THE BUTTERFLY LION

The Butterfly Lion

Made in Colchester

Mercury Theatre, Colchester

Saturday 31st August 2013

Michael Morpurgo is one of the most illustrious names in modern children's literature and many of his popular stories have been lovingly adapted for both stage and screen.  Most successful to date is the National Theatre's acclaimed production of War Horse, currently running in London's West End, Berlin, Australia, North America, and shortly to also be on tour around the UK and Ireland.  It is, however, the story of The Butterfly Lion that Morpurgo states as one of his most favourite, and the one which Daniel Buckroyd and the sterling team at the Mercury Theatre have brought to life in Colchester this week.

This beautiful story-within-a-story is told through runaway schoolboy Michael as he stumbles upon Millie, a fascinating old lady who narrates for him the tale of her husband Bertie and his friend the white lion.  We follow Bertie from his birthplace in Africa, via school in England, to war in France and then marriage and life back in England again in a life dominated by his relationship with this most rare of creatures.  Delicately structured, this layered story is both simple and yet brimming with detail, fast-paced and yet richly descriptive, exotic and yet full of relevance; something to genuinely enjoy for every generation of the family, many of whom left the auditorium wiping a tear from their eye.  

The staging is enchantingly theatrical, with the suggestion of time, place and character shifting seamlessly within the constant flow of the direction.  The puppetry used to breathe life into the majestic white lion matches this undulating flow; the inevitable comparison against the naturalistic intricacy of the life-size, three-man horses in War Horse making way for a far simpler one-man puppeteer-actor as the lion.  Lloyd Notice creates an absorbing character through the excellent puppets, as well as narrating sections of the story and giving this title character a disconnected yet integral voice of his own.  The storytelling is led by Millie, played with effortless grace by esteemed actress Gwen Taylor.  The narration smartly blends in and out of the action and Taylor is just as charming playing Millie's pre-adolescent kite-flying self as she is her more mature years.  Adam Buchanan plays Michael, the present recipient of Millie's story, as well as blending into the action as Bertie.  His portrayal of charismatic innocence is retained throughout, hinting constantly of Michael even while also representing the adult Bertie - an intelligent, considered and captivating performance.  

Following an unforgettable production of The Hired Man earlier this year, and an outstanding version of The History Boys at the start of the summer, Daniel Buckroyd's leadership has once again inspired a show that one would be thrilled to experience at any leading playhouse in the country.  Colchester have the fortune to be able to say "we saw it here first" as Bill Kenwright Ltd take this exciting production on a tour of the UK straight after its Colchester run, where families around the country will be able to share in this magnificent, life-affirming story.

FENCES

 

Fences

West End Production

Duchess Theatre, London

Wednesday 28th August 2013

 

Fences is the sixth play in August Wilson's ten-part Pittsburgh Cycle exploring the development of African-American race relations.  In its 1987 opening it won the Pulitzer Prize for Drama and the Tony Award for Best Play, and is still acclaimed as one of the "great American plays".  The plot explores the life and family of Troy Maxson, an ex-convict, ex-baseball player and current trash collector, living a poor but respectable life with is wife, Rose. 

 

Troy is a gut-wrenching, soul-searching, immensely layered character, and is given an interpretation by Lenny Henry that is nothing short of magnificent.  His characterisation is pitched ideally and developed subtly throughout to a truly affecting climax.  Henry's clear determination to transform his reputation from silly comedian to serious actor is paying off, and this production has followed on from his brushes with Shakespeare to propel his talent to compare convincingly with that of other contemporary actors at the height of their profession. 

 

He is flanked in this production by a cast of talented fellow performers.  In particular, his long-suffering wife Rose is played with intensity by Tanya Moodie.  Opening with a light, carefree front on the put-upon character of Rose, she builds up to a torrent of emotion by the climax of the second act that stands up to Henry's performance admirably.

 

The emotional depth, static pace and epic length of this play, which takes an age to build to any kind of incident, make for a tough evening for the audience.  The investment is necessary to make the drama of the script's turning point so moving, although the effort involved is somewhat exhausting.  Once away from the physical discomfort of such a lengthy time in a seat however, the hauntingly effective performances remain etched in the memory and are worth the lengthy scenes and drawn-out explanations.

RELATIVELY SPEAKING

Relatively Speaking

West End Production

Wyndham's Theatre, London

Tuesday 27th August 2013

The heyday of Ayckbourn's newest work making West End history and breaking box office records may have petered out, but the sweeping popularity of his most famous scripts seems to be timeless.  With the recent West End success of A Chorus of Disapproval starring Rob Brydon, this new production of his first big hit also uses Ayckbourn's pet hate of a stellar cast to fill the seats at the Wyndham's this summer. 

