"The Mousetrap", Theatre Royal Glasgow, 15/9/14

A review written for Backstage Pass


http://www.backstagepass.biz/2014/09/theatre-review-mousetrap-theatre-royal.html


The 60th anniversary tour of the World's longest running play continues on as the London production approaches its 62nd anniversary in a production that is both nostalgic, classy, humorous and intriguing.

Whilst there are those who lament the continued success of "The Mousetrap" (yes, seriously) it remains one of the prime examples of the talents of Agatha Christie who, whilst never considering herself a great writer, never failed to create a puzzle that would capture the imagination of her readers and audiences.

Of course the play's plot and dialogue is of a certain period but that is part of its charm and the cast handle it very naturally whilst inhabiting a physical production with ease and energy. True, the play is the epitome of the country house whodunit, but ask yourself; so what? What is wrong with that? 

The attraction of the play is the conundrum that Christie presents in a world inhabited by ebullient characters that the audience clearly enjoy watching. It is no crime (pun intended) to be entertained by something that never pretends to be anything but frivolous fun.

The plot of the play revolves around several seemingly unconnected characters who end up in the same snow-bound guest house. Once ensconced within the walls of Monkswell Manor it is not long before Police Sergeant Trotter arrives to warn them all of the suspected presence of a murderer within their midst. At the close of act one that murderer strikes and the game is underway...

So successful is Christie in her plotting that the final reveal still elicits gasps from the audience. She is, no doubt, aided by the crisp direction of Ian Watt-Smith and his excellent cast, amongst whom there is no weak link. It is difficult to single out any one performer in such a strong ensemble and so I shan't. I shall instead say that Helen Clapp, Michael Fenner, Christopher Gilling, Luke Jenkins, Anne Kavanagh, Charlotte Latham, Henry Luxemburg and Stephen Yeo work very well together and inhabit their characters in a very natural way, utilising Christie's sometimes heightened language in a most appropriate manner, rendering what could be performed in a clichéd, hammy way into something that belongs far more in the realm of realism. Indeed it is only Christie's epilogue that breaks that illusion, but this is a minor quibble.

There must be a reason why the play has been so successful and you could do worse than to find it out for yourself.

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'Under Milk Wood', Tron Theatre, Glasgow, 19/7/14

Cut down to little over an hour this flawed production is indicative of how important the 'Welshness' of the play is.
The director Gareth Nicholls has eschewed any attempt to recreate the Welsh accent and its rhythms which are so vital to any production of Under Milk Wood and has his cast create an almost paint-by-numbers performance. The abridgement by Lyda Radley is also slightly patchy which fails to aid the cast.
Whilst there are a small number of other accents used most of the cast speak in Scottish dialect, and not one Welsh twang is heard. This is increasingly unfortunate as Dylan Thomas himself pointed out the importance of the words to his premiere American cast in the 50s and this production seems to have missed this important fact. It is, after all, a 'play for voices': Rather the director has live music throughout which has the unfortunate effect of often drowning out the actors and whilst Michael John McCarthy's original score is nice it does intrude upon the play. In fact it's almost as if the director had little trust in Thomas' writing. Nicholls' ignoring of the rhythmic value of the Welsh accent was also detrimental to what was heard - it lost much humour and pathos in the performance although, credit to Thomas' writing, some humour was still present if it was the of the more obvious type. The Scots dialect has quite a different quality to the sing-song of Southern Welsh and this quality was sorely missing. As with the writing of Shakespeare the rhythm os the writing is important and to ignore it is to a productions cost.
Another bug-bear of mine was in the pronunciation of the Welsh words: Indeed, upon hearing 'Llareggub' pronounced 'Laregub' (emphasis on the 'e') constantly I was getting more and more irritated. There really is no excuse not to be able to pronounce these words as the famous Richard Burton recordings are readily available as a reference. Rather it spoke of a lazy attitude towards authenticity on the part of the director.
Charlotte Lane's design, which consisted of the interior of the Sailor's Arms - and nothing else, was pleasant but had the unfortunate effect of placing every event in the play within the confines of the pub. That and the fact that every character was plied with drink throughout gave a rather bad impression that this was a town full of alcoholics and given that hundreds of empty glass bottles were used as border to the set this was confirmed. The concept of setting the entire thing within the physical confines of the local was a little confusing given that most of the play happens in other locations around Llareggub.
On a more positive note there were some nice performances including those given by Grant McDonald, Matt Littleson and Jacqueline Thain and the live band were really quite good.
All in all this was rather a bit of a missed opportunity. It would also have been appreciated if the production was advertised as an abridged version but this was not so in any of the advertising.

