Reviews – Page 107 – Theatre Things

Review: Hamlet Part II at the Hen and Chickens

Published on December 9, 2016January 6, 2018 by LizLeave a comment

If you’ve ever wondered what happened next after the tragic conclusion of Shakespeare’s Hamlet (and let’s face it, who hasn’t?) an answer can be found in the snappily titled Hamlet Part II from the Theatre of Heaven & Hell, returning to the Hen and Chickens after an acclaimed run at this year’s Camden Fringe. Whether it’s the answer Shakespeare had in mind I’m not totally sure, but one thing is certain: it’s a lot of fun.

Fun? I hear you ask, and not without good reason. After all, most of us know how Hamlet (Part I) ends – bodies all over the stage and Denmark’s entire royal family wiped out in one bloody encounter. Making a comedy out of that scenario would take some doing, you could suggest. And yet when you stop and think about it, there actually is something slightly comical about a play in which every character gets wiped out; it’s so extreme that it almost crosses the line from tragedy to comedy.

Writer Perry Pontac seizes upon this blurring of genres and runs with it, picking up not only on the excessive quantity of corpses but also the many other slightly ridiculous elements of Shakespeare that we all put up with because – well, it’s Shakespeare. The flowery language; the drawn-out death bed speeches; the Fool who talks complete nonsense; the soliloquies that none of the other characters ever hear, even though they’re standing two feet away… all make an appearance. The story’s also packed with references to Shakespeare’s other plays – some subtle, some not so much; you don’t have to be a major literature buff to find the humour in this very accessible show.

Part of Pontac’s ‘Codpieces’ trilogy, the story sees Seltazar (Darren Ruston) return home to Denmark, met by court librarian Fornia (Elena Clements) who reluctantly unfolds the recent tragic events; her list of the dead is so extensive she has to check them all off on a clipboard. Together, with a bit of ‘help’ from a passing Fool (Nicholas Bright), the two attempt to figure out who’s left to take over the throne – but just as they hit upon a solution, the rightful king (Brian Eastty) appears… and it’s not who you might expect.

All four cast members give it their all, though it’s Darren Ruston and Elena Clements who take centre stage as Seltazar and Fornia; their evolving love-hate relationship really is a hilarious joy to watch from beginning to end. And director Michael Ward finds opportunities for humour even when nobody’s saying a word; the opening moments are particularly enjoyable, and so totally unexpected it’s almost impossible not to laugh.

A common complaint about Hamlet is that it’s too long; there’s a lot of talking and not a lot of doing, and – let’s be honest – it’s not exactly the cheeriest of tales. No such problems with the sequel; at just 45 minutes, any hanging around is very much part of the joke, and unlike its predecessor, Pontac’s parody is genuinely a laugh a minute, whether you’re a Shakespeare fan or not. Though I can’t promise nobody dies in this one – it is still Hamlet, after all.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Her Aching Heart at the Hope Theatre

Published on December 3, 2016July 22, 2018 by Liz1 Comment

Her Aching Heart is the Hope Theatre’s third and final in-house production of 2016, billed as “a bodice-ripping musical full of gothic silliness and sapphic tomfoolery!” Who could say no to that?

Well not me, as it turns out, because I loved it. Bryony Lavery’s lively comedy, in the expert hands of the Hope’s Artistic Director Matthew Parker, transports us into the pages of a gothic romance novel – with all the flowery language, heaving bosoms and melodramatic sighs you might expect.

In modern day London, Harriet and Molly are taking their first tentative, awkward steps into a relationship, while simultaneously in 18th century Cornwall, the fictional Lady Harriet Helstone, an aristocrat with an unfortunate habit of killing innocent wildlife, meets Molly Penhallow, a kind-hearted country girl who wouldn’t look out of place in a Disney movie. Despite having nothing in common, not to mention clashing on their first encounter over the grisly fate of one of Molly’s fox friends, the two women find themselves unexpectedly drawn together, in an irresistible love story guaranteed to warm the cockles of your heart.

From the moment the first chapter, “A Nun has a Nightmare”, is introduced, we know we’re in for a fun evening. Collette Eaton and Naomi Todd throw themselves into their roles with infectious enthusiasm, not only playing both versions of Harriet and Molly but an assortment of other characters too, and doing it all to perfection. Making creative use of a cramped space that offers barely enough room to swing a – er – fox, the two performers manage to wring every last drop of comic potential out of the most unlikely scenes – who would have thought a roe deer being trampled by a horse could result in such howls of laughter?

