"Solaris", Royal Lyceum Theatre, Edinburgh, 25/9/19

I've been trying to fathom my feelings for this production ever since I saw. This is not necessarily a good thing.

What I have realised is that I have to separate my adoration for Stanislaw Lem's book and look at David Greig's adaptation on its own merits as a play.

Greig's writing is adept at focusing themes and motives though it's apparent that he became enamoured of his own take on Lem's ideas, transforming them into more palatable - though inherently mundane -tropes which have been used over and again in science fiction. Greig crams a number of conceits in that aren't always consistent and bloat the play with concepts: some are subtle and some are hammered home (iterations of "that's what it is to be human" are oft repeated by the cast).

It's also apparent that despite claiming to be based on the novel Greig takes several cues, plot points and ideas from previous incarnations of "Solaris" and even borrows concepts form other sci-fi (such as the conclusion of Michael Crichton's 'Sphere'). It is also clear that Greig used the poor Polish-French-English translation which itself loses much of the nuance and detail that the more recent, Lem-estate authorised translation attempts to restore. The names alone are an indicator: Snaut becomes Snow, Harey becomes Rheya then Ray in this play. 

Greig's best work is where he does a brilliant job of condensing some of the longer exposition into short, credible dialogue and one wishes he had done more of this throughout with the original plot elements. Unfortunately Greig also creates an internal logic which lacks consistency at times and is ignored to promote Greig's concepts.

Direction by Matthew Lutton is clean and clear though the conceptual design by Hyemi Shin can seem a little obvious - it's more Star Trek perfection than Lem's used reality (which Star Wars went on to utilise). It's also unfortunate that both director and writer have chosen not to show the planet at all (discounting the CG 'water' that is sometimes projected during scene-changes) though Greig does, at least, mentions the planetary formations (if not their names) echoing the treatment of the planet itself much like the previous cinematic takes.

Act One becomes a little wearisome, for some reason, three-quarters of the way through but does pick up before the act's end whilst Act 2 meanders further away from Lem, becoming bogged down with Greig's ideas on water and the nature of humanity. 

The performances are, given the material, solid and true. The choice to flip some of the characters' genders is not an issue except that Kelvin (now a woman - portrayed here by Polly Frame) becomes more emotional than originally written, which has the effect of seeming to revert to a gender-stereotype which is unfortunate. Another gender-flipped role, Ray (Keegan Joyce) is rewritten to be a stand out performance and is executed as such though the balance between the two lovers has shifted to no positive effect. 

As an adaptation of the novel it's no more faithful than the big-screen versions and bizarrely, though it is inevitably difficult to avoid the Kelvin/Harey relationship, the relationship is staged more intensely (and sexually) thus falling into the same obvious plot lines. In ignoring some of the history of Solaris (which the 1972 film addresses), as well as the plasmic ocean itself, the play inevitably loses the pervading air of cosmic mystery that pervades the novel.
Perhaps the biggest sin - as an adaptation - is the efforts Greig makes to make the alien elements a little more malleable to human experience which goes against Lem's initial concept in the novel.

All told, Solaris - as adapted by David Grieg - is a perfectly fine theatrical production which makes an effort to bring science fiction into mainstream theatre though it fails to be any more faithful to the source material than any other previous adaptation.

"The Exorcist", Glasgow Theatre Royal, 17/9/19

It's been a while but here's another review written for Backstage Pass:

http://www.backstagepass.biz/2019/09/theatre-review-exorcist-theatre-royal.html

When young Regan (Susannah Edgley) becomes host to a diabolical entity her desperate mother, Chris (Sophie Ward), is ultimately forced to seek out the aid of two Jesuit priests, Father Merrin (Paul Nicholas) and Father Karras (Ben Caplan) - the latter carrying his own troubles. Thus begins the gruelling confrontation between the soldiers of God and the emissary of Evil as the battle for Regan's soul commences.

William Peter Blatty's 1971 novel of demonic possession, The Exorcist, became a seminal movie in 1973 - with an Oscar-winning screenplay by the author himself - and now, following a West End run last year, the theatrical adaptation by John Pielmeier is trekking across the UK under the auspices of Bill Kenwright's 'Classic Screen to Stage Theatre Company'.

