This is not so much a review as an opinion on the current touring production of "Blood Brothers" as produced by Bill Kenwright. What follows is an unedited stream of consciousness, so please forgive any ramblings/repetitions etc.:
I'll say this; the show still packs a punch, as evidenced by the reaction of the near-full audience. Sadly, however, the show has also become a mere shadow of itself, as evidenced by the near-full audience whose reactions were those more typically found at a performance of a pantomime.
It's a mark of the state of the production that the weakest link amongst the cast are the two 'name' leads - Marti Pellow, whose name is emblazoned above the title on posters, stars as "The Narrator" and Maureen Nolan whose name, surprisingly, is nowhere on the poster (at least not in Glasgow) as "Mrs Johnstone".
Pellow's vocals are nothing to write home about and both the quality of his voice and his diction often make words unclear - rather detrimental considering his role - but his physical attitude is also wrong. He stalks about the stage with as much threat and grace as if ploughing through mud.
Nolan is better but her voice is unsure in the higher range causing her to be off-pitch at times whilst her acting needs more depth. considering both have performed these roles for some time now it's inexcusable.
The remainder of the cast however are much stronger, none more so than Sean Jones as "Mickey" who is the most enthralling of all onstage. He's also another regular cast member but his performance was just as strong when first I saw him a few years back. Unlike some of the other cast members his is the most un-caricatured performance.
And I think this is where the major problem of the show lies: The staging and direction have become rather tired and unforgiving. Whilst the material is still strong enough to retain power and the ability to wring emotion from an audience, the direction is failing to serve it. Staging is rather pedestrian at times and, perhaps because of the name casting od recent years, the drama comes across as a bit flabby. Given the Kenwright production is over 25 years old and I've no doubt that the show has been tweaked in various ways over the years (not necessarily for the good), including musically (orchestrations have been reduced over the years), it really is doing a disservice to Willy Russell's work and this needn't be the case - other West End long runners such as "The Phantom of the Opera" continue to work because the direction remains tights and exciting and the company and crew continue to respect the audience. It seems that everything about this production of "Blood Brothers" is self-aware and it is guilty of playing to the audience far too much, as if those behind what happens onstage barely think it worth working for a reaction - they merely expect to receive it (which, for the most part, they do).
"Blood Brothers" is not a bad musical. It can be quite good, in fact. But I think director Bob Tomson and producer (and co-director) Bill Kenwright should take a fresh look at the production.
I've nothing against long-running cast members providing they can deliver the goods (especially since given the price people pay these days for a ticket) as Sean Jones clearly exhibits but the continuing reliance (which is not needed) on 'star' names has clearly taken its toll.
Perhaps it's time to start completely from scratch - a new (leading) cast, a new set, new orchestrations (the synthesised drums are really pointless) and, perhaps, even a new director - someone who is able to direct the text with the grittiness it requires, rather than relying on uninspiring blocking.
In other words, it is time for Blood Brothers to enter the new millennium otherwise it is threatening to become an unintentional parody of what it once was.
Addendum: Another issue I have is that the orchestra, besides the musical director, went utterly un-credited in the programme something which, given it's a musical, is rather insulting to the musicians.
Sort it out, Kenwright!
Friday, 14 November 2014
Wednesday, 5 November 2014
"Black Coffee", Theatre Royal Glasgow, 3/11/14
Review for Backstage Pass:
http://www.backstagepass.biz/2014/11/theatre-review-black-coffee-theatre.html
Agatha Christie's first foray into playwriting was a reaction to her dislike at previous adaptations by others of her work. Rather than adapt one of her existing novels she instead created a totally new piece for the theatre. Unimpressed by previous portrayals of her creation "Poirot" she elected to place him into her play and show all how it should be done. The result was "Black Coffee" which premiered in 1930 and has been seen on occasion in repertory in the intervening years.
This new production has been running a little while now and continues its steady march around the UK with Jason Durr of "Heartbeat" fame replacing Robert Powell in the role of "Poirot".
Plot-wise, Hercule Poirot and Captain Hastings are invited to the house of Sir Claude Amory in relation to the theft of a formula he has created. It is fortunate he did so as he is murdered only moments before the two arrive and Poirot is soon putting his "little grey cells" to use. It's quite the usual Christie fare complete with her typical light-hearted digs at foreigners and servants but her first effort at writing for the stage employ the gifts of structure and plotting that she was famed for to good effect.
Simon Scullion's art deco set is appropriately sleek and contains some fine details such as the geometric rug and artwork while the costumes by Nikki Bird and the lighting by Douglas Kuhrt are appropriate and unobtrusive. The incidental music by Matthew Bugg is essentially pointless but inoffensive whilst his composition for the opening and closing of the acts is reminiscent of the main theme to the "Poirot" television show, complete with saxophone. No coincidence, methinks.
