La Clique - London Hippodrome

La Clique
London Hippodrome
Conceived by Brett Hayback & David Bates
Reviewed by John Garfield-Roberts

Originally created in 2004 for the Edinburgh festival and performed in the world famous Spiegletent (one of the last Flemish mirror tents in existence.) La Clique is a constant changing line up of some of the worlds best international circus and burlesque performers that you will ever see.

Taking up residency at the London Hippodrome La Clique has brought back Variety to one of London's original variety hot spots, and the design team for this production have gone to work in every aspect of the evening - even entering the foyer your senses are taken on a sensual journey with dimmed lighting, swaths of luxurious dark black and red material and beautifully looking and scented orchids and roses adorn and tantalise and tease your nose.

The performance flows smoothly between acts and most of the action takes place in the small centre stage or Podium with the audience completely in the round. This is a production like no other and its refreshing to see something so different and aimed at an adult audience...something the West End has been missing for quite sometime.

As you would expect with a Variety show, some acts are going to be better than others this is true to form with La Clique from the amazing Water Bath Ariel Acrobatics of and i quote from two ladies sat next to me 'The most beautiful man alive on earth.' (David O'Mer) to the sensational Cabaret Decadanse in which their act using environmentally friendly puppets are combined with themselves and highly energetic choreography that put this duo into a whole new league.

The female contingents form only a small segment of La Clique and bring just the right amount tease for the gents to enjoy and there partners not to feel uncomfortable, even Ursula Martinez's famous hanky routine left the audience in hysterics - combining the fine art of burlesque stripping magic and pure facial comedy to create an act your unlikely to see again in any theatre soon.

Unfortunately the weakest link to this fantastic performance is Mario Queen of the Circus, his leather clad Freddie mercury juggling tribute act, left me feeling cold and embarrassed and just wanting his act to end as soon as possible...if your going to juggle 3 clubs or four balls its important that you are flawless but it seemed that this part of the act wasn't what his focus was on it seemed that he would rather juggle a multitude of four letter words perfectly through his mouth than juggle with his hands.

The stars of this production are The English Gentlemen (even though they are Australian!) who combine sheer physical acrobatics with excellent Physical Theatre performing tricks that you could only wish you could do, but for these two gents you wouldn't be able to tell the strain they are putting their bodies through as its the character that appears to be the number one focus. I'm never going to be able to look at a tennis racket again in the same light after Captain Frodo's ingeniously comic contortionist act. This is an act that with leave you wincing in pain and laughing hysterically and absolutely amazed at what he can do!

La Clique is one of the best shows in town and really does prove that Burlesque and Cirucs isn't dead but is alive and well in the heart of London's West End.

Partenope - English National Opera

Partenope by Handel
English National Opera
Directed by Christoper Alden
Reviewed by Kimberly Knudsen

From the very beginning of the performance, as a photographer appears on stage and takes a picture of the audience, we are aware that we are in for something far removed from Handel’s original comic opera from 1730. In the programme notes we are told that the inspiration for the production comes from the Surrealists and their views of love and desire and how ‘the forces of feeling overturn the artificiality of relationships’ putting desire at the centre.

Director Christopher Alden has taken this tale of love and all its complications far from the composer’s original setting in the mists of Greek mythology and transplanted it to Paris in the 1920s. The setting is a salon where parties, card games and cocktails are the norm, at the centre of it all is Partenope, very obviously the queen of this social circle.

As Partenope, Rosemary Joshua presents us with a character who clearly revels in the attention she receives from Arsace. With a grace and style to her movement as befits the 1920s setting, and with a wonderfully strong and clear voice she makes it abundantly clear why men would fall for her, much like the siren the character was originally based on. Christine Rice is outstanding as Arsace, clearly still in love with his former betrothed Rosmira but also in love with Partenope. She is instantly believable in the role and copes marvelously with the demands of Handel’s score. Partenope’s rival in battle Emilio, sung by John Mark Ainsley, is presented as a Man Ray like photographer who flits between the characters revealing their inner selves through photography. As in the Handel original, he is the catalyst for all of the action. Iestyn Davies as the weak willed, but ultimately successful in love Armindo, brings a richness of voice to the role in a very assured performance. Patricia Bardon as Rosmira/Eurimene seemed to enjoy the challenges that come with the female/male role and sang with a richness and clarity which shone through.