Pielmeier's script hits most of the iconic moments from the book (and film) but it is a trifle disappointing that the relationship between the demon and Merrin is given short thrift which, sadly, lends their final confrontation little of the weight it deserves. The play's ultimate conclusion also deserves more impact but this may be a staging issue for the director to address. That director is Sean Mathias who has Ian McKellen providing the voice of the demon; a device that proves their long association still pays great theatrical dividends but which also serves as a dramatic standard that the other performers have to meet. For the most part meet it they do and the conviction in their acting is solid and assured - negating the moments that are, perhaps inevitably, met with some laughter. There are moments where the pacing could be refined but Mathias, wisely, directs the piece with an air of simplicity that allows the atmosphere and tension to build palpably based on the performance of his cast who are aided in proceedings by the atmospheric design of Anna Fleischle, the eerie lighting of Philip Gladwell, the projections of Jon Driscoll and Gemma Carrington, the tremendous sound design by Adam Cork and the illusions of Ben Hart, all of which coalesce into a satisfying fun house of thrills that keeps the audience attentive and poised; waiting for the next inevitable scare.

As Father Merrin Paul Nicholas adds a gravitas to proceedings that appropriately shifts the tone of the play towards its climax when his titular presence is finally revealed whilst Tristram Wymark, as Burke, amiably leads a solid company that supports and contrasts against the sterner and darker performances of Sophie Ward and Ben Caplan who have the majority of the heavier moments, most of which are delivered with excellence. Susannah Edgley's performance as Regan is another positive of the production, and her physical unification with the voice of McKellen is both outstanding and unsettling.

Regardless of the quibbles I have (most of which will probably be rectified as the cast and crew settle into the play's run - this is still a fairly new production, after all) at its core The Exorcist is about faith and belief, about good and evil, and the play delivers both philosophically on that front and as a piece of thrilling entertainment which contains some truly disturbing and exciting moments.

The Passing Of A True Genius Of The Theatre

Yesterday, July 31st, one of my absolute theatrical heroes exited the world stage. Given his age (91) it was bound to happen sooner rather than later but Hal Prince was one of those figures who you convince yourself will live forever. In some ways he will: the mark he left on the world of theatre is truly immeasurable and the numerous shows he ushered into the word, be it as producer or director - or sometimes even both, include a substantial number which have become legendary in the entertainment industry. 

To say that the news of Prince's passing came as a blow to me is an understatement and, though I sadly never met the man, his influence on me is quite far-reaching. Prince's methods and philosophy have influence my own approach to all aspects of theatre (and entertainment) and I have always devoured all material I can find on the man. 

Yesterday felt like a real marking of the end of something and I will continue to mourn Harold Prince deeply. I can find some semblance of comfort in the fact that his influence still thrives throughout theatre and his productions will continue to be referred to with reverence and awe. Of course, he was not perfect - no one is - but even in his failures Prince always looked to learn something and that is something I attempt to emulate.

Harold (Hal) Prince 1928 - 2019

"An Officer And A Gentleman", Glasgow King's Theatre, 10/9/18

A review written for Backstage Pass:

http://www.backstagepass.biz/2018/09/theatre-review-officer-and-gentleman.html

Once most new musicals were based on pre-existing plays and/or novels but nowadays the trend leans towards adapting motion picture titles and one of the newest is An Officer And A Gentleman based on the 1982 film starring Richard Gere. This is actually the third musical version following a Japanese adaptation in 2010 and an Australian production in 2012 which featured an original score whereas this new tour utilises pre-existing songs.

Zack Mayo is one of a new group of US Navy trainees who face several obstacles before achieving their dream of graduating - none more formidable than drill sergeant Emil Foley. On top of all that romance materialises for Zack and his friend Sid in the form of local factory workers Paula Pokrifki and Lynette Pomeroy who only add to their turbulent experiences.

As a piece of stage work this adaptation's book by Douglas Day Stewart (writer of the original film) and Sharleen Cooper Cohen requires tightening and it is to director Nikolai Foster's credit that he elects to bring out the humour of the script whilst creating some strong moments onstage - including the simple yet rousing finale. 

Michael Taylor's set design has some strong elements but does become bland at times and the lighting of Ben Cracknell is likewise a bit hit and miss with chaotic choices existing alongside more refined options. Sadly the sound design also requires tinkering with as it was nigh impossible at times to hear the vocals above the incredibly loud - though proficient - band. The orchestrations by George Dyer are first-rate and the choice of songs is pretty well on the mark though some are not as organic to the plot as others. Regardless the musical numbers are incredibly enjoyable and bring intense energy to the production.

