins' Captain Lesgate was a particular highlight bringing Act 1 to a dramatic close.

The set, designed by Mike Britton, captures your attention as soon as you enter the auditorium, with red cloths draped from the rig and stairs leading far past the audience's sight lines to add a further dimension and realism to the space.

I always have faith in the Mercury Theatre to put on a good show.  This production did not disappoint.  A brilliant start to the season and I look forward to Betty Blue Eyes in March.

Review by Nicola Myers

NOT I, FOOTFALLS, ROCKABY...

Not I, Footfalls, Rockaby

Royal Court Theatre Production

Duchess Theatre, London

Friday 7th February 2014

Starting with a front of house warning - the theatre is about to go dark, really dark, and if this makes you uncomfortable please make yourself known now - a strange tension is built before the show begins.  Then the theatre really does go as dark as the warning suggests, with just the lips of the wonderfully talented Lisa Dwan lit from up close so as not to leak any unnecessary extra light.  Not I is the first and most famous of this trilogy of Samuel Beckett mini-plays, and in a way is the most affecting.  Rattling through the random thoughts and feelings of one woman through her life of loneliness and fear, this stream of consciousness piece can less be listened to than absorbed.  Allowing the words to wash over the audience, one begins to pick out certain phrases and even stories deep with significance of the character's unhappiness, exemplified with the frequent use of "she" rather than "I", distancing herself from herself.  

A short break leads into the second piece, Footfalls, which sees the same actress pacing up and down outside her mother's sickroom.  With careful choices in both costuming and lighting the lonely woman resembles an unhappy ghost.  As she pauses between paces she reveals small details of her sad life, and we also hear excerpts from the unseen mother who pities her child, commiserating the many years of misery she has ahead of her.

Rockaby sees the final minutes of a woman, rocking herself constantly in a rocking chair until her eventual and welcomed death.  She is another sad and lonely character, seeking "another living soul" and seeming to have never been satisfied with her lot.  She finally rocks herself to death, leaving us with a phrase that seems to sum up the feeling she has been describing; "Fuck Life".  

The evening is lifted from this seemingly horrific gloom however, by the beauty of Liz Dwan's powerhouse performance.  Such concentration in this one-woman show, exploring these frustratingly fragmented characters and bringing them to spooky, gloomy life, must be an exhausting challenge which this excellent actress lives up to with flair.  Rather than leaving the theatre depressed, ones thoughts are provoked and interest is piqued.  An exhilarating evening.  

OCEAN OF LONELINESS

Ocean of Loneliness

Etcetera Theatre, Camden

Friday 31st January 2014

Aaron Anthony Wallace's sharply paced exploration of the differing effects of loneliness is revived in an intimate new production, directed by James O'Donnell at Camden's Etcetera Theatre this weekend. Told through three intertwined monologues, each of the neighbouring characters addresses the audience as though answering interview questions, gradually revealing the idiosyncrasies of their personalities and the effects of their isolation.  

The volley of short, choppy, overlapping lines that make up the opening scene start to introduce the traits of each character.  Requiring a daunting pace to maintain the flow of the piece, the feeling of emptiness and solitude that is later suggested in the lives of the three individuals is compromised a little in this bustling opening scene, instead perhaps suggesting the hubbub of the city they live above.  It isn't until further into the piece, when longer portions of monologue are revealed at once, that the three characters' individual threads start to take shape.

The style of the piece requires a real team approach from the small cast, whose concentration levels must be acutely focused in the close, intimidating space.  Listening to one another, ensuring an awareness and generosity with fellow performers, is essential to allow each of the stories the space they need to grow.  Tightly directed, the success of this was impressive for an opening night, although further familiarisation with the environment will only improve the smoothness across the weekend.

An intimidatingly small space in which to perform any piece, especially one in which the entire discourse is conducted towards the very nearby audience, performances were generally well achieved.  Alex Barclay's poet, with both delusions of grandeur and crippling writer's block, proves the inaccuracy of his comparisons to Shakespeare and Milton when beginning to write about his neighbour.  The character with the most depth, the affects of his solitary situation are clear in this darkly comic interpretation.  The comparative insanity portrayed by Helen Bang sits as an uncomfortable juxtaposition, with the initial humour of her eccentricity making way for genuine flashes of mental illness.  The distractions of Shian Denovan's character, body image concerns familiar to so many in our appearance obsessed society, have become irrational obsessions through her seclusion.  