Kara Tointon plays Ginny, the attractive young apple of new boyfriend Greg (Max Bennett)'s eye.  As Ginny heads out of London for the day to "visit her parents", Greg's decision to ask for Ginny's hand in marriage, coupled with his niggling suspicion over her cagey lack of detail and receipt of copious bunches of flowers, cause him to follow her out to Buckinghamshire.  Their unsuspecting hosts Sheila (Felicity Kendal) and her husband Phillip (Jonathan Coy) are not, however, Ginny's parents - although she and Phillip are certainly no strangers - and the ensuing farcical confusion is the basis of the comic plot.

Performed with gusto, the comedy is wrung out of the long scenes and wordy speeches so often found in Ayckbourn's style of script by a worthy cast.  Predictable though the plot may be, the performances are a delight and this particularly British comedy sparkles with witty characterisations.  The period of the late 60s was well maintained through the excellent costuming and set design, making up for the slightly dated feel to the script.

A feel-good evening that it is difficult to imagine could do anything but make an audience leave with a warm feeling of shared enjoyment and a smile on their faces. 

PRIVATE LIVES

Private Lives

Chichester Festival Production

Gielgud Theatre, London

Tuesday 20th August 2013

This three act comedy, a staple of the Coward repertoire, enjoys a fresh, fast-paced outing in the West End following a successful run originating at the Chichester Festival Theatre.  

Coward is notorious for writing hateful women and in the juxtaposition of the sarcastic, aloof Amanda and the sickly, innocent Sybil, his talent for creating believable yet completely unlikable female characters is enticingly displayed. Strangely however, there is little to truly like in the men either. Boring, soft and stuffy Victor is the antithesis of the egotistical, obnoxious - albeit sexy - Elyot and by the curtain there is little to admire in either of them.  Unlikable as perhaps they all are, they are impeccably drawn and eminently entertaining with some classic and quotable lines about men, women, marriage and love.

The stage at the Gielgud is almost too large for the piece, and an element of the coincidencence of proximity in Act 1 and the depth of intimacy in Act 2 are somewhat lost with so much space to wallow in.  That said, the sets are certainly reminiscent of the period and are impeccably furnished. 

The cast have all absorbed the Coward spirit wonderfully and the direction is pitched ideally in period and pace. Anna Chancellor as Amanda and Toby Stephens as Elyot are electric together and their excellently delivered interpretations are central to the success of this entertaining evening. 

THE TEMPEST

The Tempest

Shakespeare's Globe

Globe Theatre, London

Wednesday 14th August 2013

Following Kenneth Branagh's rousingly patriotic speech at last year's London Olympics, inspiring Danny Boyle's epic Opening Ceremony, the Globe have chosen to open their summer season with the play from which that inspirational speech originated.  Jeremy Herrin's production focuses on the comedic element of this mystery play, and his direction achieves a fresh feel to this classic Shakespearean story.

 

Roger Allum brings his deep vocal tones to create a masterful Prospero, with an innate sense of mischief and constant affection for his only daughter.  Miranda is played brilliantly by Jessie Buckley, managing to maintain an innocence and naivete while also displaying a natural allure, her performance is excellently pitched.  Her love interest, Ferdinand - a character often interpreted as simply dull and wet - is given a magnificently funny characterisation by Joshua James in a truly memorable performance.  The traditional comedy pairing of Trinculo and Stephano were slurred and staggered through by Trevor Fox and Sam Cox and Caliban was given an unusually comic yet also creepy interpretation by Globe veteran James Garnon.

 

The lighthearted effect of the direction worked ideally to generate an enthusastically warm reception from the wet and chilly audience.  An absence perhaps of the potential depth of story of Prospero's history, but this is a script with a huge bredth of interpretation and the comedic effect of this production is no less worthy.

 

WAR HORSE

War Horse

National Theatre

New London Theatre, London

Saturday 3rd August 2013

 

A revisit to this impeccable show is well worth the effort.  I cannot more highly recommend it than in my first review and I maintain all the superlatives originally used.  If anything a second visit reiterates the grace of the puppetry that is so astonishing on initial viewing and leaves one open to the simple truth and beauty of the absorbing story. 

 

This extended West End run continues to thrill audiences across all generations, and is now also enjoying productions in Berlin and Australia, as well a tour across North America and an imminent tour around the UK and Ireland, starting in Plymouth at the end of September.  I cannot more enthusiastically recommend this show as a delight for all the family - catch it if you can!

THE COLOR PURPLE

The Color Purple

Menier Chocolate Factory

Southwark, London

Wednesday 31st July 2013

The buzz surrounding the Menier Chocolate Factory's production of this Broadway piece, in it's European premiere, has put the little Southwark venue on the map this Summer.  One of the hottest tickets in town, the run has sold out with overwhelmingly positive feedback from audiences, despite the occasionally lukewarm critical attention. 

