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Theatre round-up: 18 Aug 2015

Published on August 18, 2015 by LizLeave a comment

These posts are gradually getting later and later in the week… I’ll try and get back on track for next week, but in the meantime here’s the round-up of the last hectic few days.

Blood Wedding

I was interested to see this adaptation of the classic Spanish play, having studied the text at A-Level (and then again at uni) but never seen it performed. The enjoyable production by Dreamcatcher Theatre at the Bread and Roses has all the drama and tragedy that I remember; it’s the tale of a doomed wedding, and its characters really don’t stand a chance from the start. The play was first performed in the 1930s and contains some pretty old school views on various issues, particularly gender roles, but it’s also strangely relevant at times to the world we live in today.

Blood Wedding review for LondonTheatre1

The Backward Fall

Part of the Camden Fringe, this play about two sisters packing up their childhood home after the loss of their mother to Alzheimer’s packs quite an emotional punch. The strained relationship between the sisters is convincing and well portrayed, and the play makes a powerful point about the ongoing impact of this life-changing condition, not just for the sufferer but for those around them as well. The Backward Fall, by Penny Productions, is based on stories, research and interviews with real people affected by Alzheimer’s, which only increases its power for the audience.

The Backward Fall review for LondonTheatre1

Consolation

So much brilliance I don’t know where to start. Consolation, by Théâtre Volière, is funny, devastating and educational all at once. The unlikely friendship of a middle-aged woman who thinks she was a Cathar heretic in a former life, and a young re-enactor from the local visitors centre takes us on an emotional journey that spans several hundred years, and ends with a totally unexpected but brilliant twist. The cast are incredible and the set is simple yet ingenious. There are a couple of plot details I missed, but I’d happily head back to the Bridewell Theatre and do it all again (all three hours) to make sense of them – which just goes to show how good this play is.

Consolation review for LondonTheatre1

The Two Gentlemen of Verona / Hay Fever

Kent-based Changeling Theatre never disappoint; this year we enjoyed a double bill of Shakespeare and Noël Coward at the lovely Boughton Monchelsea Place. Changeling interpretations, directed by Rob Forknall, are always mischievous and full of humour, with a brilliant and adaptable cast who seem to be having the time of their lives. And a ridiculously cute dog, who got the biggest cheers of the day without actually doing anything.

Changeling review

Spirit of the dance

A spectacular show, featuring the Irish dancing made famous by the better-known Riverdance, but also including other dance styles too – flamenco, tap, ballet, and even a bit of the Highland Fling – Spirit of the Dance is colourful, energetic and entertaining. Besides the cast of eighteen dancers, this show at the Orchard Theatre in Dartford also welcomed special guests the Three Irish Tenors, who – while slightly detached from the rest of the show – get the audience singing along to a few crowd-pleasing classics while the dancers have a well-earned break.

Spirit of the Dance review for Dartford Living

Next week’s theatre

Twelfth Night (Oddsocks) – Castle Cornet, Guernsey

Review: The Two Gentlemen of Verona and Hay Fever at Boughton Monchelsea

Published on August 16, 2015February 7, 2016 by Liz1 Comment

To paraphrase a famous proverb, two plays are better than one.

Which is why I found myself yesterday settling down for a double bill from Changeling Theatre, at Boughton Monchelsea Place. Having seen Changeling before (most recently doing Romeo and Juliet last summer), we were reasonably confident that we were in for a good time – and we weren’t disappointed. Which was probably just as well, or it could have been a very long day.

The Changeling experience begins the moment you arrive, as the cast wander among the audience, already in costume and character, selling programmes and helping themselves to your picnic. We also got a brief plot summary of the day’s first play, The Two Gentlemen of Verona: Proteus loves Julia, Valentine loves Silvia, but then Proteus falls for Silvia too and all hell breaks loose. Oh, and there’s a bit with a dog, which – as we all know – is what the people want.