That said, there’s also a genuine chemistry between the two that makes the fledgling relationship of their modern counterparts both moving and believable. The present day story of Harriet and Molly, to which we return at various points throughout the evening, marks a clear and occasionally jarring change in tone that takes a bit of getting used to. Each time the red velvet curtain swishes closed and the actors break into one of Ian Brandon’s musical numbers, we’re thrown into an altogether more contemplative mood, and reminded that love is far more complex than cheesy romance novels would have us believe. These scenes, though they may seem like an afterthought to the comedy action, we ultimately realise are the true emotional heart of the show. Real life can be painful and difficult – but it can also at times be infinitely more rewarding than fiction.

Her Aching Heart is a laugh out loud comedy and touching romance, which simultaneously pays tribute to and affectionately pokes fun at the Mills and Boon genre by which it’s inspired. An unexpected delight, in which all the elements – great writing, fantastic performances and quality production – come together to produce a magnificent whole, it’s impossible not to fall in love with this show.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Dick Whittington at the Marlowe Theatre

Published on November 30, 2016 by Liz1 Comment

You wait all year for a pantomime, and then two come along at once. Following Monday’s hilarious outing to Theatre503 for Scrooge and the Seven Dwarves, my pantomime expectations were set sky-high. So did the Marlowe’s Dick Whittington, my second panto in two days, hit the mark? Oh yes it did…

Although a far more traditional pantomime than the night before, there’s so much to love in Paul Hendy’s production that it never once feels tired, despite the presence of all the usual tried and tested panto conventions. The gags – which include the usual local digs and up-to-the-minute topical references – are genuinely funny (even the ones you can see coming a mile off) and while there’s certainly no shortage of innuendo, it’s refreshing to note that Hendy’s avoided the temptation to go after the obvious Dick jokes. And there’s also a 21st century twist to keep us on our toes: a 3D section takes us into a dreamy underwater world that soon becomes more of a nightmare, sending the already impressive decibel level clean through the roof.

The big name in this year’s Canterbury panto is TV presenter and magician Stephen Mulhern, who charms us with his scene-stealing tricks and infectious giggle. But he’s far from the only star on the stage: West End performer John Barr is a very stagey King Rat (very confusing for a musical theatre fan; half the time I couldn’t decide whether to boo or applaud, and usually ended up doing both). Gymnast Vladimir Georgievsky brings the house down with a jaw-dropping and entirely unexpected (unless you watch Britain’s Got Talent) trampolining display in Act 2. And Marlowe regulars Ben Roddy and Lloyd Hollett, appearing together for the sixth year in a row, are a dream comedy duo as Dolly The Cook and Captain Crabstick; clearly having just as much fun as the audience, they really are a joy to watch.

There are moments when you could even forget you’re watching a pantomime altogether, so polished is the production. There are some spectacular group numbers – not least the Act 2 opener, Sit Down, You’re Rockin’ the Boat from Guys and Dolls, and later a slightly tenuous but still hugely enjoyable celebration of everything that makes Great Britain great. And in a nice moment Chris Wong, the obviously hugely respected musical director of 22 years, joins the show’s romantic leads, Ben Carruthers’ Dick and Jemma Carlisle’s Alice, on stage with an acoustic guitar for the inevitable cheesy love duet.

I haven’t been to the Canterbury panto for a long time, but if every year is as good as this one, I’ll definitely be back. Dick Whittington remains true to the pantomime spirit and format, so nobody who turned up particularly wanting to watch an assortment of odd characters sit on a bench and sing Ghostbusters goes home disappointed. But while it’s as predictable and cheesy as you might expect, the show never compromises on production quality, and proves a hugely enjoyable evening for audience members of all ages.

Dick Whittington is at the Marlowe Theatre until 8th January.

Review: Scrooge and the Seven Dwarves at Theatre503

Published on November 29, 2016January 6, 2018 by Liz3 Comments

I’ll be honest; I wasn’t really feeling the Christmas love when I arrived at Theatre503 last night; even being handed a glass of mulled wine and a mince pie didn’t quite do the job. Lucky then that the Sleeping Trees were more than up to the challenge of unearthing my festive spirit.

In this year’s pantomime, Scrooge and the Seven Dwarves, the comedy trio made up of Joshua George Smith, John Woodburn and James Dunnell-Smith, are determined to make good on last year’s fiasco, when they forgot to book their 30-strong cast of actors. Surely something that disastrous couldn’t possibly happen again…?

You see where this is going.

Over the course of the next two hours, this hilarious tale brings to life a mash-up of Dickens and Disney, with Santa thrown in for good measure. Unlikely hero Ebenezer Scrooge is transported to Fairytale Land by Santa’s mother, charged with saving the day after the Wicked Witch steals all the Christmas spirit. I could tell you more – but I don’t want to ruin it, because it’s the twists and turns that make this story so fabulous; you literally never know (and it often feels entirely possible that the actors don’t either) what’s going to happen or who’s going to appear next.