And it is not difficult to see why. Anyone familiar with the heartbreaking tale of young Celie from the original novel or subsequent film version would be expecting a moving evening, but the sheer power of the performances in this exquisitely directed version surpass even the highest of expectations.  The stripped back, elementary style of the characterisations in this adaptation may seem overly sentimental to some, but the strength of the cast draws the audience in and encourages an open heart and free flowing tears.

The intimacy of the venue engages the audience immediately in the glorious gospel style opening and lends itself throughout to the raw intensity of the story and the familiarity built with the endearing lead character.  The set is bare but for a series of wooden chairs hung from the wall, used throughout the action as needed, leaving plenty of space for the energetic performances.  

In many ways this is an ensemble piece, with the group numbers filling the room with a rousing and dynamic sound, but the individual characterisations are also given compelling interpretations.  Celie's tyrant of a husband is played by Christopher Colquhoun with truly villainous intensity, Nicola Hughes is a classy powerhouse in her portrayal of the love of Celie's life, Shug Avery, and Abiona Omonua is a reliable constant as her sister Nettie.  It is, however, the career defining performance of the petite superstar that is Cynthia Erivo - as the tortured yet resolutely optimistic Celie - that gives this production its spine-tingling weight.  Her voice is breathtaking and she understands and embodies her character with innocence, honesty and utter charm.

I cried along with the vast majority of the rest of the audience and certainly jumped to my feet with them at the end too.  I whole heartedly recommend the Menier as an irresistible venue, and this production will certainly be one of my highlights of the summer.  

THE SOUND OF MUSIC

 

 

 

The Sound of Music

Regent's Park Open Air Theatre

Regent's Park, London

Saturday 27th July 2013

 

 

It is difficult to believe that there is anyone in the world who hasn't seen The Sound of Music in all of its Julie Andrews twirling, Saltzburg glamorising, high-on-a-hill yodelling, film version glory.  No matter how familiar however, there is more than just the additional couple of songs that make the stage musical version feel like a fresh, exciting and almost new experience.  Put that stage version on the Regent's Park Open Air Theatre stage on a bright summer's afternoon, fill the cast with talented and energetic performers and speckle the audience with some awestruck children at their first live show, and once again we experience a couple of hours of magic in the middle of one of London's busiest parks. 

The set is necessarily sparse and cleverly multi-functional; the central double doorway changing from curtained french doors, to an oak panelled hallway, to the abbey's iron gates.  Along with a few items of furniture, these small changes transform the set and easily send our imaginations to the various locations with entirely seamless transitions.  The moat is also a charming addition, allowing the children to make a fun-filled entrance on their return from play with the splashes a welcome side effect for those in the front row under the scorching heat. 

Maria is played with utter charm, compelling energy and a beautiful voice by a glorious Charlotte Wakefield.  Her characterisation is ideal, portraying the youthful innocence, headstrong will and conflicted love all with equal passion.  Her stubborn, strong and gorgeous Captain Von Trapp is given an excellent interpretation by Michael Xavier.  Younger than a traditional casting he carried the role of experienced naval Captain with strength and ease.  The classic "Climb Ev'ry Mountain" is sung with breathtaking power by Helen Hobson as Mother Abbess, bringing a tear to the eye, and the two songs not from the film are performed in an entertaining partnership by the two Viennese visitors, Caroline Keiff as Elsa Schraeder and Michael Matus as "Uncle" Max. 

As ever with this show it is the casting of the Von Trapp children that will make or break the production, and at this performance Regent's Park have offered up a show-stealing group.  Among the faultless septet of siblings particular note must go to Isabelle Allen - one of the most recognisable little faces of last year having starred as young Cosette in the Les Misérables film - who gave an honest and utterly charming portrayal of the opinionated Brigitta. 

Despite the forecasted storms we managed to remain almost entirely dry - if actually a little sun scorched - and were once again reminded that the unique experience of such high quality productions in the middle of one of London's busiest parks is deserving of being on every summer visitor's to-do list.  Magnificent. 

MISS SAIGON - SCHOOL EDITION

Miss Saigon - School Edition

Tomorrow's Talent

Civic Theatre, Chelmsford

Friday 19th July 2013

With a West End revival on the horizon, 14 years after the closing of a 4000 show run at the Theatre Royal Drury Lane, Miss Saigon makes it's Essex debut with the slightly truncated School Edition in this ambitious production by the enterprising Tomorrow's Talent.  Based on Puccini's Madame Butterfly and written by Schönberg and Boublil, who brought us the phenomenon that is Les Misérables, the story follows a tragic romance set during the Vietnam war between an American GI and a local beauty.  