The remaining cast member ENO young singer James Gower in the role of Ormonte showed promise and should soon be stepping up to some meatier roles. Amanda Holden’s translation may offend some with its modern approach but it certainly provided much laughter and made the action easy to follow. The orchestra, skillfully conducted by Christian Curnyn, and featuring some wonderful period instruments such as the theorbo, kept the pace lively and entertaining throughout, doing justice to Handel’s score.

The cast were warmly applauded at the end of the performance, however there were some boos when the production team joined them on stage. Perhaps the purists in the audience did not take to the setting of Act 2 with a toilet as the centerpiece? However the overall effect was wonderful and made for a thoroughly entertaining evening.

The White Devil - Menier Chocolate Factory

The White Devil by John Webster
Menier Chocolate Factory
Directed by Jonathan Munby
Reviewed by John Garfield-Roberts

There seems to be a revival of Jacobean theatre at the moment, with productions of Revenger's Tragedy being performed up and down the country but it is the Meniers new production of Webster's lesser performed production The White Devil that really caught my attention.

Written in 1612 and loosely based on the murder of Vittoria in Padua just 30 years ealrlier. Websters production focus's on the adulterous affair of Bracciano (Darrell D'Silva) and Vittoria (Claire Price)during a time when Italy was corrupt and nobody seemed to be who they really were, and individuals were left to fight against the corrupt nature of the Church and State.

Performed in traverse in the Meniers studio Philip Witcomb's excellent and beautifully detailed hallway set, brought the audience into the middle of this violent and bloody play and with Munbys excellent direction the play flows as easily as the blood pouring from many of the blood packs used in this gory production. The death scene of Isabella (Claire Cox)and the other haunting visions were stronger and more theatrical than any similar effects that the big commercial west end productions could throw money at. Although an excellent production the second half lacked the pace, and detail of direction that the sublime first half gave us, the actors were tired and in the performance I saw, cast were tripping over lines and even at times themselves.

Putting the bad points aside there were some excellent performances, D'Silva's performance as the Duke Bracciano was strong and at time incredibly fierce and his manic laughter will be sure to haunt for weeks to come, but two performances really stand out the first is Claire Price as Vittoria who nails a splendid and reasoned performance of Vittoria which makes the other female performers appear less experienced and their characters rather one dimensional. The second is Aidan McArdles often comic yet devious Flamineo who brings so much energy to the stage that you just cannot take your eyes away from him, a real show stealing performance worthy of any Theatrical accolade or award.

This is a bold move by the Menier to move away from what it has become known for and this risk is well worth it! A complete surprise and one I would highly recommend.

Photos by Manuel Harlan

Proper Clever - Liverpool Playhouse

Proper Clever by Frank Cotteral-Boyce
Liverpool Playhouse Theatre
Directed by Serdar Bilis
Review by Stephanie Rowe

This play set partially in cyberspace and is obviously aimed at the younger generation we often call teenagers, and it is with Frank Cottrell-Boyce’s humour and ability at being able to write a script in the language of today’s youth and set it around the my-space users of today that makes this a highly amusing play.

Cottrell-Boyce is better known for his books and films like Millions and 24 hour party people, so it is with baited breath I found myself strangely looking forward to his first ever theatre script. He manages to make you feel every emotion the teenagers are feeling and even makes cyberspace appear less frightening to the older generation.

Proper Clever tells of a group of teenagers who think they know everything there is to know about everything and it is with the arrival of Becky (later called Bex) that they discover life is not as simple as they first thought it would be and that you have to work at the many things life throws at you.

Becky is a confused young lady who wants to be one of the in gang, Patrick has had a spiritual experience while in Pwllheli and Matthew is in touch with his feminine side. Riley is the very grown up teenager with an elder boyfriend who treats her like a princess, Claire is the wisest teenager, who tries to make the others see the error of their ways with Rachel being the typical fish out of water.

