The Caretaker - Bolton Octagon

The Caretaker by Harold Pinter
Director: Mark Babych
Reviewer: Clare Howdon

‘The Caretaker’ currently playing at the Octagon Theatre, Bolton is one of the last productions to be directed by outgoing Artistic Director Mark Babych and in my opinion one of late playwright Harold Pinter’s most compelling plays.

This piece centres on the lives of two brothers, Mick and Aston and an itinerant, Davies, who Aston introduces into their lives. Through Pinter’s masterful use of repetitive, unfinished dialogue, long silences and flashes of humour and violence, Davies eventually begins to play one brother off against the other. As a consequence all three men are caught in a power struggle as they manoeuvre in a territorial battle of supremacy.

‘The Caretaker’, first performed in the 1960’s, was the first of Pinter's plays to bring him artistic and commercial success as well as national recognition, and it is easy to see why. The depth and perception in Pinter’s writing comfortably puts this play into the modern masterpiece category. Luckily, Mark Babych’s production of this fantastic play doesn’t disappoint. His slick and masterful direction controls the pace and tension well and veers between the comic and tragic elements of the play with ease.

Matthew Rixon, Jeff Hordley and Paul Webster all deliver a master class in acting and control the vocal gymnastics of Pinter’s dialogue with skill and conviction. A particular highlight is the climactic and harrowing monologue by Aston delivered beautifully by Matthew Rixon, in which he recalls the moment he received electro-shock therapy as a potential remedy for his mental illness. The subtle closing in on the lighting throughout the speech, so we are eventually left with just Aston’s traumatised facial features and disturbed thoughts, is a moment of perfectly measured audience voyeurism and discomfort.

Jeff Hordley is also completely convincing as the menacing and mocking Mick and the wealth of Paul Webster’s character acting experience is clearly apparent in his superbly realised portrayal of Davies. A mention should also be given to the stage design by Richard Foxton. The claustrophobic clutter of old newspapers, suitcases and antiques is the perfect setting for this deeply intense play.

This production is undoubtedly a resounding success, and one which, I’m sure, Harold Pinter would have been proud to have his name attached to.

Photos: Ian Tilton

The Caretaker runs at The Octagon Theatre until Sat 28th March 2009

The Convicts Opera - Liverpool Playhouse

The Convicts Opera by Stephen Jeffreys
Based on The Beggar's Opera by John Gay
Director: Max Stafford-Clark
Music Arranger: Felix Cross
Reviewer: Marie Kenny

A life with no imagination is a life of imprisonment. Your body could be confined in the darkest of places for months on end, with no hope of escape. But your mind is a different matter, for with imagination you can find your own freedom.

Thieves, arsonists, prostitutes, forgers, political prisoners and a vicar all feature in ‘The Convict’s Opera’ a co-production between Sydney Theatre Company and Out of Joint. Written by Stephen Jeffries, this is the story of a group of prisoners being transported from London to Australia. In order to occupy the long months of the voyage, the convicts are ordered by the Captain to rehearse John Gay’s ‘The Beggar’s Opera’. This play-within-a-play receives a modern spin with direction by Max Stafford-Clark.

The play begins with a beautifully sung version of ‘We Are Sailing’ and this is an insight into the musical delight ahead. With musical direction by Felix Cross, the cast consists of an extremely talented British-Australian ensemble, who double as actors and musicians. Throughout the play, the actors leap between playing the characters from the original opera and the convicts playing the characters… confusing at times.

The bulk of the scenes are from ‘The Beggar’s Opera’. Between scenes we meet the convicts and catch a glimpse of their real experiences onboard the convict ship. But it is a glimpse, for we learn very little about them except their crimes. There are parallels drawn between the convicts and the events in the play, but they don’t carry much emotion it has to be said.

Instead, it is the humour that carries this play, Max Stafford-Clark releases the 18th century with the witty interjection of modern songs such as Carly Simon’s ‘You’re So Vain’ and The Proclaimers ‘500 Miles’.