Two Gentlemen of Verona, Changeling Theatre — Ben Wiggins & Jessica Rose Boyd
Photo credit: Changeling Theatre

As always, every member of the cast gives it 110%, whether their role’s big or small. It’s always easier as an audience member to relax and enjoy the show if it looks like the actors are enjoying themselves, and this cast seem to be having the time of their lives, as they pull random audience members on to the stage and occasionally go off script altogether. Jessica Rose Boyd, who was a hysterical (in both senses of the word) Juliet last summer, is particularly fun to watch; her enthusiasm and energy are totally infectious. I loved Emma Rose Lowther’s cloak-swishing turn as Eglamore, too – it may be a small role, but she definitely knows how to make the most of it. And the excellent and hilarious Peter Dukes pretty much steals the show in the dual role of Launce and Thurio (and not only because he’s the one with the dog – although that might account for some of the cheers every time he appears on stage).

The play itself – believed to be Shakespeare’s first comedy – is sometimes a bit questionable; the treatment of women is particularly deplorable (dumped, tricked, given away etc). But just as we seem to be heading towards an utterly ridiculous conclusion, director Rob Forknall throws in a brilliant twist that proves girl power is alive and well, and ends the production on a high.

Next up was Noël Coward’s comedy of manners, Hay Fever, which, even by Changeling standards, is utterly bonkers. It’s the 1960s, and each member of the ‘bohemian’ Bliss family has invited a guest to their country house in Berkshire for the weekend, without telling the others. As the guests begin to arrive, the family try to be on their best behaviour… and fail spectacularly. Faced with incomprehensible games, family squabbles and unwanted declarations of love, the guests grow increasingly uncomfortable. It’s over the top, ridiculous, hammier than a bacon sandwich – and I loved it.

Felicity Sparks flings herself head-first (literally – the throw cushions adorning Clare Southern’s set get plenty of use) into her role as Judith: part-time mother, one-time movie star and full-time drama queen. A character who could have been incredibly annoying becomes, in her hands, both hilarious and oddly loveable, even as you want to shake her and tell her to pull herself together. David Whitney is great as Judith’s long-suffering husband, David, and Ben Wiggins and Jessica Rose Boyd are a perfect double act as her spoilt children, Simon and Sorel. To be honest, I could quite happily spend an evening just watching the two of them bicker back and forth.

Hay Fever, Changeling Theatre — Felicity Sparks
Photo credit: Changeling Theatre

Finally, neither production would be complete without the music, composed by Tom Barnes and played by the cast on a variety of instruments, from the fan organ and bassoon to the tambourine and triangle – with a bit of Andrew Lloyd Webber thrown in for good measure. Particular highlights include original ballad, ‘Who is Silvia’ (lyrics by Shakespeare), from Two Gents, and Judith’s spectacularly awful rendition of ‘Je Ne Regrette Rien’ in Hay Fever.

Sadly, the 2015 Changeling season finished tonight with a final performance at Boughton Monchelsea, but I’ll be booking my tickets to see what they have in store for us next year. One thing’s for sure: it’ll be different to anything we’ve seen before – and that’s why we love them.

To film or not to film, shouldn’t even be a question

Published on August 11, 2015August 13, 2015 by Liz1 Comment

Oh, Benedict Cumberbatch. As if we didn’t love you enough already.

Exactly a year ago today, I’d just triumphantly completed my booking for Hamlet at the Barbican, after several hours monitoring multiple browsers and waiting impatiently to make my way up from 8,000th in the queue to number 1.

I won’t be seeing Hamlet until September, but a lucky few already have; the production finally opened for previews at the Barbican last week… and it’s already making headlines.

First, there were all the fans who flew in from across the world to catch a glimpse of their idol, whether they had tickets for the play or were just hoping to spot him outside the theatre.

Then there was the controversy caused by the Times, the Telegraph and the Daily Mail, who published reviews based on the first preview, rather than waiting until press night like everyone else. (If we can really use the word ‘review’ to describe Jan Moir’s gushing report, which included illicit and poor quality photos, and totally ignored the rest of the cast. Who knew Hamlet was a one-man show…?)

And now Benedict Cumberbatch himself has made a special stage door appearance to plead with fans not to record during the play. Which really should be common sense – but apparently isn’t.