The setting was a simple but effective affair with two walls that were used to occasionally offer props from hidden drawers within the set, and a clever use of projection on the walls to take us into cyber space, lighting appeared to be basic but this is i guess due to the projections, Costumes were simple school uniforms. The rest of the clothing was done cleverly with coats and basic clothing items.

The use of the screens when they were chatting to each other on my-space was rather annoying as you had to strain your neck to see if you were in the stalls and I certainly came out holding mine.

This is definatly a play for the younger patrons of the theatre going generation and although enjoyable isn't a play that I would want another download of.

Photo - Robert Daysmall

Absent Friends - Watford Palace Theatre

Absent Friends by Alan Ayckbourne

Watford Palace Theatre

Directed by Brigid Larmour

Review by Kevin O'Brien

Absent Friends examines the relationships and problems of a circle of friends, consisting of three couples and a bereaved fiancé. The entire play is set in real time in the lounge of one of the couple’s houses. Not an immediate recipe for laughs, then... however, this is an Alan Ayckbourn play. Written in 1974, hard on the heels of The Norman Conquests trilogy, Absent Friends represented a serious change of gear for Ayckbourn, treading far darker terrain than his previous output. However, the hallmarks of Ayckbourn's work remain. Based on a knowing commentary on the English suburban middle class, the play cleverly combines comedy with a tragic undertow, building to a traumatic conclusion.

Diana, trapped in an unhappy marriage to Paul, has arranged a tea party for Colin, whose fiancé has recently drowned. Of the rest of the group, only Marge (whose husband is permanently in absentia) is supportive. Paul and the remaining couple, Evelyn and John begrudgingly go along with the arrangement.

While the party is ostensibly for Colin’s benefit & support, the period awaiting his arrival (most of the first Act) exposes the unhappiness within the three couples. When Colin does arrive, it's quickly apparent he is the most content and well-balanced of the group. Explaining how happy he was with the deceased Carol, and how he remains so with her presence and a photo album of memories, other characters’ issues are thrown into ever sharper relief. Colin's attempts to hold a mirror up to the others to show them how happy they ‘should’ be acts as a catalyst for all the pain and anger to pour out. He eventually leaves the house in a state of social meltdown, with the main victim of the situation being Diana, who breaks down uncontrollably, realising her life has become a charade - her youthful dream of joining the Canadian Mounted Police unfulfilled, replaced with an uncaring, unfaithful husband, and two sons who have been despatched to boarding school.

While there are virtually no overt references to the 1970’s in the script, the sets and costumes are a perfect reconstruction of 1974, further accentuating the contrast between the flamboyant decor, clothes and aspirational lifestyles with chaotic relationships within the group.

The six-strong cast are all incredibly good. Abigail Thaw’s Diana is one of the best performances I can remember seeing at Watford, and in one of the best productions. It’s an intelligent play, and while it demands full concentration, it’s also terrifically easy to enjoy. Everything is approached with just the right touch. The slightly farcical pieces are played with real style and verve to create a fine balance with the sad aspects of the characters' lives, and the audience showed its appreciation all through the evening.

Incredibly, this is the first production of Absent Friends in the South since its first run at the Garrick in 1975. An inspired choice by Watford Palace - highly recommended.

Photos by Manuel Harlan

ERICS - Liverpool Everyman

Erics by Mark Davies Markham
Liverpool Everyman Theatre
Review by Sarah O’Toole

Markham is no stranger from turning the 70’s and 80’s music eras into a musical production having previously turned the life story of Boy George into the Musical Taboo, but with this new turn by the Liverpool born writer he focus’ on his own battle with cancer and the story of Liverpool’s famous and iconic punk club Erics.

