Theatre Things

Review: Evita at the Orchard Theatre

Published on May 31, 2017August 6, 2017 by LizLeave a comment

Sometimes it’s a bit of a shock to realise how long the shows I grew up with have been around (which in turn makes me feel old… but let’s not go there). While Evita – written by Andrew Lloyd Webber and Tim Rice in 1976 and first performed in the West End two years later – isn’t one I saw on stage until my 20s, I do remember watching the movie version starring Madonna and Antonio Banderas all the way back in 1996. Back then I didn’t necessarily follow all the political context of the story, but I loved the music and was fascinated by the rags to riches tale of a teenage girl from a rural town, who rose to become First Lady of Argentina and “Spiritual Leader of the Nation” – only to die from cancer at the age of just 33.

Now Evita is back on tour, and bringing the story of Eva Perón, second wife of Argentine dictator Juan Perón, to a new generation. Starring Wicked‘s Emma Hatton and Italian actor Gian Marco Schiaretti – who recently played Tarzan in Stuttgart – this lavish production from Bill Kenwright is both entertaining and educational, a love story with added politics, and a great deal of style. And whether or not you follow all the ins and outs of Argentine history, it’s a fascinating insight into how a celebrity with no knowledge of politics can power their way to the top by sheer determination. Which makes you wonder if we’ll all be watching an equally tragic – for different reasons – show about Trump in 40 years’ time (if so may I suggest a working title of Covfefe: The Musical).

Not entirely surprisingly, West End star Emma Hatton gives a commanding and vocally flawless performance, just as much when Eva’s crumpled on the ground in the last days of her life as when she’s at the height of her power, performing the show-stopping Don’t Cry For Me Argentina to an adoring crowd. Alongside her, relative newcomer Gian Marco Schiaretti more than holds his own as the omnipresent Che, hitting just the right mix of Latin charm, arrogance and helplessness – and some impressive, not to mention unexpected, high notes. The two have excellent support from Kevin Stephen-Jones as Perón, Oscar Balmaseda as Eva’s first lover (and ticket to the big city) Magaldi, and Sarah O’Connor as the unnamed Mistress, a seemingly minor character who nonetheless wows the crowd with one of the show’s best-known numbers, Another Suitcase in Another Hall.

With Bill Deamer’s lively choreography that takes inspiration both from the Latin American setting and the oppressive atmosphere of a military dictatorship, and an imposing set designed by Matthew Wright, Evita transports us to 1940s Argentina in a dazzling and fast-moving spectacle that only begins to slow down when its protagonist does. 40 years old the show may be, but the passion and energy of this production prove there’s plenty of life in Evita yet.

Evita is at the Orchard Theatre until 3rd June then continuing on tour.

Review: Legends: Monsters, Mead & Mayhem at Blue Elephant Theatre

Published on May 26, 2017January 6, 2018 by LizLeave a comment

If you hear the name Thor and think of Chris Hemsworth (and let’s be honest, who doesn’t?), you may be in for a shock at the Blue Elephant this week. Having previously tackled the Arabian Nights and Greek mythology, Hammer & Tongs Theatre have now turned their attention to the Vikings. Legends: Monsters, Mead & Mayhem is a fast-paced and very funny tour of the nine worlds of Norse mythology, in which elves dance unwary travellers to death, Thor keeps losing his hammer, and dwarves like to murder visitors and turn them into beverages. All of this is watched over by the guardians, armed with a pair of magic binoculars, who have the thankless task of keeping the peace, whilst drinking a lot of tea and sorting the mail.

Written and directed by Jennifer Rose Lee, this work in progress may be at an early stage in its development, but it’s already shaping up to be great fun for the whole family. Three actors (Oliver Yellop, Charlotte Reid and Philippa Hambly) play all the parts – so many I lost count – with a variety of accents from American to Brummy to Scottish, and with music and some occasionally rather too graphic sound effects supplied by George Mackenzie-Lowe, who’s installed in a corner for the duration of the show. Though the actors themselves seem occasionally on the verge of laughter, they all give energetic and enjoyable performances, keeping each role distinct from the next and somehow managing to keep up with the rapid pace of the story.

Though it’s essentially a sketch show, dropping in on all the different worlds and their eccentric inhabitants but always returning to the three guardians at the centre, there is a main plot thread linking everyone together. This revolves around the story of a poet created by the gods, whose skill makes him famous throughout the nine worlds… but he’s about to discover that fame isn’t always a good thing.

