Category: Regional theatre

Interview: The Lampoons, House on Haunted Hill

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If you think that four “professional idiots” (their words, not mine), a haunted house, lots of ping pong balls and a jar of pickles sounds like a recipe for chaos… well, you’d be right, actually.

Meet The Lampoons – also known as Tina Baston, Adam Elliott, Josh Harvey and Oliver Malam – who’ve spent the last two years sharing their own unique brand of B-movie mayhem with London audiences. Now they’re preparing to unleash the madness on Edinburgh for the very first time with House on Haunted Hill, a hilarious and utterly bonkers remake of the 1959 horror starring Vincent Price.

“We’ve only gone and brought you a debut!” says Josh. “We have lots of friends in London from our Halloween shows each year, but this will be a newborn baby idiot for us to all deliver. It could well be the most ridiculously bizarre late-night show on the fringe – a thumpingly hilarious non-stop comedy-horror the likes of which have never been seen.

“Everything you see in that very sweaty hour is completely devised from Rob White and William Castle’s original black and white 1959 screenplay. Then imagine we threw that classic screenplay into a large blender with some Mighty Boosh, Monty Python, Garth Marenghi and a heavy seasoning of surreal clowning!“

House on Haunted Hill is The Lampoons’ second full-length show, following the success in 2016 of their debut – another B-movie remake, Attack of the Giant Leeches, at Camden’s Etcetera Theatre. Adam explains, “We’d been friends for a long time, and big admirers of each other’s work, but had been looking for the right project to come along. At the outset of The Lampoons we really didn’t know what we were going to end up with, but we knew we wanted to explore something beyond the more commonplace comedy styles. Turns out we like the irreverent and the ridiculous!

“As for the horror spoofs: well for one, you have to love the titles! Attack of the Giant Leeches, House on Haunted Hill, who doesn’t want to see those! But also, the simple plots of that genre really allow us to pull the stories and characters every which ridiculous way whilst still maintaining some semblance of story structure. Really, we make the most faithful unfaithful adaptations you’ll ever see.”

Faithful they may be, but The Lampoons’ shows could never be accused of being predictable – a lot can, and does, happen in those 60 minutes, from dodgy fake moustaches to the weirdest ballet recital you’ll ever see. “It’s always most fun to be at the start,” says Ollie. “Coming up with the ridiculous ideas list then going through the process of learning how to implement them. One day maybe we will see Josh as a grandfather clock.”

Now they’re looking forward to bringing the show to Edinburgh, where it’ll run from 1st to 26th August at the Pleasance Dome. “I think I’m most excited about being at the centre of a wonderful casserole of creativity,” says Tina. “I think seeing other shows and meeting other creatives every day will give us so much inspiration and motivation to make people chuckle every night. Also, I’ve heard Edinburgh has great beer…”

They’re also hoping to check out a few other shows while they’re in town: “3 Years, 1 Week and a Lemon Drizzle, Will Seaward’s Ghost Stories and Stevenson Experience – they’re twins AND comedians!”

And with plenty of classics still out there waiting to be reimagined, what does the future hold for The Lampoons? “After this debut fringe festival we will likely want to reach more regional areas with our clowns,” says Josh. “And also to continue re-imagining a wonderfully awful B-movie every Halloween in London.”

Interview: Charlotte Fox, Ouroboros

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Ever felt like you’re not quite good enough? You’re not alone. In her debut solo show Ouroboros (named after an ancient symbol that depicts a snake eating its own tail, in an eternal cycle of renewal), writer and performer Charlotte Fox tackles society’s obsession with ego, superficiality, social media, narcissism and body image, and explores their effects on Charlotte, an actress in the entertainment industry.

“I was inspired to write Ouroboros by frustration with the lack of acting work,” explains Charlotte. “I was writing in response to what was happening around me, in my life and career experience. I struggled to reconcile with other people’s conflicting viewpoints. It felt like a constant battle, struggling against myself and having to obey an industry and society’s vision of ‘beauty’ and ‘perfection’ in order to fit in and seek acceptance.”

Charlotte Fox, Ouroboros

Following a run earlier this year at the Rosemary Branch, Charlotte is preparing to take the show to Edinburgh next month, where she hopes audiences will embrace its message and get involved. “It’s an explosive display on stage,” she says. “Ouroboros is like fireworks – a show that doesn’t come down, with highly physical and absurdist comedy elements, that discusses relevant and timely issues without being didactic. It has the ability to mix observational scenarios and parody them in a way that makes you laugh and cry before sending you away. It also combines music, dance, clowning, physical theatre, bouffon and a bit of mime!! One genre!? Naahh – chose ’em all!