Personally, I don’t understand why anyone would want to record a live performance. Doesn’t that sort of negate the whole ‘live’ part? If you’re watching it through your phone, then you’re not really watching it, and even if you view your video again later, it’s hardly the same thing. It’ll probably be pretty poor quality, and a bit wobbly, and the sound won’t be great, and you’ll realise, too late, that maybe you should have watched it live in the first place. I don’t know about anyone else, but when I see Hamlet next month, I want to remember watching and experiencing the play – I don’t want to remember filming it.

Then there’s the fact that it’s really distracting – for people sitting nearby, and, more importantly, for the actors. It always amazes me how many theatregoers don’t realise that when their phone lights up, they’re not the only person who can see the glow, especially in a dark theatre.

And finally, there’s the all-important question of respect. The actors on stage – any stage – have worked for months to prepare for this performance; it’s not like they’ve just rocked up on the day like we have. So don’t we owe it to them to sit quietly, pay attention and listen? And if not, there doesn’t seem much point in going to the theatre at all – we might as well just wait for the inevitable DVD version.

I don’t honestly know if this latest appeal is going to have any impact (neither Kevin Spacey nor James McAvoy seem to have had much luck getting people to put their phones away), and I’m willing to bet most of the fans who were at the stage door, and – ironically – recording, were more excited to have seen Benedict Cumberbatch than interested in what he was actually saying. But hopefully the fact that the video’s gone viral will at least get people to consider the issue, and think about why it’s so inconsiderate. We live in a generation that’s programmed to take photos first and look later – but there’s a time and a place for that, and the theatre is neither.

We’ve all waited a long time for this, so let’s not ruin the experience – for the actors, for the audience or for ourselves.

Hamlet at the Barbican

Theatre round-up: 10 Aug 2015

Published on August 10, 2015August 13, 2015 by LizLeave a comment

Although I just had one theatre trip this week, you may recall I’ve been to a couple of Edinburgh previews over the past couple of weeks. And unlike some national publications that I won’t name, I honour requests to keep quiet until opening night. (I also don’t use grainy photos taken on a hidden camera phone, but that’s a whole other story.)

Anyway, since the Fringe is now well and truly underway, my reviews have been published, so I feel comfortable talking about them here. Beginning with:

To She or Not To She

I was excited to see how this one-woman show, written and performed by Emma Bentley of Joue le Genre, had turned out, after getting a brief glimpse at the Morley College scratch night a few months ago. And I wasn’t disappointed – what began as a research project into female actors playing Shakespearean characters has turned out to be a very funny yet deeply thought-provoking piece about the very current topic of sexism in the acting industry. Emma Bentley is enthusiastic and likeable, and at the same time clearly very passionate about her message; the show is evidently a labour of love and one that I feel privileged to have seen in its early stages. With plenty of in-jokes for the actors and the women in the audience, it’s a very inclusive show – and there’s a fair bit of Shakespeare fangirling too, which is never a bad thing.

To She or Not To She review for LondonTheatre1

A Fine line

The second preview was also a one-woman show, but couldn’t have been more different. Ronnie Dorsey’s new work, about the six-decade relationship between two best friends, is a moving and incredibly powerful piece. In just an hour, the story of Rita and Angie takes us on an emotional journey that covers puberty, sex, babies, infidelity, love and loss. Judith Paris gives an intimate performance as she shares one elderly lady’s rambling memories; at times it feels like the audience is intruding on a very private moment as she addresses her monologue to her absent friend. Ultimately, the play reveals itself to be much more than just an assortment of memories; it invites us to consider the different kinds of love, and the fine line between expressing our true desires and conforming to society’s expectations.

A Fine Line review for LondonTheatre1

These shows are currently being performed in Edinburgh, and I’d recommend them both if you’re lucky enough to be there.

