"Blood Brothers", 8/9/17, Glasgow King's Theatre

Bill Kenwright's perennial production of Willy Russel's Blood Brothers returns to Glasgow with Lyn Paul returning to the central role of Mrs Johnstone.

The show is a moral parable that remains surprisingly moving, despite the somewhat odd structure of the show; being made up of occasion poetry, abstract and Brechtian staging together with gritty realism, all to tell the tale of two twins separated at birth after Mrs Johnstone and the woman she works for, Mrs Lyons, strike an unusual bargain. Russel asks whether it is nature or nurture that influences the path a person can take and, whist he offers no real answers, the diverging paths of the twins makes for intriguing viewing.
Russel's compositions are easy on the ear and though there may not be a huge amount of varieties in melody, his lyrics are witty and moving in turns and he has written two of the most emotionally striking songs in "Easy Terms" and the devastating finale, "Tell Me It's Not True". In the hands (or vocal chords) of such a great singer as Lyn Paul these numbers reach new heights.

The cast feature some old favourites including Sean Jones as Mickey and Mark Hutchinson as Eddie (who I first saw in the role more than 20 years ago in London's West End) and both continue to breathe fresh life in the roles whilst the newer additions are mostly as successful, though Sarah Jane Buckley's Mrs Lyons verges more on the melodramatic than appropriate as opposed to  the Narrator of Dean Chisnell which was suitably subtle with a firm, strong voice. Danielle Corlass' Linda is also another acutely measured performance that shines.

Lyn Paul's Mrs Johnstone is an understated, yet precisely attuned acting and physical performance tightly balanced with her stirring and assured vocals. The emotional resonance in her performance is replete and her song delivery can be equally joyous and heart-breaking.

Sadly, the production is starting to show its age and could do with updating starting with the orchestrations which have occasionally been updated since the 1988 West End opening (which was itself updated from the original - non-Kenwright produced - 1982 production's orchestrations). Typically Kenwright neglects to credit the orchestrator but, regardless, the arrangements have become terribly dated and new orchestrations are in order. Also the various pieces of underscore that have also been added throughout the London run need to be examined as the number and effect is excessive in places.
The design by Andy Walmsley, itself slightly updated from the London version, is perfectly serviceable as is the lighting by Nick Richings but it is unfortunate that the performance was marred by a poor sound balance which left the cast barely audible at times whilst the volume of the band became excessive so I do hope this is rectified sooner rather than later.
The direction by Bob Tomson and Bill Kenwright remains effective - if safe - and I was left wondering how successful a completely new production would be if Kenwright were brave enough to pursue that avenue. But I doubt he will.

Altogether Blood Brothers remains a stirring, emotional and enjoyable production despite the various negative aspects of its aged production. Ultimately it is Russel's material and the cast that elevate the production.

'Shirley Valentine', Glasgow King's Theatre, 2/5/17

Review written for Backstage Pass:

http://www.backstagepass.biz/2017/05/theatre-review-shirley-valentine-kings.html

30 years after its premiere at Liverpool's Everyman Theatre, Willy Russell's one-woman play "Shirley Valentine" hits the road in a superb anniversary tour starring the the engaging Jodie Prenger as the eponymous heroine.

Shirley Bradshaw (née Valentine) spends her days talking to the kitchen wall, bored with her life spent serving her husband and the few associates she has. When a friend offers her the chance of a two week holiday in Greece she decides to grasp the opportunity and start living the life she has long been aching for.

The production is a bright and appealing one with a design concept divided across the two acts; the realistic smart, clean kitchen with its bold yellow walls of Act One contrasting with the brighter, more abstract realisation - as if seen through Shirley's eyes - of Greece in Act Two. Such contrast is reflected in the direction of Glen Walford, who returns to the play after directing the premiere production three decades previous. There are a few moments which could be tighter and the odd bit of business that feels superfluous but otherwise Walford's direction is solid and engaging, consummately matched with Willy Russell's writing which is blessed with much word-play in turn humorous, witty, poignant and philosophical with Shirley dealing with the isolation of a life much wasted, musing on the trials and tribulations of human nature and life in general.