“I’m looking forward to performing to a different audience everyday in Edinburgh. They all bring something different. You can sense it as soon as you step out. What one person might find disturbing can have another howling with laughter. It’s brilliant! I like sensing that, there’s interaction in this show and it’s fun as an actor discovering how you can play to the audience. Or how they are playing for you. I hope they’ll feel excited and moved by the whole experience, and have a willingness to re-examine their own lifestyle experiences, recall moments of similarity and most importantly laugh and perhaps squirm on the edge of their seats!”

The show, which is written, performed and directed by Charlotte, has been in development for the past year. “It’s been an incredible journey,” she says. “I wasn’t really too sure what to expect at the start – it was difficult, but I knew I was tapping into something important, I had an urge to keep exploring. I always knew the style of work I liked and had a vision of what I wanted to create. So collaborations with other like-minded theatre makers were made and Ouroboros started to flourish. I had a revelation when I realised not everyone will share your artistic vision. You have to be so strong and protect yourself against people who can try and contaminate your work… It was a big lesson for me.”

Performing the 60-minute solo show, in which Charlotte portrays “a conveyer belt of hyper-functional characters”, brings with it a number of physical and emotional challenges. “It’s a huge physical demand as a performer,” she says. “It’s also very close to the bone, which brings both a challenge and reward. I know that this show has left an impact on people in a similar situation. It’s sparked discussion. It’s also allowed me to find self-acceptance as an actor, allowing my own creativity and artistry to flourish regardless of what anyone says. You can decide to say yes to yourself.”

Review: Son of a Preacher Man at the Orchard Theatre

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Guest review by Sarah Gaimster

The Orchard Theatre, Dartford welcomes the familiar sounds of Dusty Springfield to the stage, towards the end of its UK touring run of the musical Son of a Preacher Man.

This musical differs to what we’ve come to expect; it’s not “Dusty Springfield – The Musical” but a story written by Warner Brown featuring Springfield’s catalogue of 60s hits.

As the story opens we meet the three lead characters: Kat (Alice Barlow) who has recently lost her Gran, Paul (Michael Howe) who has never stopped loving the man he fell in love with as a teen, and finally widowed Alison (Michelle Gayle), a teacher troubled by inappropriate feelings for her student. The lovelorn trio decide the answers to all their problems can be found by visiting The Preacher, a London record store famed for the advice given by its owner.

When they reach the store they find that it is now being run by the son of the former Preacher Man as a coffee shop, aided by the peculiar Cappuccino Sisters. Convinced that the Son of the Preacher Man can live up to his Dad’s reputation, they enlist his help to solve their problems.

Unfortunately this show needs a bit of polishing as its storytelling is laboured and the atmosphere is lacklustre, not the vibrant lively scene expected. Springfield’s music sounds dull and dreary. Craig Revel Horwood’s choreography is a “disaster, darling”; its delivery is clunky and the on-stage instruments sounded out of tune.

I had been really looking forward to this show, and take regular trips to the theatre. Unfortunately this did not live up to my expectations, and it’s disappointing to write my first negative review.

Review: Gangsta Granny at the Orchard Theatre

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Guest review by Debika and Raphael Cutts

To any parent, the much-loved and critically acclaimed Gangsta Granny by actor, presenter, comedian and author David Walliams needs no introduction. Released in 2011, it immediately went to no. 1 in the children’s book chart, and this touring show, produced by the brilliant Birmingham Production Company – of Horrible Histories fame – is a very welcome addition to the selection of family shows offered at The Orchard Theatre, Dartford. It is the production’s second visit here.

11-year-old Ben, played by the wonderful Tom Cawte, is neglected by his parents while they pursue their love of Ballroom Dancing, and just dreams of becoming a plumber – something his parents don’t understand or have time for.  Meanwhile his lonely old granny, played exactly as I imagined by Louise Bailey, seems to Ben to be boring, smelly and full of farts after eating nothing but cabbage – cabbage soup, cabbage cake, cabbage stew and even cabbage ice cream! But as it turns out she has a big secret – she is a gangsta, or should I say “gransta”. As two outsiders who have both been abandoned, Ben and his gran form a partnership, joining forces on a great heist that leads them to stealing the Crown Jewels from the Tower of London and even meeting the (yes, farting) queen.

I was lucky enough to be reviewing this with my 7-year-old son, who giggled away beside me throughout the entire fun-packed production. Always a good sign when they think it is as good as the book. His review – 9 ½ out of 10 because “it has all the best bits” and “the characters are exactly as I had imagined in my head”. (It would have been 10 but the dancers moving the stage scenery as part of the show wasn’t for him.) Behind me was a grandfather laughing even more loudly. This is a show that appeals to both the young and old.