The space of the Etcetera Theatre allows for limited staging options, yet the staging was designed with smart creativity.  Each character's space was kept personal and separate with a careful choice of furniture complimenting each individual.  Encounters in the lift - the only communal space in which the neighbours share periods of socially awkward discomfort - are tightly staged, with the imagined liaisons between Man and Woman 2 thoughtfully lit (Lighting Design by Luis Alvarez) to suggest a dreamlike quality.  The use of original music, by Damon Burrows and Orpheus Papafilippou, is also an important choice in generating the required atmosphere.

A thought-provoking evening of exploratory theatre, that proves the value of London's fringe venues to the development of new and experimental writing.

THE WEIR

The Weir

Donmar Warehouse Production

Wyndham's Theatre, London

Wednesday 29th January 2015

Conor McPherson's lauded Irish drama won widespread critical acclaim when it first premiered in 1997. Josie Rourke's new production for the Donmar has brought together a stellar cast in a stunning revival, now beginning a twelve week West End transfer.

Set in a rural pub in Ireland's quiet countryside, the play on the surface is very simple - a small group of locals drinking heavily and telling one another ghost stories. It is McPherson's captivating writing talent however, to explore the minutiae of a situation and extract an enthralling dramatic tension, that elevates this play to an exciting piece of must-see theatre. Each of the small group of characters are individually developed as stories are gradually revealed, maintaining a dramatically steady pace throughout.  Tiny, carefully chosen phrases are richly steeped with meaning, and pregnant pauses sing out with dramatic significance.

This production brings together a wealth of Irish acting talent, but it is Brian Cox as Jack who most enthrals the audience with his effortless charm and intelligent wit. His final speech of lost love is heartbreakingly delivered, offering a beautiful emotional intensity while retaining a relaxed realism. Ardal O'Hanlan is also delightful as the simple Jim and Risteard Cooper's Finbar is ideally pitched as the local-boy-made-good entrepreneur.

Is this production commenting on Ireland's collective distraction by the supernatural? Or merely using the ghost stories to examine the loss and loneliness displayed by each of the intricately characterised locals? Delicately directed, it is left open for to the audience to decide, and made all the more intriguing for the open ended resolution.

A thought provoking piece with some superb performances - a must-see for lovers of tension-filled, character-based drama. Booking at the Wyndham's Theatre until 19th April.

TWELVE ANGRY MEN

 

Twelve Angry Men

New West End Production

Garrick Theatre, London

Tuesday 21st January 2014

Reginald Rose's 1950s drama depicting the deliberations of an all-male jury on a murder case was most famously brought to audiences via the 1957 Henry Fonda film.  Originally written for television, the stage version was first seen in 1954 and has been faithfully revived in this new production at the Garrick, starring Martin Shaw. 

The jury room set is intricately realised with the open walls to the bathrooms allowing constant view of the tense hours of decision making.  With little other furniture, the twelve-seater table clearly dominates the space, but an ingenious revolve - rotating so slowly the eye can barely see the movement - gives both a practical solution to the potential blocking hazard and a creative visual interest for the audience. 

One of the joys of this piece for the audience are the deliberate gaps in detail about the twelve jurors.  Gradually we get to know their professions, some very minor details are revealed regarding home life, but we don't even find out their names.  It is a testament to the quality of the writing therefore, that each of these men are given individual, distinct and absorbing opportunities to develop, allowing the audience to discover each personality.  The success of this style however depends upon the skill of the actors to convey this gradual character development with enough control to maintain a consistent tension throughout.  This cast, led by Martin Shaw, has no weak link, with each actor portraying a true and intricate understanding of his own character in a plethora of intelligent performances.

As deliberations descend into arguments, facts about the trial are slowly revealed, and interpretations and opinions debated, each juror comes to understand more and more about himself as much as the importance of the term "reasonable doubt" which underpins the entire judicial system.  A fascinating piece that delves into the depths of human nature and displays both the power of the legal system and in doing so its inevitable weaknesses.  Tense, exciting theatre with some captivating performances - well worth catching.