The set pieces for this impressive scale show made excellent use of the Civic stage, creatively framing some wonderful images.  Red flags and Ho Chi Minh banners, girls in cages, the crowds at the embassy gates and, of course, the impressively realised helicopter.  Having members of the company assist with performing the set changes should achieve a fluid continuation of the piece, the execution of which is especially important in a sung-through musical.  There were a few examples in this performance where this was not quite the case and sets were still being put together as a number began, lighting unsure when to come up, late mic cues missing the start of a lyric, leaving the overall result somewhat untidy.  To their commendation the performers were largely unfazed by this and the excellent musical accompaniment, (MD Mark Sellar, conducted by Patrick Tucker) helped to carry the pace and fluency so as never to disrupt the storytelling.

Excellent use was made of the huge ensemble in the company numbers, most notably the opening "The Heat is On in Saigon", the militaristic "The Morning of the Dragon" which also included some spectacular acrobatics, and the beautiful "Bui-Doi" at the top of Act 2.  Director and school Principal Gavin Wilkinson knows how to get the absolute best from his talented students, and the hand of his guidance and experience can be felt in every scene.

Such is the extent of the talent available, the enormous musical and emotional undertaking that his the lead role of Vietnamese bar girl Kim was split between two young actresses, each performing twice in this run of four shows.  This Friday night performance saw Laura Messin undertake the challenge, and utterly excel in doing so.  Her beautiful voice soared across the packed house with an emotional depth that belied her years, ranging from meek immaturity through unswerving love and optimism to selfless desperation.  A spectacular performance that deserved the swell of appreciation from the audience who were on their feet for her by the curtain.  Her GI lover Chris was played with strength and maturity by a composed Bart Lambert, completely convincing in his emotional conflict.  The silky smooth and stunningly powerful voice of Ollie Fox was brought to the role of John, a sincere characterisation played with sober integrity.  Ellen, another dual casting, was given an earnest portrayal by Emma Bennett in this performance who shone in her intense hotel meeting with Kim, Jessica Moore brought a raw intensity to Gigi, and James Murphy was a strong and assured Thuy.  A final dual casting opportunity for the wonderful role of The Engineer, which in this performance was given an almost show stealing interpretation by a magnificent Joshua Butcher.  Captivatingly entertaining, his impudent, brassy study of the Vietnamese pimp was a welcome addition to the intense drama of the piece, managing to provide both a light relief in his characterisation while also portraying the selfish, conniving, egotistical traits of this abhorrent character.

Tomorrow's Talent have achieved a wonder.  To even attempt this epic show is an enormous undertaking, but to pull it off with such impressive, moving results is an accomplishment that cannot be understated.  Praise across the board for all the hard work that every member of the company, both on and off stage, have put in to this production and best wishes to all of the departing seniors as they take up well deserved places at an array of universities and drama schools.

THE CRIPPLE OF INISHMAAN

The Cripple of Inishmaan

Michael Grandage Company

Noel Coward Theatre

Wednesday 10th July 2013

On the tiny islands around the Irish coast, in a miniature village where everyone knows your name and your business, it is a tough enough place to live for any young man of ambition.  However, if the young man in question also suffers from a physical birth defect and is referred to by all as "Cripple Billy", the difficulties swell to desperate proportions.  The temptation of a Hollywood film company filming just across the water is one too exciting to ignore. Couple this premise with a witty script and a cast of larger-than-life Irish locals, the result is a play fit for the glorious Michael Grandage Company to revive this summer.

The atmosphere of rural Ireland is brought to life with help from the slick revolving set, the shop stocked high with tins of peas, Babbybobby's boat stowed in the dock, Mammy's bedroom dank and gloomy.  It is the characters that inhabit this close-knit community however that truly bring it into being.  Marvellous characterisations are displayed across the board with very strong, flawless accents to add another layer of authenticity to the location.

 

Ingrid Craigie and Gillian Hanna, as Aunts Kate and Eileen respectively, are wonderfully eccentric as the sister shopkeepers.  As Billy's guardians they fuss over him with clear affection, but it is the hilarious, though not insensitive, dealing with one sister's mental decline while the other hoards confectionery where the characters really come into their own.  Accomplished and hugely entertaining performances.  Strong support too from Pádraic Delaney as the quietly strong presence that is Babbybobby, Pat Shortt as nosey protector of the gossip Johnnypateenmike, and June Watson as the ever pickled Mammy. 

 

The published star however absolutely does his bit to meet the considerable expectations of his hoards of fans.  Daniel Radcliffe plays the heartbreaking role of Billy with fresh innocence, inspiring determination and lithe physicality, maintaining the character's severe disability without a flinch.  He is undoubtedly the star of the show and steals the audience's hearts immediately, willing him on towards stardom, love and health throughout the highs and lows of his tragic life.  With comedy surrounding much of the rest of the play, the fateful central plot of Billy's story is made all the more painful for the charm of his character.

A beautiful play brought back from it's conception at the National into the capable hands of the Grandage company with worthy success.