I also fear I wouldn’t be able to do justice to the unique genius of Sleeping Trees’ creations, which include a depressed Mary Poppins, a gurning Wicked Witch and an overenthusiastic Broomstick, accompanied from a corner by composer and musician Ben Hales, who besides being a brilliant and versatile performer, also carries off a series of ridiculous hats (and an even more ridiculous Act 2 costume) with effortless style.

Scrooge is a family show, and although the audience last night was largely composed of grown-ups (in age, at least), I can imagine children adoring it – not least because they get to throw stuff, sing songs and join in with all the usual pantomime madness. In the intimate space at Theatre503, the banter flows easily and naturally between audience and actors, with the front row being particularly hot seats in that department…

Though the attention to detail and comic timing are second to none, like all the funniest comedy it’s not always clear what’s planned and what just sort of happens in the moment. The actors, who are clearly having a blast, seem frequently as amused as the audience, but also have the quick instincts of true comedians, enabling them to respond to whatever mayhem goes on (last night’s show, for instance, featured an incident which, if it was in fact unplanned, was the best example of falling with style I’ve ever seen).

This is my first pantomime of the season, and while the others may enjoy bigger budgets and household names, they already have a huge standard to live up to. Face-achingly funny, with an imaginative and endearing story and songs that are far too catchy (24 hours later, I’m still singing the closing number), this is an absolute must-see that I shall be recommending repeatedly to anyone who’ll listen for the rest of the holiday season. Merry Christmas…

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Blood Brothers at the Orchard Theatre

Published on November 23, 2016November 23, 2016 by LizLeave a comment

Willy Russell’s classic musical Blood Brothers finally closed at the Phoenix Theatre in 2012 after 24 years, but the show’s extraordinary sell-out success on tour proves there’s plenty of life still in it – and judging by the packed auditorium at the Orchard Theatre last night, that’s not about to change any time soon. A story that seamlessly slips from laugh-out-loud humour to devastating tragedy in the blink of an eye, Blood Brothers never fails to grip the audience firmly by the heartstrings and pull us, sobbing, to our feet for a protracted standing ovation.

Set in Liverpool, the show explores a nature versus nurture debate through the story of the Johnstone twins, Mickey and Eddie (Sean Jones and Mark Hutchinson). With one too many mouths to feed and a husband who’s run for the hills, their mother (Lyn Paul) agrees to give one of her unborn sons away to her wealthy employer (Sarah Jane Buckley), who can’t have children of her own. Raised in very different homes, the brothers grow up knowing nothing of each other, but fate intervenes to repeatedly bring them together, with dramatic consequences that ultimately prove tragic for everyone.

There’s not a huge amount I can say about Blood Brothers that I haven’t said before; this was my fourth visit and not much has changed in terms of the staging or design in Bob Tomson and Bill Kenwright’s production, which gives the show a comforting familiarity (also, why mess with a winning formula?). This even includes the cast; Blood Brothers is a show that seems to have an incredible power to retain cast members, and it’s a pleasure to see veterans Lyn Paul, often described as the definitive Mrs Johnstone, and Sean Jones, who’s rapidly becoming – for me at least – the definitive Mickey, reprising their roles. Both continue to display the necessary energy, both physical and emotional, to make their characters and their journey compelling, and are complemented by equally strong performances from Dean Chisnall as the Narrator, Mark Hutchinson as Mickey’s charming, well-spoken twin Eddie, and Alison Crawford as Linda, the girl who inadvertently comes between the brothers.

Perhaps one of the secrets of Blood Brothers‘ success is that it’s not your typical musical. With the exception of the well-known finale, Tell Me It’s Not True, in which a mother’s heartbreak routinely reduces most of the audience to a weeping mess, there aren’t really any dramatic “belt out the big solo” numbers, and instead each of the characters gets their own signature theme, which recurs throughout the show – most notably Shoes Upon the Table, the Narrator’s ominous warning, which returns no fewer than six times. As a result, the music feels like a much more natural part of the story, and the action can continue uninterrupted without pausing to make way for big showpieces.

The other unique thing about Blood Brothers is that it’s very funny, which is surprising considering our looming knowledge from the very beginning of the tragedy to come. The enjoyable sight of adults playing mischievous children and awkward teenagers guarantees a lot of laughs, and the whole script is shot through with a cheeky Scouse humour that constantly catches us unawares, so when things suddenly turn serious in Act 2, it’s all the more shocking.

The show might leave us a bit emotionally battered, but it’s worth it, and obviously I’m not alone in thinking this; Blood Brothers has a loyal following who willingly return to have our hearts broken again and again for the sheer pleasure of watching the story and its characters develop. This production doesn’t add anything new, but why mess with something that’s already perfect as it is?

Blood Brothers is at the Orchard Theatre until 26th November.