CHARLIE AND THE CHOCOLATE FACTORY

 

Charlie and the Chocolate Factory

Original West End Production

Theatre Royal, Drury Lane, London

Wednesday 15th January 2014

 

A second Golden Ticket to Sam Mendes' triumphant production of the Roald Dahl classic after my original visit to the final preview back in June. 

 

I stand by that original review, with the only exception that the show is now slicker, more confident and even more sugary-sweet than in those early days.

 

Worth a visit for the spectacular sets alone, Douglas Hodge is also fantastically charming as the creepy Wonka. 

 

A hot ticket to a fabulous show that can be enjoyed by the entire family.  Tickets booking until November 2014... 

HENRY V

 

Henry V

Michael Grandage Company

Noel Coward Theatre, London

Monday 13th January 2014

This final jewel in the richly laden crown of the inestimable Grandage season at the Noël Coward sees the run of five productions play out with a bang. Having been privileged enough to see all five star-studded shows over the last year, it is clear that Grandage's directorial vision and careful choices of clarity and design have matched up to the expectations delivered by his A-lister leads.

There is little doubt that the majority of the audience have been drawn to this production not for the opportunity to see a play by the world's most celebrated playwright, acted in the city in which he worked, about one of the country's most successful soldier-monarchs. Instead the draw for this sell-out winter production is Hollywood heartthrob Jude Law, playing the war-hungry and charismatic King Harry. Law's Shakespearean credits most notably include his 2009 Hamlet at the Donmar, transferring to the West End and then for a week in Denmark's Elsinore Castle itself before enjoying an additional Broadway run. His characterisation of Henry V is compelling, drawing out the proclaimed ordinariness of the soldier, a monarch more accustomed to the battleground than to courtly splendour. His passionate "Once more unto the breach" speech makes convincing work of rousing the troops, bettered only by the carefully directed "Band of Brothers" scene bringing a patriotic lump to the throat on the eve of St Crispin's day. His playful wooing of the French Princess in Act 2, regally played by a beautiful and poised Jessie Buckley, adds another dimension to the grounded King and Law once more achieves a convincingly charismatic performance.

The supporting cast hold some equally captivating characterisations, with several of note, although none achieving less than an entertaining and convincing portrayal. Ashley Zhangazha as the explanatory Chorus maintains immaculate clarity that displays a true depth of understanding, and his impassioned delivery is absorbing and extremely entertaining to watch. Matt Ryan's Fluellen is also excellently played, displaying a careful comic timing without the need to play for laughs, relishing his leek scene with the deliciously unpleasant Pistol, played by Ron Cook.

This is a Henry V well-pitched for first timers; there are cuts aplenty to which the relatively early finish time will attest, and which may not satisfy the Shakespeare purists, but it helps to keep the pace and intensity manageable for all.  No prior knowledge of the true history of the period is assumed, this was generations earlier than Shakespeare's original audience would have known too, yet the precision and understanding of the entire cast gives an easy clarity to this historical piece. Grandage's ability to make the potential challenges of the Bard's verse easily accessible to a modern, unaccustomed audience is absolutely key to this production's success and his hand can be strongly felt throughout.

A wonderfully entertaining and successful finale to what has been an exciting season from Michael Grandage.  He seems to have achieved his aim, to attract new, younger audiences to West End plays through both head-turning casting and affordable ticket pricing.  Long may this attitude remain.
 

CINDERELLA

Cinderella

Chelmsford City Council & One from the Heart

Civic Theatre, Chelmsford

Saturday 14th December 2013

This year's seasonal offering from the proven team at One from the Heart, in collaboration with Chelmsford City Theatres, brings the magic of Cinderella once again to the Civic stage.  One of pantomime's most popular stories, the tale of poor put-upon Cinders, her hapless best friend Buttons, her grotesque pair of stepsisters and her charming Prince are as warmly familiar at Christmas time as mince pies and mulled wine.