Stunning performances come from Amelia Cormack and Ali McGregor as Macheath’s love rivals. Juan Jackson is outstanding in the role of the muscular Macheath. As the unjustly accused Harry Morgan he throws himself into the role of Macheath and even jumps ship, as he claims to identify with the hero so much. In an uncomfortable scene after he is caught, he is told he will face a hanging and once again manages to escape. The remaining convicts onboard cheer him to safety, united by their experiences.

This is no thought provoking ‘Talking to Terrorists’. However, it is a larger than life, fun-filled, highly entertaining musical treat which takes humour and imagination and runs with it.

The Convicts Opera runs at the Liverpool Playhouse until Sat 14th March 2009

A View From The Foothills - The Customs House, South Shields

A View From The Foothills: An Evening with Chris Mullin MP
Reviewer: Ian Cain

Chris Mullin MP, for Sunderland South constituency, gave the audiences at The Customs House a fascinating and unique snapshot of political life during the Blair era in ‘A View From The Foothills.’ The evening draws its title from the first instalment of his personal diaries, which he began writing on 12th May 1994 – the day that former Labour leader John Smith died.

Mullin has represented Sunderland South since 1987, when he was elected with a swing to Labour that was double the national average, but he has decided to stand down at the next General Election.

The man seems to be honest and self-deprecating, with a keen sense of the ridiculous. He described his career as a member of Parliament as “a white-knuckle ride” in which he “had to endure a certain amount of tabloid abuse.”

His career in ‘the House’ has seen him as a Member of the Home Affairs Select Committee (1992-1997) and Chairman of the Home Affairs Select Committee (1997-1999). In 1999, he became Parliamentary Under-Secretary of State at the Department for the Environment, Transport and the Regions (DETR) and described his role there as “the lowest form of life in John Prescott’s department.”

In 2001, Mullin transferred to the Department for International Development as Clare Short’s Deputy. He described Short as a “brilliant Secretary of State” but observed that she was so efficient that “she didn’t need a Deputy.” He took the decision to diarise his thoughts and observations because he felt that he was “well-placed to chart the rise - and perhaps fall – of New Labour.”

Mr Mullin offered his opinions on a number of high-profile politicians. He describes former Prime Minister Tony Blair as “one of the most outstanding political leaders of my lifetime,” but was scathing of his relationship with former US President George W. Bush, whom he refers to as “an intellectually and morally deficient serial killer.”

Additionally, Mullin commented on the “renaissance” that has transformed his constituency, his campaign for the release of the ‘Birmingham Six’ and ‘Guildford Four,’ and the War in Iraq.

The second part of the evening involved him answering questions from members of the audience.Despite the fact that Mr Mullin was somewhat verbose in his responses to the questions put to him, the evening was informative, entertaining and amusing, too.

God of Carnage - Richmond Theatre

God of Carnage by Yasmina Reza
Translator:Christopher Hampton
Director: Matthew Warchus
Reviewer: John Roberts

Yasmona Reza's latest play shows that she is one of the most acute observational writers of the 21st century. God of Carnage gained rave reviews when it found a home for a limited run in Shaftsbury Avenue last year, and I for one am glad that the producers saw sense in making sure this production toured.

Set in an affluent area of France, two couples are brought together after Bruno attacks eleven year old Ferdinand with a stick, knocking out two of his teeth and exposing (sorry semi exposing) a nerve. Ferdinands parents Michel (Roger Allum) and Veronique (Lia Williams) invite Brunos parents Alain (Richard E Grant) and Annette (Serina Evans) over to discuss the incident.

What starts off as a very civilised (if not a little tense) meeting between the two affected parties parents, soon turns very quickly into a comic and frankly scary look into the facade of being a parent, a partner and a human being. Reza's writing is sharp and funny and also exposes the weakness's of these 'strong' modern day parents and all they will do to try and beat the other couple in a grotesque game of one-upmanship.

Matthew Warchus directs this production with his usual mix of well timed comedy and a pace that really does zoom along, add along some interesting touches with the lighting designed by Gary Yershon and a set (by Mark Thomspson) that is just as bold and hideously in your face as the characters that inhabit it, you are left with a show where 90 minutes seems to fly by so quickly yet also makes your feel incredibly uneasy about the whole sorry affair.