As for my one ‘official’ theatre trip of last week…

Dirty Dancing

If the two Edinburgh previews were thought-provoking, Dirty Dancing is anything but… and that’s why we love it. Any fans of the movie will also be fans of the stage show, which I saw at the Marlowe Theatre in Canterbury, because they’re essentially the same, bar a few really minor changes. The music, costumes, props – including that watermelon – and the script are all pretty much identical, and there’s something quite relaxing about going to see a show you know so well you can quote the lines along with the actors. And yes, I’ll admit I’m still daydreaming about Lewis Kirk, who plays Johnny (with or without his shirt). It’s a feel-good show; the cast look like they’re having a great time, and it sends you away with a smile on your face… and you can’t really ask for more than that.

Dirty Dancing review

This week’s theatre

Blood Wedding (Dreamcatcher Theatre), The Bread and Roses Theatre

The Backward Fall (Penny Productions), Hen and Chickens

Consolation (Theatre Voliere), Bridewell Theatre

The Two Gentlemen of Verona / Hay Fever (Changeling Theatre), Boughton Monchelsea

Review: Dirty Dancing at the Marlowe Theatre

Published on August 9, 2015February 7, 2016 by Liz1 Comment

Sometimes you can’t beat a classic. As much fun as it is to see a brand new show, with little or no idea what emotions it’s going to make you feel… sometimes all you really want is to sit back, relax and enjoy a story that’s so familiar you can quote the script along with the actors.

There can’t be too many people of my generation who don’t at least have a rough idea what Dirty Dancing is all about. Boy meets girl, girl carries a watermelon, boy teaches girl to dance. Then they fall in love, boy gets fired but returns for a triumphant final scene which puts everything right with the world.

It’s a total cheese-fest, but that’s why we love it. The producers of Dirty Dancing were always on to a winner by reviving the stage production, because the movie has such a die-hard following that the theatres were bound to be full. Building on that popularity, director Sarah Tipple’s Dirty Dancing is almost an exact replica of the original version; the script, costumes, routines and even some of the actors appear to have been transported straight from Kellerman’s, in the summer of 1963. There are a few additions – references to the political situation of the time, freedom rides, Martin Luther King and the Cuban Missile Crisis – which add a little substance, and minor characters Tito and Mr Schumacher are both given a bigger role. Though none of these changes is a bad thing, the show would probably go down just as well without them; the audience is there for the story they know and love, as fluffy and insubstantial as it might be.

Stephen Brimson Lewis’ set uses video screens to recreate the camp in the Catskills, including the iconic lake scene, and a rotating turntable, which gives the show a multi-dimensional feel and allows different stories to unfold simultaneously. In between scenes, we’re given an insight into the wholesome family fun enjoyed at Kellerman’s – sack races, piggy backs and musical chairs – in direct contrast to the far from wholesome activity going on in Johnny’s bedroom.

Leads Jessie Hart and Lewis Kirk have great chemistry; her perkiness and his intensity make for a perfect combination. Unsurprisingly, Lewis Kirk is particularly popular with the female-dominated audience; he could probably have not said a word all night and we’d all still have loved him (and his hips). Carlie Milner steps seamlessly into her stand-in role as Penny, and Georgina Castle is brilliant; her wonderfully terrible performance of Lisa’s Hula is one of the highlights of the show. Meanwhile there’s more comic relief from Kane Verrall; his Neil is much more likeable than the original character, with dance moves that are memorable for all the wrong reasons.

Meanwhile, we get to enjoy all the classic music we love – the only song I missed was the full version of She’s Like the Wind. Unlike most musicals, the majority of the numbers are performed by the supporting cast – Natalie Winsor and Matthew Colthart in particular deserve recognition; their performance of the final and best-known number, (I’ve Had) the Time of My Life, is incredible, and more than holds its own alongside the attention-grabbing dance routine.

Dirty Dancing is the ultimate feel-good show; you can’t help but leave the theatre with a smile on your face and a skip in your step. It’s a production that’s aware of, and revels in, the imperfections of the story, faithfully reproducing the characters and events that the audience want to see, and not making any serious attempts to change anything. And if it all starts to feel a bit like a hen party at times – well, there’s nothing wrong with that. I’m not ashamed to say that I whooped along with everyone else when Johnny said, ‘Nobody puts Baby in a corner’.

And because I know you’re all waiting for me to say it – yes, I really did have the time of my life.