Once again Foster has assembled a fine ensemble led by Jonny Fines as "Zack Mayo" and Emma Williams as "Paula Pokrifki" both of whom possess tremendous vocals and stage presence. They also share a palpable chemistry that is essential to the story. Ian McIntosh ("Sid Worley") and Jessica Daley ("Lynette Pomeroy") are equally as enjoyable especially as their story-line comes to a head. Ray Shell is a huge presence within the show and is on fine form as the domineering "Emil Foley" and he is clearly enjoying himself onstage whilst the company as a whole ably rise above the limitations of the libretto.

Though somewhat lacking as a piece of stage drama An Officer And A Gentleman is still enjoyable fun - if only for the dynamic performances of the various rock and pop songs by the superb cast.

"Love From A Stranger", Glasgow Theatre Royal, 26/6/18

Written for Backstage Pass:

http://www.backstagepass.biz/2018/06/theatre-review-love-from-stranger.html

First performed in 1936, Love From A Stranger presents us with Cecily Harrington (Helen Bradbury) who, following a financial windfall, heedlessly abandons her old life in search of adventure when she encounters titular stranger, Bruce Lovell (Sam Frenchum), moving with him to a remote country cottage. Cecily will come to learn, however, that Bruce is more than the romantic she thought him.

Adapted by Agatha Christie and Frank Vosper from an earlier Christie short story and play, Love From A Stranger is not one of Christie's typical whodunits though it is constructed around Christie's oft-utilised theme of identity with a naive woman at its centre. Some dialogue and situations may be somewhat dated and hard-to-believe for a modern audience but, as with all Christie, it is the mystery that continues to grasp the spectator.

Director Lucy Bailey's staging is a little uneven with the opening scene, apparently played for realism, a little staid. The remaining scenes, however, are more lively and entertainingly directed and include subtle farcical moments. But it is the final scene - a tremendously gripping tour de force - that is something else entirely: superior in every way, it is executed with precision even whilst it is slightly mind-boggling.  

The moody, evocative sets by Mike Britton are used cinematically by Bailey and they are enhanced by Oliver Fenwick's lighting. Bailey, besides introducing some staging contrivances, also elects to rely on sound to create atmosphere and tension. Fortunately sound designer and composer Richard Hammarton handles his duties well and often with subtlety.

There are strong, solid performances throughout the play with Helen Bradbury ably leading the troupe as seemingly naive 'Cecily' whilst Molly Logan ('Ethel') and Nicola Sanderson ('Louise Garrard') pepper welcome light relief throughout. Justin Avoth, as jilted fiance 'Michael Lawrence', and Sam Frenchum, as 'Bruce', proffer arresting performances with Frenchum reaching great heights in the denouement. That the assured company can bring so much out of Christie and Vosper's 1930's dialogue is nothing but a credit to all of them.

Though a little muddled in its staging, Love From A Stranger nevertheless evolves into a riveting, suspense-filled thriller with some awesome performances and it captures that mystery magic for which Agatha Christie remains justly famous.

"Sunshine On Leith", 19/6/18, King's Theatre Glasgow

Written for Backstage Pass:

http://www.backstagepass.biz/2018/06/theatre-review-sunshine-on-leith-kings.html

Sunshine on Leith peppers the songs of The Proclaimers throughout an adroit, humourous and moving script by Stephen Greenhorn which has been slightly updated since its premiere in 2007. 

Following a tour of military duty overseas Davy and Ally return to their hometown of Edinburgh and have to adapt to life as 'civvies' but, perhaps, their most difficult struggle lies ahead - love. Life is not so simple for their families either and they, too, must answer the questions, 'How far would you go for those you care about?' and 'What constitutes home?'

Director James Brining stages the musical in an eclectic and thrilling way, keeping the stage alive with movement, action and moments of physical theatre. Brining handles Greenhorn's finely tuned libretto with a deft hand and perfectly tailors each scene with suitable care and attention. The musicians are also brilliantly integrated and Emily-Jane Boyle's illuminating choreography emerges seamlessly from the action.  Colin Richmond's design is surprisingly versatile and is refined by some beautifully evocative lighting by Tim Mitchell.