This is very much a show for the local crowd and I couldn’t see this production being as successful with a wider audience as its predecessor (Once Upon a Time at the Adelphi) but that doesn’t mean to say it’s not as good! This show sizzles with recognisable characters from the late 70’s and 80’s punk era of which many of the characteristics had the audience in stitches especially Oliver Jacksons performance as Julian Cope (Tear Drop.) and the narrative flows at just the right pace, its often the case that shows like this can be overly sentimental, but it’s the light hearted humour that keeps this show on the right track. Soutra Gilmour delights the crowd with an audience encompassing set that puts you right in the heart of the action and one that still makes the Everyman one of the most intimate and unique spaces within the industry.

Musical Director Laura Bangay also Lead Keys deserves recognition as the live music was most defiantly the highlight of the evening but I feel as previously stated that if you were not from the area or familiar with the era then this musical may just pass you by.

The Barber of Seville

The Barber of Seville by Rossini
English National Opera
Review by Crystal Alonsi

Wow! What a delight------a thoroughly enjoyable performance.

Rossini’s music greets you warmly like an old friend as you recognise tunes and themes. The first scene, set on an Italian street presented like a faded watercolour, is simple yet effective at establishing the view of Dr. Bartolo’s house. In this first scene there were a few uncomfortable moments, as the orchestra seemed slightly over-powering but thankfully this tendency was overcome as the piece continued.

There was such energy and enthusiasm coming from the stage. The cast played for every laugh that was available. From the first ripple of giggles that went through the audience as a ten foot ladder came out of a small wooden chest in the first few minutes of the performance, through the general hilarity as Dr.Bartolo explored every possible piece of comic business as he sought to disentangle himself from the piano.Every humorous angle was exploited to great effect and it was a pleasure to be in an audience that really laughed. There were a few niggles though.

Having gone to all the trouble and expense of installing a surtitling system it was frustrating that Rosina was not translated in her Italian aria and we were not given any clues as to the meaning of her words, which would have added to the enjoyment of the scene. The change of scenery from the fist to second act was painful to see and hear as the stage jerked, shuddered, clicked and staggered into place while from above descended, uncertainly a long cloth over short poles. The draped ceiling fabric was not quite even and it needed to be tweaked to achieve perfect symmetry or re-arranged for deliberate a-symmetry. The careless, untidy effect spoiled the otherwise elegant scenery and was at odds with the perfect diction and performances beneath it.

The costumes were a mixed bunch. Worst of all, Berta’s costume looked like a reject from the ‘Hansel and Gretel’. Everything jarred and it was amazing she was able to sing as beautifully as she did in such a discordant costume. Her voice seemed to warm up and develop through the evening. Maybe it took her a little time to get over the shock of being squeezed into such a ghastly outfit that clashed with everything every time she appeared. The soldiers all had bright splotches of red over their cheeks making them look like escapees from the ‘Nut Cracker’. Rosina, having been dressed originally in a very fetching very pink pale pink dress eventually appeared in an extraordinary pale grey outfit smothered in overlarge silver sequins so that the total effect was that of a rather cheap Christmas fairy doll. Fortunately she had a beautiful voice which was confident at both extremes of her range and she triumphed over the non-descript appearance of her dresses.

Count Almaviva, when still in disguise, wore a perfectly respectable dark purple cloak, however, on transformation he was wearing such a pale grey outfit that he all but disappeared into the background. Don Basilio costumes were all together more successful with a slightly captain hook appearance and a rounded, easy bass voice. He held the stage comfortably. What brought particular joy to the evening was the strength of all the characters’ singing ability. No one let the side down by not quite reaching the mark. They could all act and were not afraid to do so and they brought an exuberance, confidence and energy to the performance that was received with great enthusiasm by a very receptive audience.

Photos by Alisatair Muir

Calender Girls - Chichester

Calendar Girls by Tim Firth
Chichester Festival Theatre
Director: Hamish McColl
Review by David Aldridge

I have to say that my reaction to this acclaimed performance of calendar girls rather echoes the comments of a reviewer earlier on this site who observed that Jonathan Church appears to be catering to the “Sussex blue rinse” contingent. Obviously the subject-matter of this piece lends itself to a certain audience, but nevertheless I feel that both the writing of this stage version of Tim Firth’s successful film and Hamish McColl's direction still lacked a certain energy, which is a shame considering the story’s central theme of not yielding to the cultural boundaries imposed by age and background.

