Regional theatre – Page 22

Review: Twelfth Night at Castle Cornet

Published on August 24, 2015February 7, 2016 by Liz1 Comment

Last summer, I was in Guernsey visiting a friend, and she took me along to an outdoor production of A Midsummer Night’s Dream in the appropriately magical setting of the historic Castle Cornet. The theatre company, Oddsocks, were new to me, but two things soon became clear – they’re brilliant, and they’re completely bonkers. Fortunately, when it comes to theatre, this is my favourite combination.

So when I arranged to visit Guernsey again last weekend, and my friend told me Oddsocks were back, I jumped at the chance to see what they’d made of Twelfth Night. I was fairly confident that the play’s love triangles, gender bending, mischievous pranks and general air of confusion would offer plenty of opportunities for mayhem – and I wasn’t disappointed. Despite the weather, which was dismal to say the least, a great night was had by all; Oddsocks productions go on come rain or shine, and it’s a testament to how enjoyable they are that nobody got up and left when the heavens opened in act 2.

Once again, the company’s take on the Bard’s work is fresh, unique and very, very funny. I never would have thought that I’d see two Shakespearean characters singing Let’s Get Ready to Rhumble… but now I can cross that particular goal off my bucket list. Because this is the Britpop musical version of Twelfth Night, and if you think that sounds mad – well, it is. But that doesn’t mean it’s not all kinds of amazing. Fans who enjoy conventional Shakespeare may object to Duke Orsino’s ‘if music be the food of love’ speech being replaced by Roxy Music; then again, those people are unlikely to be found at an Oddsocks play – or at least, not for long. (But do be prepared for the cast to heckle you on the way out.)

Led by director, and born showman, Andy Barrow, the cast basically just get up on stage and have a good time, dealing with whatever happens to come their way, whether or not it’s in the script. I particularly enjoyed the drunken antics of Sirs Toby Belch and Andrew Aguecheek (Kevin Kemp and Gavin Harrison), who spend much of their time giggling and falling over, and at one point wander into the audience in search of booze. And I may never be able to forget Malvolio (Andy Barrow) and his yellow stockings – for all the wrong reasons.

It’s all so chaotic that at times it’s hard to tell what’s planned, and what’s been made up on the spot (although I’m pretty sure the pause to fix their dangerously sagging roof with a mop was a one-off). In fact, the whole production plays pretty fast and loose with Shakespeare’s original text, but given that the audience are all having such a great time, I’m going to bet he’d be willing to forgive that.

If I had to sum up an Oddsocks production, I’d probably describe it as ‘Shakespeare does panto’. You’ve got music, slapstick, audience participation (where else can you get up on stage and throw wet sponges at one of the actors?), a few pointed references to current affairs, and even a girl dressed as a boy. The only difference, really, is it’s way better than any panto I’ve ever been to.

Unfortunately the Oddsocks tours don’t tend to take in Kent or London, but they do seem to have become something of a fixture in Guernsey. So I guess I’ll be forced to head back that way next summer and do it all over again… It’s a tough old life.

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.

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.

Review: Dead Simple at the Marlowe Theatre

Published on July 8, 2015February 7, 2016 by Liz1 Comment

Before I start, a quick health warning: this may not be the play for you if you have a fear of small spaces. Or blood. Or clowns. Or… Oh. I think that’s everything. Moving on…

Michael Harrison thinks his life is perfect. He’s got a successful business, millions in the bank and a beautiful fiancée. But it turns out he’s also really bad at choosing his friends – and after a stag night prank goes disastrously wrong, Michael finds himself buried alive, with no immediate hope of rescue.

It’s the stuff of nightmares – and also the plot of Dead Simple, a novel by Peter James adapted for the stage and currently on tour around the UK. Former Hollyoaks actor Jamie Lomas stars as Michael, with Tina Hobley as his beautiful wife-to-be, Ashley, and Rik Makarem as his best friend and business partner, Mark. Meanwhile Gray O’Brien plays DS Roy Grace, the detective charged with finding Michael before it’s too late.

Dead Simple is a carefully crafted thriller, full of twists and keeping the audience guessing at every turn. The play hits the perfect note for a wuss like me – chilling without being terrifying, and messing with your head rather than making you jump out of your skin.

It’s a brave move to try and condense such a complex story into two hours; act one does a great job of establishing the characters and plot, ending with a twist that will have you scratching your head and arguing about what just happened throughout the interval. This leaves the second act with a lot of work to do, and it has to move at breakneck speed to unravel the complicated story before the curtain falls. And so, unsurprisingly, there are a few gaps, not least in the character and back story of Roy Grace – but then, as Peter James’ novel is the first in a series featuring Grace, that was probably to be expected.

What the play lacks in realism and detail, though, it more than makes up for in entertainment and intrigue. In this regard it’s very much like a classic Agatha Christie, which you never for one moment believe could actually happen, but you have a great time watching it all the same. The scenes with Michael in the coffin are particularly well done; Jamie Lomas sounds genuinely petrified. And who knows, maybe he is – it can’t be much fun in there.

Another challenge of staging such a complex story is all the locations it has to cover, but Michael Taylor’s multi-level set is more than up to the task, encompassing Michael’s living room, the forest where he’s buried, an underground dungeon and the road outside. We can even see into the coffin – whether we want to or not. Any gaps are filled by the special effects; the car crash scene is a particularly unnerving example of how the play works on your imagination.

The cast are clearly enjoying themselves with the intricate plot, and anticipating the audience’s reaction to each twist (I genuinely squeaked a couple of times; it’s hard not to). Lomas is a charismatic lead, even from inside a coffin, in contrast to Rik Makarem’s Mark, who may be physically free but is weakened by his own indecision. Meanwhile former Grange Hill actor Josh Brown makes an impressive theatrical debut as Davey, a young man obsessed with American crime shows, who inadvertently finds himself starring in one.

This play is anything but Dead Simple – but a convoluted plot is saved by clever staging and a strong cast. It may not be great literature, but it’s good fun, and isn’t that what the theatre’s supposed to be about?

Dead Simple is at the Marlowe Theatre in Canterbury until Saturday 11th July, before concluding its UK tour in Worthing next week.