And what makes this production so appealing to all ages? The bond formed between the old and young, due to Ben’s neglect and Granny’s loneliness because of her age, strikes a chord in the audience. And the message about not ignoring the elderly is a strong one. My son, in the interval, voluntary said of his grandparents, “yes, I want to hear about their adventures, I don’t know why I haven’t before”. I have no doubt that his next conversation with them will be a richer one thanks to this viewing. It is a reminder to us all.

The show is at times full of hilarity, with its toilet humour (who doesn’t like a good fart joke?) and peppered with Strictly Come Dancing parodies that fans of the show definitely enjoyed. Much fun was had by kids and grownups alike whilst judging the Strictly competition – loud boos and cheers resounded in the theatre. The show makes a joke out of our obsession with celebrity culture as it follows Ben’s mum’s adoration of the ageing dancing sensation Flavio.

There were a few local references – “I love you more than Gravy’s End” aka Gravesend – was appreciated by the local audience. Other parts of the show were deeply touching; quotes such as “I am proud whatever you do”, “Follow your dreams”, “I am useless” and the heartfelt “I love you Granny” pulled on some heartstrings.

The entire cast are superb with a host of excellent performances, but the part I had been especially looking forward to is that of 16-year-old local dancer from Bexleyheath, Millie Minkowich. I had read in the local press that there had been a search for a local female dancer to play the part of a Strictly contestant and Millie was the talented winner. She was excellent and showcased her talent admirably. I have realised that this production often does this throughout their tour – what a nice support of the local community!

David Walliams, our much loved TV funnyman, has teamed up with the Birmingham Stage Company to create a fun-packed yet thought-provoking show for all the family, from young to old. Other than enjoying the laughter I think both of us came away thinking we will be kinder to our parents/grandparents, and I have vowed to make more time for my children!

Highly recommended by myself and my 7-year-old son!

Review: The Cherry Orchard at the Royal Exchange Theatre

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Guest review by Richard Hall

Few plays have arguably resonated at the Royal Exchange Theatre more profoundly than those by the Russian writer, Anton Chekhov. His plays benefit enormously from being performed in the round and this superb production is no exception.

This version of The Cherry Orchard, co-produced with the Bristol Old Vic, comes to the Exchange garlanded with four and five star reviews. Directed by Michael Boyd, former Artistic Director of The Royal Shakespeare Company, this is a production that shows off Chekhov’s naturalistic masterpiece to great effect. The setting for the production appears to have been updated to a period that is placed somewhere between the mid 1930s and the lead up to the Second World War. It features a multinational cast that clearly delight in Boyd’s assured, fresh and modern interpretation.

Photo credit: Liam Bennett

Facing financial ruin, Luba Ranyevskaya, a beautiful and spirited widow, returns home after a self-imposed exile brought on by the deaths of her husband and young son. At her family estate she is welcomed back by Lopakhin, a wealthy local businessman who offers to buy it and her beloved cherry orchard.

This being Chekhov, social, personal and political concerns collide and although Lopakhin, the son of a former family servant, believes that the old aristocratic order must change, his unrequited love for Ranyesvskaya and gratitude for her family’s past kindnesses makes it hard for him to contemplate splitting up the estate. Whilst Ranyevskaya agonises over the sale, disaffected servants, for which Boyd has interestingly chosen to cast BAME actors, look forward to the demise of the gentry, anticipating changes that in time will have unparalleled consequences not only for Russia but all of the Western World.

Boyd’s production is stripped bare of any artifice. For the whole performance the auditorium lights are dimmed, making the audience clearly visible, and only essential period props and furniture are used. The wooden panelled floor makes the actors appear as if they are performing on a concert stage and there is indeed something operatic about this production. As Ranyevskaya, Kirsty Bushell is captivating and hauntingly moving; it is impossible not to share in her grief and pain. She is oblivious to all the change around her and only wakens out of her dreamlike state when she briefly sees the spirit of her dead child come alive in front of her eyes.

Photo credit: Liam Bennett

The relationship between Ranyevskaya and Lopakhin is at the very heart of the play; it drives the narrative, creates tension and as Boyd points out in a fascinating programme interview, serves to underline the gulf that exists between their respective classes. Jude Owusu as Lopakhin is excellent; his performance is nuanced and highly detailed. The scenes between him and Bushell are compelling and gripping.

Rory Mullarkey’s new and very modern translation helps to make Chekhov’s sub text clearer. Even though a century separates Mullarkey and the premiere of The Cherry Orchard, one senses that he keenly shares Chekhov’s view of the world and some of his sentiment. With this production, the Royal Exchange once again takes an important classic and makes it wonderfully accessible and relevant to the modern age. It is highly recommended.