It was a delight watching the performance in the company of the original calendar girls, and this certainly lent the occasion an additional emotional charge, but overall I found the piece to be heart-warming but never heart-rending, touching without ever really moving.

An inventive set-design by Robert Jones saw almost all of the action taking place in a conventional WI hall complete with piano, serving hatch and markings for a badminton court. The same court was then raised at a gentle angle to suggest “John’s Hill”, where two of the more poignant

scenes in the play take place. Some simple lighting on a vision of the Yorkshire countryside which was constantly in view suggested the inexorable march of the seasons (at quite an alarming rate, as it happened).

Sian Phillips stole the show for me, as the strict schoolteacher who was also the most elderly of the Calendar Girls; provided with a rather predictable line in response to some patronising comments about her age, she nevertheless relished declaring that she was going outside to “score some crack”, and a passionate speech about the way that in old age one’s interests tend to expand to fill the time one allots to them was – for this reviewer – the most arresting point of the evening. Linda Bellingham’s bold costume after she disrobes for her photograph will have given her something to talk about on “Loose Women” for years to come, and the rest of the impressive cast do a fine job, although on more than one occasion after yet another impassioned rant about the role of the middle class wife I felt that applause was offered more out of duty than rapture.

One Upon a Time at the Adelphi - Liverpool Playhouse

Once upon a time at the Adelphi
Liverpool Playhouse – until 2nd August
Written & Directed by Phil Wilmott
Reviewed by Stephanie Rowe

Being nearly 200 years since the first Adelphi Hotel opened its doors, it was really only a matter of time until someone was inspired enough to write a play/musical which centred around this world renowned Hotel. Steeped in history and with many urban legends connected to the place, there was plenty for Phil Wilmott to work with to help him produce a fabulous and truly inspiring musical, which is what we come to expect of Phil after such wonderful works as Around the world in 80 days and Dick Barton special agent.

The parallel love story in the 1930’s with the modern day was a brilliant concept for the musical, telling the story of Thomspon and Alice in the heydays and Jo in the modern played be the amazing talent of Julie Atherton as the modern Jo and young Alice and the dazzling performance from Natasha Seale as the older Alice and Ma Thompson you were taken to a world of Glitz and Glamour of the hotel though the 30’s and 40’s Thompson (Alice’s love interest) played by the extremely talented Simon Bailey from many west end leads and theatre band Teatro, had you feeling every emotion possible as he led you through this tale of chaos and decadence.

This musical had you gripped from beginning to end with a tragic love story and some laugh out loud comic moments with which the talents of Helen Carter came shining through in yet another fantastic performance after her success in last Christmas’s hit the Flint St Nativity. This is true ensemble musical theatre and each actor gave an outstanding performance bringing each character to life with such panache and musical theatre cliché and pastiche that it was hard not to leave this show with a smile on your face.

The set designed by Christopher Woods, took us from the back street of Liverpool, the roof, kitchen quarters, foyer and reception of the hotel through a very lavish but simple set which was positioned on a turntable (seems to be a musical theatre must have this year!) and worked faultlessly in helping keep the slick action moving with pace and direction.

We mustn’t forget that this is the first musical ever to be staged by the Playhouse and Phil Wimott has created a small diamond of a piece, with show stopping tunes throughout you can only hope and keep fingers crossed that this show releases a cast recording. The musical direction of Elliot Davis and Mark Collins make sure the shows musical numbers are punchy and well orchestrated even though there were only three people in the pit add the choreography of Andrew Wright the cast was well rehearsed and timing was perfect all the way through each dance with some very fancy footwork to boot. The ensemble made up from recent graduates of LIPA added a local touch to the cast, which worked well with the acting skills from the West End.

Costumes designed by Jacquie Davies must also be given a worthy note, excellently bringing to life the Adelphi workers and Hollywood darlings to life.

This musical is a perfect showcase of what regional theatre should be about, and it’s so refreshing to see two artistic directors taking risks and really making ‘Liverpool Shine’ I only hope as previously said that this show doesn’t get lost in the archives but a cast recording made or at least a tour gets under way in the not so distant future. I’m now off to book tickets to see this show again before it’s too late!