'Private Peaceful', Glasgow Theatre Royal, 25/6/14

Another review I wrote for Backstage Pass:


http://www.backstagepass.biz/2014/06/theatre-review-private-peaceful-theatre.html


At its simplest theatre is storytelling, the purpose of which is to pass on knowledge, information and to ensure that things are not forgotten. And some things should never be forgotten, some stories deserve to be retold.

Michael Morpurgo's novels have ensured that history remains alive to the younger generations and his stories have been adapted into various forms of media further ensuring their survival and assimilation into the minds of future generations.

This stage adaptation of Morpurgo's 'Private Peaceful' is the stirring tale of one young soldier of the Great War who recounts his life story shortly before facing the firing squad. As he relives the joys and sorrows of his all-too brief existence we bear witness to the magic of theatre at its best - simple, uncluttered and engaging. No flashy special effects or monumental set pieces required here, instead the power of imagination is employed along with the skills of a single actor in the role of 'Private Tommo Peaceful'. 

Director/adapter Simon Reade ensures that we see this lone soldier as a real person and not merely a symbol of the 306 soldiers executed in the First World War. His direction is clean, direct, elegant, subtle and vital and he ensures the emotionally affecting mortality of 'Private Peaceful' is laid out before us as we jump from his present to his past with time referenced throughout with each act beginning with the ticking of a watch as the final hours of his life ebb away. 

The simple set design is enhanced by simple lighting whilst minimal sound effects aid the production effectively. But the play ultimately relies on the single performer onstage and here Paul Chequer proves himself an exceptional actor able to navigate between a wide range of emotions whilst switching deftly into other characters as required, his physical prowess matching his emotional resonance easily. His is a deeply moving, funny, tragic and engaging portrayal which brings an honesty and simplicity essential to our belief in his character(s) whilst Chequer's stage presence is sincere and confident. His gifts are such that his performance, especially from when we see 'Peaceful' on the battlefield, is truly a mesmerising, arresting, chilling and emotionally rending experience.

Whilst this production seems to be aimed primarily at school children, given its performance times, it still speaks, in volumes, to all ages and is worthy of the attention of any theatre-goer. As it is this is the final week of its tour and I urge one and all to make the effort to see this wonderful, effective piece of story-telling.

Lest we forget.

'Buddy - The Buddy Holly Story', King's Theatre, Glasgow, 16/6/14

Written for Backstage Pass:


http://www.backstagepass.biz/2014/06/theatre-review-buddy-buddy-holly-story.html


In an all-too brief career Buddy Holly gave the world some truly memorable tunes and "Buddy  - The Buddy Holly Story" is a tribute to that music if nothing else and features a cast who all sing and play musical instruments live.
Charting Buddy Holly's rise to fame, together with the other members of 'The Crickets', in the world of the new fangled sound of Rock'n'Roll in the 1950s, the script by Alan Janes is not a greatly detailed affair but it does also make mention of his marriage, solo endeavours and his fame with a no-nonsense approach that is filled throughout with humour. As a thorough biography it leaves a lot to be desired but its strength lies in the ability to give just enough contextual information within a scene to make the musical numbers that follow all the more satisfying. The presence of a script also allows this production to be more than a simple tribute show; empowering performances with an emotional resonance that each musical number builds upon. Even if it's not a deep psychological study of the trials and tribulations of a gifted musical artist, it is an honest, straightforward story told with sincerity.

Whilst the set design is somewhat shabby it serves its purpose allowing a seemingly huge amount of space to be available whilst creating various locales featured in Holly's life. Lighting is serviceable but much better use is made of it during the musical numbers.

Matt Salisbury's direction is found wanting in places amongst the dialogue scenes but his presentations of the musical numbers are pretty much on the money and these are where the show really comes alive. That's not to say that the dialogue scenes are redundant - quite the opposite; being witness to the backstage, personal aspects of Buddy's life makes the audience all the more invested in each musical number that is performed by him and his cohorts and takes those performances to a higher level. 

There are non-Holly numbers performed in the production and these are also strong with Lydia Fraser threatening to steal the scenes in which she appears as an 'Apollo Performer' whilst Adam Flynn and Scott Haining (as 'Jerry Allison' and 'Joe B Mauldin', respectively) are excellent support for the main man with Jason Blackwater and Will Pearce memorable in the roles of 'The Big Bopper' and 'Ritchie Valens'. But as 'Buddy Holly' Roger Rowley embodies the attitude, charisma and talent of a true star and his vocals are quite divine (he alternates the role with Glen Joseph) and his stage presence is mesmerising - even a guitar fault in his first number (that's live theatre for you!) couldn't phase him.

Although Act One started off a little fragile it built throughout to end triumphantly at the 'Apollo Theatre, Harlem' whilst Act Two was a supernova of energy - albeit with a slight dip as we get to the 'Surf Ballroom' - and that energy is soon ramped up even further culminating in an effective and striking finale at Holly's final concert at 'Clear Lake' at which point the audience was in raptures.