It is without a doubt that Grant produces a superb performance, but this is a role where unfortunately type casting really has come into force, for there was nothing new to his performance that we haven't seen in anything else he has done in the last few years, but saying that he really does hold a gravitas on the stage and one cant help being drawn to his mannerisms and expressions.

Allum also gives us a strong performance with excellent comic timing, his physical presence just dominates the space and really makes you believe this is his domain.

Unfortunately I feel although the writing is strong, it just doesn't give the female cast the same scope in producing similarly strong characters unlike the male protagonists of the piece and at time felt that they appeared rather two dimensional and weak in comparison, however saying that, Williams and Evans give perfectly crafted performances.

This is a fantastic production and one which deserves another visit to the West End, and reap the rewards that it rightly deserves.

God of Carnage runs at the Richmond Theatre until Saturday 14th March 2009

Edward Gant's Amazing Feats of Loneliness - West Yorkshire Playhouse

Edward Gant’s Amazing Feats of Loneliness by Anthony Neilson
Director: Steve Marmion
Reviewer: Agnes Frimston

Anyone fancy a Victorian travelling show? Run by the opium-addled Edward Gant, this set of showmen perform pun-laden stories about Sanzonetta, the acne afflicted lovely who’s pimples produce pearls; Edgar the lovesick gent in mourning for his lost Louisa driven to an Indian fakir with unorthodox cures; and the actor who dries on stage, and is transported to the world of oversized stuffed toys.

And what a jolly romp it was. I rarely laugh out loud in the theatre, but I did throughout this performance. The cast were fantastic; Emma Handy , Paul Barnhill, Sam Cox and especially Simon Kunz as Edward Gant held this rather mad production together, and made completely ridiculous scenarios and outfits wonderful. Tom Scutt’s set and costumes were brilliant, and the use of puppetry spectacular. I’m going to hedge my bets and say that this must be the first production to represent pimples with puppetry. There were giant teddy bears, a man (sorry, woman) sized oyster, and a bit of cross-dressing thrown in for the mix. If it sounds like a Pythonesque mish-mash, it was, but somehow it worked. We all need a bit of fantasy in our lives, and this production certainly gives us 90 minutes of that.

And yet it’s not all japes. ‘Edward Gant’s Amazing Feats of Loneliness’ is a rather specific take on the Victorian freak show. As Gant himself says at the start, “the deformities on show this evening are not those of the frame, but those of the heart and mind”, and like all freak shows, there is the unsettling stench of exploitation, just not of the physical. A question the audience is left asking is whether the emotional exploitation is worse. Writer Anthony Neilson lures the audience in with his comic tales, vomit jokes, and puns (and who doesn’t love a good pun), and then brutally reveals his examination of the imagination and the trials of the human heart. Throughout, this is a play self-conscious of being a narrative and a performance, but by the end, the audience is asked to question the role of theatre itself – do we go for whimsy and escapism, or reality and fact?

This production is fantastically crafted; the sets and costumes are a twist of the pop-up book twee and the repulsive; and the puppetry imaginative and hilarious. The script is odd, but the superb cast ground it and make the performance enjoyable, if a little painfully grotesque at times. I was left with questions about what I expect from theatre, and a nightmare involving a ridiculously enormous zit…
.

Photos: Ellie Kurttz

Edward Gant runs at the WYP until Saturday 14th March 2009

Singin' in the Rain - Machester Palace Theatre

Singin’ in the Rain
Book: Betty Comden and Adolph Green
Lyrics: Arthur Freed
Music: Nacio Herb Brown
Director: Alison Pollard
Choreographer: Graeme Henderson
Reviewer: Phillipa Jenkins

I love Gene Kelly. I love Debbie Reynolds. I won’t lie. I love the film. Imagine then my excitement at the prospect of a stage show. My heart skipped a beat; several in fact. As the cast began to assemble onstage in the most gorgeous costumes; women in dresses and feathers to-die-for, draped across achingly handsome men; I was rapt. Unfortunately the costumes were all I could force myself to focus on until midway through the first half. The show got off to a slow start. I became restless for some showstoppers and consequently devoured a bag of Minstrels almost instantly.