For a 'jukebox' musical the songs by The Proclaimers are incorporated so successfully that one forgets they were not written especially for the stage. The variety of songs is also surprising and they range from the majestically moving to the ebulliently joyous and, with the script, serve to create one of the most dramatically and theatrically successful musicals ('jukebox' or otherwise) of modern times. Kudos must also be given to music arranger David Shrubsole, sound designer Richard Brooker and musical director Toby Higgins who, jointly, service the score eminently providing several spine-tingling moments.

Phil McKee's Rab and Hilary Maclean as Jean handle one of the most dramatic story-lines with skilled ease, masterfully creating a meaningful relationship that movingly speaks to an audience. 

Jocasta Almgill's Yvonne and Neshla Caplan's Liz are executed with rounded precision, rising beyond mere love interests and catalysing the denouement with their characters' various choices. 

The ensemble is comprised of outstanding artists, some of whom augment the brilliant band becoming actor/musicians led by a dynamic Tyler Collins and John McLarnon.

As Ally Paul-James Corrigan crafts an adept performance, formulating a character ultimately tortured by frustration. Well known for his role in television's River City, Corrigan here proves himself a versatile and engaging musical performer.

That former Casualty actor Steven Miller is not a bigger name is something of a puzzle: as Davy he is a sterling leading man with a beautifully lyrical voice and deft physical prowess with a sincere acting style absolutely in sync with the piece - something true of every performer onstage.

A splendid entertainment that provides an uplifting force whilst simultaneously impressing a more sober message of family and home, Sunshine on Leith is a superbly constructed modern musical executed with sublime magnificence. One not to be missed!

"The Last Ship", 18/6/18, Glasgow Theatre Royal

Written for Backstage Pass:

http://www.backstagepass.biz/2018/06/theatre-review-last-ship-theatre-royal.html

Four years after its premiere in America The Last Ship makes its way around the UK in a new production retaining the music and lyrics of Sting but with a brand-new book by director Lorne Campbell (original book by John Logan and Brian Yorkey).

Stemming initially from Sting's own Northern childhood and his 1990 album, The Soul Cages, the fall of the great shipyards becomes a reflection on mortality with the musical portraying a community, fronted by foreman Jackie White, facing the reality of life without their shipbuilding industry. Simultaneously, we also follow the re-emerging romance between Meg and Gideon who returns to his hometown after 17 years away at sea.

Director Lorne Campbell creates some eloquent moments on stage with the pace generally well sustained, although Act One does require refining and some trimming of the musical score is needed. Campbell's new book comes into its own in the second act, dramatically and emotionally, and ultimately transforms the production into a powerful, political statement.

59 Productions' design, complimented by Matt Daw's lighting, is a stunningly beautiful and evocative environment with impressive projections that enable a cinematic sense of movement within which the working-class nature of the characters is appropriately echoed in the movement of Lucy Hind.

There are some gripping scenes, notably when the book finds its feet and becomes political - as when we see Susan Fay as a Thatcher-like Baroness Tynedale - and the ensemble are wonderful in them. Unfortunately, for one reason or another, several lyrics are unintelligible and sometimes - as in the case of Kevin Wathen channelling a drunk Oliver Reed as Davey - dialogue is equally as indecipherable.

Richard Fleeshman's vocal quality is not necessarily conducive to musical theatre but he nevertheless comes across well as Gideon, especially in Act Two, with a sincere performance that is more than equalled by a dynamic Frances McNamee as Meg. Joe McGann is a solid, rousing Jackie White and he is superbly partnered by Penelope Woodman as his wife, Peggy, who is a powerhouse in the role.

The Last Ship is a little muddled to begin with but, ultimately, surprises with some beautiful songs supporting a plot that metamorphoses into a spirited call to arms for the working class and the conscientious.

"Jim Steinman's Bat Out Of Hell - The Musical", Dominion Theatre, 30/5/16

Bat Out Of Hell is resurrected at London's Dominion Theatre and rocks bigger than before! A futuristic, rock retelling of the Peter Pan fable, we enter the world of "Obsidian", an island city separated from the mainland following chemical wars, whose inhabitants form two factions - dictator Falco, his family and followers/employees and The Lost, a group of perpetual 18 year-olds - victims of the chemical warfare - led by Strat, who rebel against Falco's real estate ambitions. As Falco's daughter, Raven, turns 18 she encounters Strat and the two fall in love. Confrontations ensue as various members of the factions struggle to live and love dealing with issues of love, loss and revenge along the way.