Perhaps we could have lingered a little longer on some of the stories; the show’s certainly entertaining enough that it can stand to go beyond its current 50 minutes, and though transitions between scenes are smooth, the brevity of some of the sketches currently means the show feels a little bit choppy. The characters are well-drawn and intriguing, deliberately going against our expectations; we have a friendly sea monster, inelegant elves – and Thor, who’s not only definitely not Chris Hemsworth, he’s also not the sharpest knife in the drawer, bless him. This subversion of what we think we know about Norse mythology supplies most of the dry humour of the evening, and makes me wish not only that the show was longer, but also that I’d seen what Hammer & Tongs did with the more familiar world of Greek legend in their previous production, MYTHS.

This family show reminds me a little of Horrible Histories, in that it’s definitely not based in any kind of fact, but still gives the audience enough info to whet our appetites and make us want to learn more, whilst keeping us well and truly entertained. Already a lot of fun and with great performances from an engaging cast, I look forward to seeing how the show develops from here.

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: Sasha Regan’s All Male The Mikado at Richmond Theatre

Published on May 26, 2017January 6, 2018 by LizLeave a comment

Following the triumph of last year’s HMS Pinafore, Sasha Regan and her boys are back with a new adaptation of Gilbert and Sullivan’s The Mikado. Transporting the story of Yum-Yum, Nanki-Poo, Ko-Ko and friends from Japan to a campsite in 1950s England, the show continues the signature blend of charm, humour and surprising (in a good way) vocals that’s proved such a winning formula in previous productions.

Shortly before the show began, I heard someone in the row behind hinting that they might start singing along, which served as a helpful reminder that The Mikado is a wildly popular and well-known show. (He didn’t sing along, by the way.) However, to me it was entirely new, and I could hardly have asked for a more unconventional – or enjoyable – introduction to an already quite bizarre little tale.

For the similarly uninitiated, here’s a brief summary: Nanki-Poo (Richard Munday), the son of the Mikado (James Waud), has run away from the prospect of being married off to the elderly Katisha (Alex Weatherhill), and disguised as a wandering minstrel has arrived in Titipu in pursuit of the young, beautiful Yum-Yum (Alan Richardson). Unfortunately she’s about to marry Ko-Ko (David McKechnie), the recently appointed Lord High Executioner – but he has his own problems, as he’s been condemned to death for flirting and therefore faces the “extremely difficult, not to say dangerous” prospect of having to behead himself. Meanwhile, all the officials have resigned in protest over Ko-Ko’s appointment, leaving Pooh-Bah (Ross Finnie) to take on every other position of authority in town. Chaos, not surprisingly, ensues.

Sasha Regan’s inspiration for the all male format came from memories of same-sex school plays, and despite all the grisly talk of beheadings, The Mikado retains that air of childlike innocence and fun, particularly once the “ladies” enter – though I’d have to say the standard of the performance far exceeds any school play I was ever in. The production itself has the charming simplicity you’d expect from a school camping trip in the Enid Blyton era (Ryan Dawson Laight’s set is essentially three very versatile tents; Ko-Ko’s axe is a cricket bat; and the “orchestra” is musical director Richard Baker on the piano) – but there’s nothing amateur about the vocals. Unsurprisingly, in this department it’s the female roles that are particularly memorable, if only because it’s a surprise to hear men hit such high notes, and do it so beautifully. Alan Richardson and Alex Weatherhill steal the show as Yum-Yum and Katisha with heartfelt and vocally on-the-money solos, but also very believable performances as lovesick women – though Katisha’s vigorous pumping of her bicycle tyres suggests it may not necessarily be love that she’s after.

Whereas the female characters in this production usually get a laugh just by being on stage (as the curtain rises on Act 2, we catch them indulging in a pre-wedding makeover – and possibly enjoying themselves a bit too much), most of the comedy within the plot itself falls to the men. This is particularly true of David McKechnie, whose Cockney rogue Ko-Ko – along with Ross Finnie’s self-important Scottish bureaucrat Pooh-Bah and Richard Munday’s endearingly bewildered Nanki-Poo – handles some tongue-twisting lyrics with great aplomb and spot-on comic timing as he attempts to talk his way out of his fate. And if his “little list” isn’t particularly topical, it’s still great fun (and besides, it’s not like most of our politicians really need any help in looking ridiculous just now).

It seems likely that Sasha Regan and her talented company have another hit on their hands. If you’ve never seen The Mikado before, this is a thoroughly entertaining – if quite mad – first look; if you know it well, it’s a refreshingly different take that makes Gilbert and Sullivan’s classic feel brand new.

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: Flip FabriQue present Catch Me (Attrape-Moi) at Underbelly Festival

Published on May 24, 2017January 6, 2018 by LizLeave a comment

We have a tendency in everyday conversation to use the word “incredible” or “jaw-dropping” to describe something that’s usually just a bit surprising. And if that’s the case, we need to come up with a whole new word to describe the extraordinary talents of Flip FabriQue, whose show Catch Me can be seen this summer in the South Bank’s Underbelly tent. In a show that includes acrobatics, juggling and a – genuinely – unbelievable trampoline-based finale, the Canadian troupe of six left me exhausted, delighted and, by the end, spluttering incoherently in astonishment. (Apologies to anyone who attempted a conversation with me after the show.)