Then Cosmo Brown (Graeme Henderson) lifted my spirits. What a fantastic performance, with all the energy and buzz one would expect of this role, and superb comic timing. ‘Make ‘em Laugh’ was a brilliantly executed number that had him bouncing across the stage effortlessly and relentlessly.

Which was then followed by series of back-to-back crowd-pleasers; my favourite; ‘Moses Supposes’; the charming ‘Good Morning’; and the veritably holy ‘Singin’ In The Rain’ (did I mention that I love this musical…?). Absolutely delightful. Vibrant, colourful, energetic and…. with real rain. What more could a girl ask for?!

Having composed myself during the interval I resolved to stuff my bias under my seat and attempt some professionalism. It was then that I realised Don Lockwood (Tim Flavin) is no Gene Kelly. Vocally; he was superb. When it came to the tap-dancing however; he was somewhat lacking in precision and charisma. A big disappointment as Flavin is a recognised name in musical theatre.

Jessica Punch was a predictably warm and amiable Kathy Selden with a lovely vocal quality; although perhaps not as sassy as I would have liked. Amy Griffiths was simply riotous as Lina Lamont with her rendition of ‘What’s Wrong With Me’. She had by now settled into her screeching and squawking so vehemently and with such ease that I was left choking on my chocolate with laughter.

Other highlights were the silent movie scenes, whereby the audience was given the opportunity to watch the film on a huge cinematic screen as if they were attending the premiere, and enjoy the applause and appearances from the film stars afterwards. This provided a lovely sensation of being involved in the production, rather than a spectator watching a ‘fake’ audience enjoy the film.

Overall I thoroughly enjoyed the production. It captured the wonderfully slapstick comedy of the era, and was playful in its presentation of the narrative. The showstoppers were delivered to the audience’s expectations and the chorus did a fabulous job of supporting their stars. Although a little slow to begin, it’s nonetheless refreshing to see a musical that stays true to it’s origins and doesn’t attempt to transform itself too radically. Owing to this, it is a show that everyone can enjoy. Brilliantly entertaining.

Singin’ in the Rain runs at The Palace Theatre until Sat 14th March 2009

Victory - Arcola Theatre

Victory by Howard Barker
Directed by Amelia Nicholson
Reviewer: Honour Bayes

Howard Barker’s play Victory is a beautifully muscular feast and this production at The Arcola Theatre serves it up with great panache offering 3 hours of breath taking, titillating, crudely salacious and heart breaking theatre.

Set in Restoration England as the reign of the Puritan is at an end and the ‘Merry Monarch’ Charles II is flourishing under debauched bedcovers, Victory follows the actions and reactions of a cross section of the players within this tumultuous time. After a time of great civil war and action, now is the time for reaction and one must be able to roll with the punches to survive. Infamous Puritan Judge John Bradshaw’s widow crawls and sleeps her way to the top, the slightly bumbling machinations of the new Governor of the Bank of England and his board sit uncomfortably with Charles’ God given ‘Absolute Monarchy’ and a ballsy and bawdy cavalier falls in love with a hard Puritan woman.

Into this topsy tervy existence we are presented with idealists and realists. Ball, Matthew Kelly’s ardent, crude, bombastic cavalier and Karl Theobald’s cowardly Puritan servant Scrope passionately believed in their cause and cannot be turned from their conviction even in a world that welcomes neither of them anymore. The widow Bradshaw and Charles II cleverly understand the need for resourceful chameleon politics and although they are at the opposite end of the spectrum, they survive by acquiescing when they need to even if they never lose their bite when challenged. Ditch pity, ditch fuss and get on with it Barker seems to be saying.

Director Amelia Nicholson dives straight into this densely brilliant material and emerges with strong performances from all her cast within a structured, hexagon staging which highlights the intricacies of their ensemble playing. Out of this cohesive ensemble particular note should be made of Nicholas Rowe as Charles II who tenderly peels away the layers of this boorish monarch to the painfully vulnerable underclothes beneath.