Jodie Prenger makes a wonderful 'Shirley Valentine' and her innate warmth and likability aids in her sympathetic, self deprecating portrayal of a woman coming to terms with the negative quality of her life before embarking on a journey of self discovery, ultimately commencing a life of worth and value, of joy and hope. Prenger's only minor flaw is that occasionally her Liverpudlian dialect becomes a little unsure, but this never detracts from a funny and emotional performance that bursts with pathos and life and is worthy of much praise: Prenger is a truly appealing performer and continues to grow and develop as such, pushing herself with each new role she undertakes, furthering her talents which continue to triumph in each new production.

"Shirley Valentine" speaks volumes to the middle-aged audience member, who may empathise with much that Shirley speaks of, and acts as a caution that life is for living and it is never too late to start doing so. There is always some semblance of joy to be had in life but often one has to reach out and take it. Willy Russell's play is a positive reminder to do so and this splendid production communicates the message admirably.

'Educating Rita', Theatre Royal, Glasgow, 31/5/12

I've never seen the film version of 'Educating Rita' so I came to the play with no expectations.

Willy Russel's play is both witty and charming and I found myself enjoying it more and more as the play progressed. The story of a working class lass who wants to be 'educated' and the man who is to educate her brings up interesting points about education and culture itself.

As 'Rita' Claire Sweeney is pretty much spot on. Her entrance immediately sets the tone of the character and she evolves effortlessly as the play progresses.
Matthew Kelly is a wonderful actor and as 'Frank' he lives and breathes each aspect that the role presents. I was most impressed by his acting skills which I'd never witnessed previously.
Tamara Harvey's direction is pretty straightforward and she is able to bring out performances that excel without having the need to create any fussy business. Her only possible misstep is at the very end when a piece of staging, where 'Rita' is to give 'Frank' a gift, seems somewhat out of step with the rest of the production.
Paul Anderson's lighting is likewise uncomplicated and functional as is Tim Shortall's design which consists of shelf upon shelf of books. The passing of time is visualised in a tree that stands outside the window; a tree that undergoes the change of the seasons.

The play is both funny, poignant and even thought provoking. Whilst the situations presented may be a trifle outdated it still stands on solid legs. My only real quibble is that I wish the transfers between scenes was smoother and speedier.

Now I must talk about theatre etiquette. The afternoon I saw this play there were many OAPs and school children in attendance. Now I believe that all members of society should see theatre and that it should be open to all. But. But I wish someone,be it a teacher or carer - whomever, had had some words with some members of these groups. Throughout the show there were numerous annoyances and distractions from the audience; children dropping cans and even coins and some elderly people talking rather loudly. We even had to put up with some people who are outright disruptive and shouting. Now in the latter case I feel that these elderly patrons were perhaps the victim of some medical condition that facilitated these acts. But surely the person or persons who accompanied these people to the theatre should take into consideration that a theatre tends to have more audience members present than themselves. And that, if it is known that a person can be disruptive, then that person should not be presented in a situation where one is expected to pay due respect to the artists onstage? As for the children - well, we all know they can be disruptive but I do wish the teachers present had taken it upon themselves to acknowledge their wards and put pay to their behaviour.

As it was Mr Kelly and Miss Sweeney ploughed on regardless for most of the play, never dropping their energy levels. However at one point where one elderly audience member was at their most disruptive Mr Kelly took it upon himself to simply stop after a suitable line and stare at the guilty party. He never once said anything to this audience member and may have seen the possible nature of the predicament. He casually waited until all had settled then resumed the play as if nothing had happened with not a single dip in the energy or pace of the play. Miss Sweeney's response was a simple reaction Mr Kelly; she quickly stole a glance in the direction toward which he were looking.

In the theatrical press instances of disruption (from those who should know better and who are certain to have all their faculties) are becoming more noted and I think that something needs to be done. Is it so hard to tell a child about, and to reinforce the idea of respect for a performer to do their job and to respect other members of the audience? Likewise those factors should be taken into account when planning a trip to a theatre; if one is aware that that respect in the form of silence and attention cannot be paid then perhaps it's best that one doesn't go in the first place.

The needs of the many outweigh the needs of the few. Or the one.

Rant over.