The production is leaner than ever, although "It Just Won't Quit" is still missed and some of the edits are unnecessary - particularly Zahara's prompting Strat to return to Raven - and ideally should be reinstated. The new elements, however, only enhance the production and clarify plot elements further filling the stage with a mass of exciting details to observe: Director Jay Scheib has added many little details of business that create even more depth to the staging and supplement the characters and their development within Jim Steinman's story; the distillation of his ethos, more commercially viable than the previous versions (Neverland, The Dream Engine), retaining the elements that excite him.

Scheib continues to sculpt a mesmerising physical production that is part musical, part rock concert, part opera and it's perhaps the latter form that best describes Jim Steinman's opus. Steinman and Scheib have grafted the larger than life elements of high-brow art onto the rock concert form and melded it with the mega-musical and they have continued to hone the staging to further the story and Scheib's direction is perfectly attuned to making the best of it. Emma Portner's choreography has also been tweaked and remains an enjoyable element as part of the whole.

On a side note, the newspapers that have been part of this show since the Coliseum last year were not in evidence at this particular performance. They were created to provide the audience with a little exposition and insight into the environment before the show starts and have had several revisions since their first appearance. Frankly, as nice as they are to have as a memento they really aren't required as the exposition is treated well throughout the first act for an audience to gauge what's what.

Alternate Jordan Luke Gage brings an ethereal quality to the role of Strat, looking and acting less mature (appropriately) than Andrew Polec, and his vocals also bring a new aspect to the part. Gage's youthful appearance also adds credence to his portrayal and his confidence in the part grew exponentially as the show progressed. Gage need only work on the irreverent physical abandon that erupts from Strat at particular moments but this will come with more experience in the role.
Christina Bennington surpasses herself as Raven digging deeper into the role whilst retaining the essential elements of the part and continuing to provide a voice of diverse features.
Danielle Steers continues to arrest the viewer as Zahara and steals scenes easily with the slightest of efforts benefiting greatly from the retooled direction with her various facial asides worth the ticket price alone, never mind her million dollar voice.
Understudy Christopher Cameron as Jagwire brought a gritty, raw vocal and an earthy honesty to the role he was playing for the first time ever, having been a last-minute installation following regular actor Wayne Robinson's indisposition. A remarkable performance that grew before our eyes and I have no doubt he'll exceed himself again and again the more he undertakes the role.
Alex Thomas-Smith is visually more believable than his predecessor as the pre-pubescent Tink (thanks, in part, to a redesigned costume) but, like the other new actors, he brings a different quality and sweeter voice to the part. This new Tink, aided by subtle changes in direction, is at once more fragile and more dangerous than before though, for some reason, there is an unfortunate sense that the role has been reduced, which is untrue, but this must certainly be due to cutting "It Just Won't Quit" and the graveyard scene which aided keeping his spirit within the show.
The veteran company members continue to find new depths in the lines and lyrics they voice and their acting through song is superior and Sharon Sexton and Rob Fowler as Sloane and Falco lead the pack, continuing to excel as the mature couple searching for what they've lost. The new ensemble members have integrated seamlessly and blend well as members of The Lost.
The production's superb casting enables each performer to be unique and there are no mere look/act/soundalikes here; even the understudies and alternates bring individual takes to the lead roles which further the variations on offer to the audience - so much so that many fans 'collect' performers and try to see as many different actors in a role as possible. The divine cast are surely one of the many strengths in this immense production.

Jon Bausor's design has also undergone some minor tweaks and it continues to impress as one of the boldest, metamorphic sets to ever grace a stage. That it was overlooked for an Olivier Award (in fact the show only received one nomination for Sound) is, frankly, mind-boggling. The costumes have been further refined and the video and lighting designs are still perfect for the production. Likewise the orchestra - or, perhaps, band is more appropriate for such a rock opera - persist in their brilliant execution of Steinman's monumental rock score and kudos must be heaped upon musical director Rob Emery and the orchestrators and arrangers Steve Sidwell and Michael Reed.

Whilst Bat Out Of Hell is, in many ways, the same show as that which occupied the Coliseum, it is also something else entirely, with an added dimension and depth brought about by a superlative cast and creative team.

An epic, ethereal, surreal, comic-book rock and roll fantasy faerie-tale, "Bat Out Of Hell" is every bit of wonderful. Rock and roll dreams really do come through ...