Chelmsford have put together a fabulous cast for this year's offering led by the beautiful Sophie Camble in the title role with her strong singing voice and constantly graceful stage presence.  Her hilariously mismatched step-sisters are brought to fabulous life by Neal Wright and Richard Foster-King; comic timing pitched perfectly, and donning some truly scene-stealing frocks, they make a memorable team.  Their wicked matriarch is played with cackling flair by Suzie Chard, boos and hisses a-plenty but carefully directed this year to minimise the nightmare inducing scares - rewarded by the lack of crying children that so often accompany the baddie scenes.  A welcome return to the Civic for the charismatic Lewis Barnard, this year giving us his Buttons, who lights up the stage at every entrance in an utterly engaging performance.  Cinders' handsome love interest is strongly played by Tom Parsons, and Rhys Rice as his manservant Dandini brings a spectacular energy to both his comedic sketches and his musical numbers.

Technically the show impresses, with beautiful lighting design, sparkling sets and dazzling costumes.  The musical numbers are all delivered with style and skill, with the whole cast getting individual opportunities to shine.  Some of the song choices are particularly obscure this year and, as can often be the case with Cinderella, slightly too much of the narrative is taken over by slushy love story that tends to allow the less attentive children's focus to slip.  The transformation scene lives up to the audience's magical expectations completely, with oohs and ahhs emanating from the adults and children alike, culminating in the delightful white Shetland ponies live on stage as Cinderella leaves for the ball.

A stylish, professional pantomime to set families up delightfully for the festive season.  

THE BEAUTY QUEEN OF LEENANE

The Beauty Queen of Leenane

Made in Colchester

Mercury Theatre, Colchester

Saturday 23rd November 2013

 

Martin McDonagh's 1996 black comedy, which follows the relationship between 40-year-old virgin Maureen and her wily mother in Ireland's County Galway, marks the second partnership between the Mercury and Curve Leicester after the success of The Hired Man earlier this year.   

 

The Irish scene is set from the very start, the stage being showered with a torrent of rain; an impressive effect on the thrust stage.  The lighting plot throughout is perfectly pitched - as is so regularly the case at the Mercury - to suggest the shifts in time and atmosphere, with intricate detail right down to both the hearth and stove fires adding a realism to the farmhouse kitchen. 

 

The success of this piece rests in the central performances, and the relationship built between the two lead actresses is exemplary.  Michele Moran plays Maureen with an unspecified edge from the outset, which is so expertly developed by the time the character's back story is revealed that we can utterly believe her continued demise.  Her devious and unlikable mother Mags is played with a delicate menace by Nora Connolly, and the rapport built between them is built with a careful mix of familiarity and spark to create the depth of hatred required.  The comedy is unarguably black, although there are moments of genuine humour and even warmth through the first act that by the final climax have developed into a chilling darkness. 

 

An accomplished and entertaining production, brought expertly to life by the talented team of professionals at the Mercury and a cast who excel in their ideally cast roles. 

 

STRANGE CASE OF DR JEKYLL AND MR HYDE

Strange Case of Dr Jekyll and Mr Hyde

Brother Wolf

Tara Theatre, Earlsfield, London

Friday 22nd November 2013

The intimate space of the Tara Theatre is the ideal venue for James Hyland's latest one-man adaptation of this classic of British literature.  Opening with Dr Jekyll addressing the Royal Society of Surgeons, the audience become his contemporaries as we watch him divulge his theories into the psyche of human consciousness.  As the description of Jekyll's latest experiment unfolds, this versatile and utterly engaging performer seamlessly becomes each of the characters he meets.  

Phil Lowe's direction is intricately and skilfully achieved, with expertly accurate changes in vocals and physicality integrated smoothly within the flow of the piece.  Hyland's captivating performance style is ideally suited to the simplicity of the staging, with his absorbing storytelling ability uncluttered by unnecessary set or props.  The wooden lectern doubles as bar, bench, bed, adding spacial interest but leaving plenty of room for this exciting artist to fill the space with his performance.  The lighting design is too bright at times, with moments calling out for some dramatic shifts to complement the changes in characterisation on stage, although the shadowy final design works well.

Another jewel in the Brother Wolf crown, this exciting and dramatic piece of theatre is a compelling hour that leaves the hearts of the audience racing.  Along with A Christmas Carol as told by Jacob Marley (Deceased) and Fagin's Last Hour, Brother Wolf's current repertoire is a list of exciting, unmissable theatre for lovers of thrilling storytelling.