The company’s mission is to promote joy, playfulness and friendship – and it’s fair to say they succeed on all fronts. Catch Me is a perfect blend of individual talent, seamless teamwork and good-natured silliness. On the extremely rare occasion that slip-ups occur, they’re covered up with a cheerful giggle and an instruction that “you didn’t see that!” And that’s not the only time the audience is involved; with the stage just inches from the front row (so close that I ducked a couple of times, though such was the precision of everything else we were undoubtedly in no danger at all), the performers frequently engage with the spectators throughout the show, offering us privileged access to their gang as six old friends reunite for the weekend at the cottage they once shared.

The six performers (Christophe Hamel, Bruno Gagnon, Hugo Ouellet Côté, Jérémie Arsenault, Camila Comin and Yann Leblanc) are good friends as well as colleagues – and that friendship shines through as they engage in popsicle eating contests, stumble blindly around the stage with sleeping bags over their heads and – in one of my personal highlights – juggle giant beach balls to that old classic, Copacabana, all the while chattering amongst themselves in a mix of French and English. On one of the hottest days of the year so far, the show was pure irresistible summer fun (which is not to say it wouldn’t be just as enjoyable in the middle of winter; I’ve no doubt that it would).

Of course this is circus, so naturally there are a few heart-stopping moments, with one in particular drawing startled shrieks from some members of the audience, myself included. And there are some quieter, more nostalgic pieces too, which bring down the heart rate and allow us to admire the stunning talent on show at a more relaxed pace.

Regardless of the seemingly impossible feats being performed on stage, the overwhelming atmosphere of Catch Me is warm, welcoming and very relaxed – yet you know each detail will have been meticulously practised a thousand times, and it’s the performers’ incredible (yes, I said it) skill that enables them to make everything look so easy.

Fun for all the family, Catch Me is a hugely entertaining and truly memorable celebration of friendship, collaboration and fun, and absolutely worth a visit to the South Bank this summer.

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… 😉

Interview: Matthew Partridge, Putin Around

Published on May 22, 2017August 6, 2017 by LizLeave a comment

Writer and director Matthew Partridge set up Toujours Perdrix in 2014. Having spent the last few years working on adaptations of classic comedies, this week he brings his original play Putin Around to Barons Court Theatre. “Putin Around is a farce about two sisters, Jana and Nadia, who live on their own in an apartment in war-torn Eastern Ukraine,” he explains. “Jana’s boyfriend Alexander has joined the Russian Army. What’s more, it turns out that Nadia has been using their flat for a series of internet scams, including a fake mail-order bride agency. Things go from bad to worse when several clients turn up, prompting Alexander to come up with a money-making scheme of his own.”

As the title of the play suggests, it was inspired by current global events. “Having successfully adapted various classic comedies, I’ve always wanted to write my own play,” says Matthew. “The original version of Putin Around was written before the referendum, and immediately after the result I worried that it had been overtaken by events. However, after Trump’s victory, the controversy over Russian interference and Farage’s role as the unofficial British ambassador to Trump, I realised that it was more topical than ever. This is a completely revised version that has been updated to reflect present events. If you either like a good farce or appreciate political satire then this is definitely the play for you. It’s also a darkly comic look at a conflict that is still ongoing, even though it has fallen from the headlines.”

By day, Matthew’s a financial journalist for MoneyWeek. “It’s part of my job to stay on top of current affairs and politics – which helps when you’re writing satiric comedy. It’s also a really interesting job that leaves me with time to pursue my dramatic interests in the evenings and weekend.

“I set up Toujours Perdrix in order to produce adaptations of classic plays, a big interest of mine. Toujours Perdrix means ‘always Partridge’, so it fits in with my surname. Our debut was The Washington Ladies – a version of The Learned Ladies – at the Camden Fringe. Our adaptation of A Game of Love and Chance in 2015 was reviewed favourably by the Independent and a version of Goldoni’s Mirandolina was also a success.”

The play, which opens tomorrow, brings together a cast of six – Kit O’Donnell, Francisca Morai, Amy Balmforth, Andrew Candish, Liza Van der Smissen and Charlotte Nice. “Farce always works best when the cast is relatively small,” says Matthew. “In this case I’ve got a great cast of six excellent actors from a wide range of backgrounds. Although none of us knew each other previously, we’ve really gelled as a team. It’s been a pleasure working with all of them.”

Catch Putin Around at Barons Court Theatre from 23rd-27th May.