Photos by Robert Day

Sunset Boulevard - Watermill Theatre

Sunset Boulevard

The Watermill Theatre - Wed 9th Jul - Sat 30th Aug

Music by Andrew Lloyd-Webber

Lyrics by Don Black

Directed by Craig Revel Horwood
Musical supervisor and arrangements by Sarah Travis

Reviewed by David Saunders

I had high hopes upon entering the theatre and was looking forward to a performance, inventively staged in what has come to be one of Britain’s premier small scale venues. I can say on my accounts my hopes were well founded. The piece focuses on washed writer Joe Gillis who after many years working in Hollywood has traded in his idealist goals for cynicism. Following a chase through the streets of Hollywood he arrives at the mansion of faded silent movie star Norma Desmond. The show then tells the story of these two people both struggling to find their way.

The setting designed Diego Pitarch used a central grandiose spiral staircase as its focal point with all of the action taking place on a short thrust stage. The set had all the old Hollywood glamour required for this show and added the much needed elevation to the cramped stage floor. The piece itself is largely to do with scale and the art of the grand performer. The set certainly helped to facilitate those grand moments. The costume for the piece was very much as expected with the lion’s share of the wardrobe naturally going to Kathryn Evans as Norma Desmond. The remainder of the cast seemed to unfortunately have been sent to Marks and Spencer to find their own costume. While the focus must be on Norma it is still vital that the other characters have a clear relationship in their costume to the era the piece is set. It is not enough to have one set of fabulous dazzling costume for one actor if the rest of your cast is not even dressed to fit the same era.

The lighting and sound served the show in what was form a technical point of view a crisp slick performance. The space itself is cramped and requires a lighting designer to be economical and also inventive in establishing the correct level of glamour. The design by Richard G. Jones was more than capable of doing so.

The performances themselves now fall under the spotlight and we begin with the most established of actors first. Kathryn Evans brought to the role a fragility I had not seen before the manipulation of Joe Gillis could almost be forgiven. This is a woman who is desperately clinging to her life gone by and the depth of the performance allowed us to see Norma not just as a fallen idol but as a real character with emotional sincerity. The issue with the piece as a whole is that while Norma Desmond is larger than life the other characters are our link to the ‘real’ world. With this in mind it is vital that they are played for the emotional reality of their situation but also remembering this is not the royal court and the need for histrionics among your performers is not required. With this in mind I come to the performance of Ben Goddard. This is clearly an actor of emotional depth and I think given the right role a performer capable of engaging with an audience emotionally. However I do feel that in this part he has been done a disservice by the director. This is not a piece where huge gesture and flailing arms are required. The performance seemed at odds with the rest of the cast and seemed out of context within the piece. The role seemed too thin for Mr. Goddard and although the voice of this actor is the perfect fit the performance was too big for the stage at the Watermill.

The remainder of the cast worked wonders on the compact stage moving seamlessly between multiple roles and using every inch of space to wring every last drop out of each note and step. This is one of hardest working companies I have seen on a stage and add in to that the musicianship and you have a hugely rewarding set of performances for an audience.

I must make mention of the wonderfully streamlined musical adaptation by Sarah Travis which allowed all the sweeping atmosphere of Lloyd Webber’s music to survive but brought a new darker edge to the show in our compact environment.

The choreography had naturally, given Mr. Revel Horwood’s experience all the required glitz. I do feel that at times the direction lacked the requisite inventiveness for the space. At times the show seemed too big for the stage and it should fall on the director to find clever ways of getting around any issues that the performance space may offer. This to my mind was not always the case especially in the scenes between Joe and Betty Schaeffer where the performances seemed stilted and restrictive.

All in all the piece was entertaining though with all the expected glamour in looks and all the expected bright sparks in musicality but for my mind a greater degree of thought in the use of the space would have served the fine performances better.

Photo credit: Robert Day. Ben Goddard as Joe Gillis, Kathryn Evans as Norma Desmond