Matthew Kelly continues to forge a strong acting career for himself with a powerful performance which if at times is all encompassing loud and crude at others reveals the depths of feeling that his Ball is capable of. His innocent bravado brings to mind the buffoonery of Shakespeare’s Bottom and this is not an isolated similarity with Geraldine James’ performance echoing Lady Macbeth in its intense rejection of weakly female traits whilst retaining a womanly sexuality. A force of nature, James’ Bradshaw is a strong, resourceful and hard woman who will stop at nothing to get what she wants, but her compassion and dry wit draw out an understanding and admiration from the audience which stays with her throughout this epic. A loving mother, she cares passionately but does not suffer fools gladly and although she may have ‘broken myself into pieces to do this’ it seems she is rising a stronger woman from the ashes for it.

Fracoise Ogier’s mix of contemporary and modern sound design perfectly mirrors Barker’s intermingling of Restoration pomp and modern plain talking humour and the costumes and wigs are of a West End quality.

Victory is an outstanding play – it is as though Barker is channelling Shakespeare himself in this epic, witty, moving, meaty story which keeps its audience entranced for 3 long hours in a way many shorter and thinner plays cannot even dream of doing today. Geraldine James towers as the resourceful Bradshaw and is supported by an indomitable cast of ensemble players who will make you laugh out loud one moment and want to cry the next. For one night sense and sensibility come together in a perfectly crafted and deliciously moist explosion of theatre at its very best. A rare and rich treat – Victory is an absolute must see.

Photo: Tristram Kenton
Victory runs at the Arcola Theatre until Saturday 4th April 2009

A Song at Twilight - Yvonne Arnaud Theatre, Guildford

A Song at Twilight by Noel Coward
Director: Nikolai Foster
Musical Director: Tom Deering
Reviewer: William Avenell

Not being an afficionado of Noel Coward’s plays but liking the wittiness and style of his musical work I was not quite prepared for the veiled undertone of betrayal and arrogance in this piece, albeit with some very witty lines. Apparently Coward wrote this as a vehicle for a last ‘swan song’ as an actor on the London Stage in the nineteen sixties and there is a strong moral tone underlying the (sometimes) sparkling dialogue, particularly in the way the play deals with loyalty and sexuality. Forty years on would the sentiments be the same?

An ageing, successful author (Peter Egan) waits to meet an old actress flame, the vibrant Carlotta (Belinda Lang), in his hotel suite in Switzerland. Why has she instigated this reunion after many years? There must surely be an ulterior motive. Of course there is, skilfully introduced over dinner, causing consternation and soul searching with a nice twist at the end involving the reaction of his wife (Kerry Peers).

The set was simple(designed by Matthew Wright) as it needed to be with just 4 actors operating in an unchanging hotel sitting room. However, it gave the important and unmistakeable impression of hotel living which was reinforced by the snatches of piano (written and played by Tom Deering) drifting in and out.

The performances were mixed. I have to confess that after the first 20 minutes I was beginning to question the wisdom of the trip at all. Of course the scene has to be set but Peers and Egan, playing against each other for the first part, were dreadfully laboured. The waspishness of Coward’s lines was often lost in a mixture of over aggressive playing separated by some long pauses and with the added irritation of the rather strange accents of Peers and the young waiter (Daniel Bayle). But then on came Lang and my mood changed instantly. For one second I feared she was going to over play it, but not so, and she lifted the whole production with her portrayal of Carlotta which combined an entertaining mixture of sophistication, tartiness and in the second act wistful regretfulness.

In that second act Egan continued to disappoint slightly. Admittedly he was playing a pompous character but he did so in too pompous a way for me and the pauses, rants and grimaces were not to my taste at all. Peers on the other hand, perhaps because she was playing with Lang in the second part, gave a far more convincing performance receiving the longest round of applause of the evening for one particular tirade and ending the play on a strong note with her final disclosure.

Is it a good night out? It was a bit long, slow to get going and in need of some tightening up. But if you enjoy Coward’s wit and want to see an actress deliver that wit with some impeccable timing and light up a stage with her charismatic presence then Lang is worth the entrance money on her own.

A song at Twilight’runs at the Yvonne Arnaud Theatre until Saturday 14th March 2009.