It is comforting to know that great live entertainment is still out there and that great music can still reach an audience in the technologically-driven music market of today. Such entertainment deserves its audience.

But then the music never really dies, does it?

"Let It Be", King's Theatre Glasgow, 28/4/14

Another review written for Backstage Pass :




http://www.backstagepass.biz/2014/04/theatre-review-let-it-be-kings-theatre.html














I don't own a single album by The Beatles. As a music lover this may seem something of a sin but I do enjoy their music and Let It Be is a powerful and exciting reminder of the magic and wonder that The Beatles created.

Actually it should be noted here that there is no actual reference to the title "The Beatles" or even the band members' names in the show. Instead we see Let It Be emblazoned throughout on marquees, newspapers, television programmes and announcements and this is clearly the name of the "band" featured in this show. But despite these omissions other references, including visuals and album titles, are clearly in relation to the actual "Beatles".

The premise of the production is that the audience are witnessing several performances from across the career of the band with the evening beginning in "The Cavern" and progressing through an appearance on the "Royal Variety Show" to the latter years of the band's career. Throughout the evening the music progresses as the band evolves creating, for myself, a latter half that is the most musically exciting and varied. 

And there is a lot of music. Indeed there is very little dialogue save the odd moment where a band member may introduce a number or interact with the audience. This is no Mamma Mia or We Will Rock You with songs interpolating a plot; rather this is a rock concert of top quality bursting with song after song. The only reprieve for the musicians is when television sets above the stage occasionally show us images of the time period whilst the cast are heard reading quotes from The Beatles themselves.

The use of costume, lighting, sound, set, video and projection elevate the production from a mere tribute act into something that is as great as an actual rock concert. Credit to the producers, creatives and performers of Let It Be that they are able to capture the spirit of The Beatles and are able to create the atmosphere of a small venue one moment and a huge stadium the next.

Band members Ben Cullingworth, James Fox, Michael Gagliano and Paul Mannion supported by Steve Geere on keyboards are talented performers in every sense and it is jarring to think that they are not actually performing as themselves but as characters taking on the mantle, attitude and even the accents of the original "Fab Four" whilst performing a huge arrange of songs in the Beatles' original style. Their energy seems limitless and transfers in abundance to the audience who eagerly take it all in.

It is a complete production, if not quite a true theatrical one, and had the audience on their feet several times throughout the show but, ultimately, it is about the music and the company do it more than justice, exhibiting how incredible live performance can actually be. One cannot fail to be entertained by such a production in which all involved seem to be having such a great time.

Oh, and I may have to pick up a Beatle album or two.

"Under Milk Wood", Swansea Grand Theatre, 20/3/2014

For the centenary of Dylan Thomas' birth and the 60th anniversary of his "play for voices' Clwyd Theatr Cymru are touring "Under Milk Wood", although as someone who resides in Glasgow I had to make my way back to the old home town to catch it as the production is not visiting Scotland.
The production is directed by Terry Hands and is a revival of his production of 2000. Given the play was written for the radio the production is lively, extremely funny, visually exciting, full of life and is a beautifully evocative use of Thomas' words.


Hands' direction is more than assured and is quite sublime. Hands has made a play for the ears a true play for the stage although the language is never sacrificed for the visual splendour of the vibrant physical action which utilised such theatrical devices as mime amongst all the physical interaction between the actors who also supplied all the sound effects. The pace of the piece was well handled and varied with the staging controlled and manipulated by an expert director who was able to handle such changes quite subtly. Hands' has brought out the humour, passion, melancholy and sexuality that lies within Thomas' vivacious text, which follows the lives of the inhabitants of Llareggub over the course of a single day, and created a visual production that works in tandem with the words to create a satisfying theatrical unity.


The design by Martyn Bainbridge was elegant yet simple and atmospheric with Hands' own lighting complimenting the overall effect and becoming a subtle character in itself allowing the shifting of time and mood to be conveyed effortlessly, together with Bainbridge's moving sun. The costumes are simple period affairs with most of the cast barefooted, evoking the sense of sleepwalking through a dream.