Austentatious - Landor Theatre

Austentatious
Music: Matt Board, Joe Slabe
Lyrics: Matt Board, Joe Slabe
Book: Matt Board, Jane Caplow, Kate Galvin, Luisa Hinchilff, Joe Slabe
Director: Lotte Wakeham
Choreographer: Tim Jackson
Reviewer: Elizabeth Vile


When the Camberford Regional Arts Panel decide to perform a new adaptation of Jane Austen’s ‘Pride and Prejudice’ written, choreographed and starring a long time member of the group, none of them realise what they are in for. Any problem that could befall an amateur dramatic group does, from lack of men, to broken props, to jealousy between cast members and a clueless director who is adamant he knows everything about the story because he has seen the film! Overseeing this chain of events is the Stage Manager Sam who doggedly continues to make costumes, photocopy scripts, cope with numerous cuts and blocking changes and manages the chaos that surrounds her.

Will anyone survive till opening night? Will there be an opening night?

This fast paced musical bubbles over with fun, energy, enthusiasm and some very witty one liners. I could not find fault with any of the actors on stage, all the characters were very strong and the singing was brilliant and clear. A mixture of chorus numbers, duets and ballads also gave the cast a chance to show off their obvious versatility and varied the pace of the piece to stop it descending completely into farce too early on. Only occasionally were words lost during songs, and that was when characters were singing over the top of each other. This problem was exacerbated for me because I was sitting at the side of the stage and couldn’t always see all of the characters all of the time. I imagine if I was sitting face on to the stage this wouldn’t have been so much of a problem.

The pace of the piece slowly builds from the initial audition, which had a very strong feel of the opening of ‘A Chorus Line’ to it, through to the opening night which descends into a manic and cleverly crafted farce. I found I enjoyed the second act much more than the first because by then I knew the characters and could empathise with them and their plight, somehow you still wanted them to have their opening night even though it could be a disaster.

As long as you are not a die hard traditional Jane Austen fan or are very precious about the running of an amateur dramatics society you should enjoy this production. It satires all the character traits and problems that can be experienced during an amateur production and exaggerates them to create a slick comic musical that will make you laugh out loud.

Photos: Michael McAdam
Austentatious runs at the Landor until Sat 28th March 09

The New Electric Ballroom - Riverside Studios

The New Electric Ballroom by Enda Walsh
Director: Enda Walsh
Reviewer: John Roberts

Enda Walsh is having a very successful time out of the London theatre going audience at the moment, with his play The Walworth Farce going from strength to strength at the National Theatre and now his latest play The New Electric Ballroom having it's London transfer at The Riverside Studio's.

This latest production focuses us on the lives of three women living in a remote fishing village, and how two of them hold on to their more romantic or not so as the case tends to be memories of the New Electric Ballroom. These memories of Breda (played with a powerful matriarchal strength by Rosaleen Linehan) and Clara (given a worthy portrayal by Ruth McCabe) hold them almost hostage on a daily basis to their repetitive lives of baking cakes, cups of tea and the over powering element of Ada who could be a third sister (Catherine Walsh) and regular visits from the Local fishmonger Patsy - played with real relish and comedic flair but also with heartbreaking sympathy that sometimes is actually quite hard to watch by Mikel Murfi.

There is no doubting that Enda Walsh is a very gifted writer, this could have been a show given the subject matter another attempt at creating a modern day Chekov, but missing out on the comedic almost surreal elements that take place in our lives. But here Walsh writes with a real flair, his language is almost poetic and at times bringing a brutal but emotional truth to his characters.

This production is given a very cold and open, almost medical set designed by Sabine Dargent who also with her costume designs really add to the banal existent of these rural sisters and their daily routines. Walsh also directs this production, but one asks questions about some of his directorial choices, for example the almost robotic opening just doesn't give justice to the beauty of the words that he has penned and forces the audience to connect on an almost inhuman level, its only when the piece progresses do we slowly start to empathise with the sad and lonley existance of the characters within the piece.

This is a production that flows with pathos and humour and the lyrical nature of the piece holds its own as a strong and worthy contender of anyones money in these hard economic times, when your choice of show really does count.

The New Electric Ballroom runs at the Riverside Studios until Sunday 29th March 2009