What helps makes this a true theatrical experience is the production's reliance on the actors, most of whom perform numerous characters, which is totally appropriate. Whilst some characterisation may be seen as heightened (but then so is the play) and some acting choices somewhat "obvious" they are nevertheless appropriate and suited to the piece. But the choices are also varied between each actor and the differing characters most of them perform. Indeed each character is rich and full of life. There was, appropriately, an excellent variety of voices on display - be it between the actors or the varying characters that they play. Likewise the use of actors of varying ages portraying people of all ages (from children to the elderly) was engaging and exciting and fresh. This fact also enabled the stage to never feel or look too cluttered unless it were a deliberate directorial choice. The playing of different characters also allowed the actors numerous opportunity to stretch and use their talents and ranges. Above all there was a wonderful sense of enjoyment from the actors who became another audience when they themselves were not in a particular scene, laughing and listening to those who were performing.
Owen Teale as First Voice has a rich vocal tone that is evocative of Richard Burton but at once quite individual whilst Christian Patterson's Second Voice is a lovely contrast and each weave in and out of the action with aplomb.
It seems unfair to single out any performer in such an ensemble piece but Sara Harris-Davies, Steven Meo and Caryl Morgan certainly get full use out of some of the funniest material.


Given the nature of "Under Milk Wood" it can be a very delicate piece to stage. My first encounter with Thomas' best know work was when my Secondary school put on a production. Given my young age I can barely recall any of it except that it was funny, a little saucy and the tiered set was blue. In my university days I saw a production by the Wales Theatre Company, directed by Michael Bogdanov, which was a rather laboured affair and stilted and sober a production for my liking. The Clwyd Theatr Cymru production is everything I could have wished for, however, making brilliant use of the vocal prowess of Thomas' whilst understanding that, as a piece of theatre, it also has to be visual. The production is also full of clarity, allowing each moment onstage to be understood and appreciated.


It is interesting to note that this play has made me re-evaluate my cultural identity; as a proud Welshman residing in Scotland, I've never really thought about what it is to be Welsh. Many of my country folk have been dwarfed by English attitudes which have gone on to be seen as 'British' - the whole stiff-upper-lip, solid attitude which has become little more than a stereotype. "Under Milk Wood", in its heightened way, shows what the Welsh really are; creative, passionate and full of life. And it's nice to be reminded of the Welsh-within, especially given that the play's director is English. Indeed, I recall in my youth the attitudes we held which were then tempered by the 'British' ideals. In these days were cultural identity is more freely expressed it's been a joy to rediscover the truth of oneself. And it's a shame the production won't be visiting London anytime soon ...

"The Play That Goes Wrong", Glasgow King's Theatre, 10/3/14

A review written for Backstage Pass:


http://www.backstagepass.biz/2014/03/theatre-review-play-that-goes-wrong.html

     Amateur theatre has been a staple for many years and has spawned many a fine professional actor. It is, for many, an introduction to the vast world that exists beyond the proscenium arch and is both admired and frowned upon by some who work in the theatrical industry. Why the latter? Because it can so easily reduce art into something far less ... savoury, with cliché being the prime ingredient of many a poor production. "Amateur" can be a word to instil dread into many an audience member given that there do exist am-dram companies whose stage productions reek of "cheap" and "shoddy" workmanship - both in the onstage and offstage departments. Indeed, YouTube is full of footage of amateur theatre's mishaps.
     It is all of the above that "The Play That Goes Wrong" attempts to confront and what writers Henry Lewis, Jonathan Sayer and Henry Shields (who all feature in the cast) have cleverly done is to take the subject of the classic whodunit and spoofed it to the nth degree. But beyond that they have created a fictional company, "Cornley Polytechnic", who are presenting the whodunit "The Murder At Haversham Manor" replete with all the heightened clichés one could imagine of a terrible am-dram company: the wannabe starlet, the nervous first-timer, the seasoned performer are all present. Even the "stage technicians" are incompetent and as the title of the evening's proceedings suggests the play does not go off without a hitch, indeed even before the play starts proper we see the "backstage crew" attempting to prepare for the performance, somewhat unsuccessfully.
     In many ways "The Play That Goes Wrong" is a wonderful homage to all who have ever taken part in amateur dramatics. Even whilst lampooning the all too recognisable characters present within such companies (and they do exist!) they are being honoured by being portrayed and played in so earnest a manner. Given that the "play" is falling apart around them the "actors" and "crew" of the play within a play valiantly struggle on, proving the truth behind the axiom, "the show must go on"!
The script is sharp, witty and hilarious whilst the design creates the perfect environment for this third-rate amateur company. The direction of Mark Bell is crisp and taut whilst the excellent ensemble (onstage and off) perform perfectly. Indeed, it is unfair to single any one performer out given that this really is an ensemble piece. There are one or two jokes that were stretched almost beyond their limit but these are not enough to dampen the energy and spirits that are present throughout. And it doesn't really matter that the "plot" of "The Murder At Haversham Manor" is somewhat obscured by the antics occurring, indeed this lends to the air of chaos that abounds and there were plenty of moments where the audience erupted into spontaneous applause and hardly a moment where laughter was not forthcoming. And laughter is what this play is really about.