Joe Harmston's direction is assured and generally keeps events moving with only the second act threatening to drag slightly. Act three, however, quickly steps up the pace and brings the events of the play to a satisfying, if somewhat obvious, close.
The cast are strong and one feels that they are having quite a bit of fun with it all with the humour being brought out of the text as much as possible. Of course, the play is of its time and no real effort has been made to fight against that fact and thus some of the acting can come across as heightened and a trifle melodramatic, if not hammy, but I don't really think this is a negative given the nature of this production. There are some rather dodgy accents which drop here and there but, again, this is part of the charm of the play.
As "Poirot", Jason Durr was something of a surprise; although his accent is too French for a Belgian and marred a little of his diction, and his physicality needs a little work (his walk is too stiff at times) he is humorous and charming when appropriate and clearly plays the part with sincerity and, despite appearing too young for the role, he is a commanding presence whose interpretation comes across as a darker "Poirot" than one expects. His portrayal, rather than emulating David Suchet, echoes the performance of Albert Finney at times but is very much his own and, with a little more work, shows promise to be a great portrayal of Agatha Christie's most famous character.
All in all this is an entertaining, glossy and sturdy production complete with enjoyable performances that serves as a wonderful introduction to the world of Agatha Christie on stage, replete with all the hallmarks that Dame Christie excelled at.
http://www.backstagepass.biz/2014/11/theatre-review-black-coffee-theatre.html
Agatha Christie's first foray into playwriting was a reaction to her dislike at previous adaptations by others of her work. Rather than adapt one of her existing novels she instead created a totally new piece for the theatre. Unimpressed by previous portrayals of her creation "Poirot" she elected to place him into her play and show all how it should be done. The result was "Black Coffee" which premiered in 1930 and has been seen on occasion in repertory in the intervening years.
This new production has been running a little while now and continues its steady march around the UK with Jason Durr of "Heartbeat" fame replacing Robert Powell in the role of "Poirot".
Plot-wise, Hercule Poirot and Captain Hastings are invited to the house of Sir Claude Amory in relation to the theft of a formula he has created. It is fortunate he did so as he is murdered only moments before the two arrive and Poirot is soon putting his "little grey cells" to use. It's quite the usual Christie fare complete with her typical light-hearted digs at foreigners and servants but her first effort at writing for the stage employ the gifts of structure and plotting that she was famed for to good effect.
Simon Scullion's art deco set is appropriately sleek and contains some fine details such as the geometric rug and artwork while the costumes by Nikki Bird and the lighting by Douglas Kuhrt are appropriate and unobtrusive. The incidental music by Matthew Bugg is essentially pointless but inoffensive whilst his composition for the opening and closing of the acts is reminiscent of the main theme to the "Poirot" television show, complete with saxophone. No coincidence, methinks.
Joe Harmston's direction is assured and generally keeps events moving with only the second act threatening to drag slightly. Act three, however, quickly steps up the pace and brings the events of the play to a satisfying, if somewhat obvious, close.
The cast are strong and one feels that they are having quite a bit of fun with it all with the humour being brought out of the text as much as possible. Of course, the play is of its time and no real effort has been made to fight against that fact and thus some of the acting can come across as heightened and a trifle melodramatic, if not hammy, but I don't really think this is a negative given the nature of this production. There are some rather dodgy accents which drop here and there but, again, this is part of the charm of the play.
As "Poirot", Jason Durr was something of a surprise; although his accent is too French for a Belgian and marred a little of his diction, and his physicality needs a little work (his walk is too stiff at times) he is humorous and charming when appropriate and clearly plays the part with sincerity and, despite appearing too young for the role, he is a commanding presence whose interpretation comes across as a darker "Poirot" than one expects. His portrayal, rather than emulating David Suchet, echoes the performance of Albert Finney at times but is very much his own and, with a little more work, shows promise to be a great portrayal of Agatha Christie's most famous character.
All in all this is an entertaining, glossy and sturdy production complete with enjoyable performances that serves as a wonderful introduction to the world of Agatha Christie on stage, replete with all the hallmarks that Dame Christie excelled at.
Tuesday, 28 October 2014
"Dangerous Corner", Theatre Royal Glasgow, 27/10/14
A review written for Backstage Pass
http://www.backstagepass.biz/2014/10/theatre-review-dangerous-corner-theatre.html
As far as playwrights go, J B Priestley certainly must rank amongst the more famous and popular following productions of "An Inspector Calls" in the last few decades and this new touring production of "Dangerous Corner" is a solid presentation of what was his first attempt at writing for the stage.
Its plot revolves around a group of well-to-do people at a social gathering whose lives start to unravel when uncomfortable truths begin to emerge following the painful revelations of lies and deceit concerning the theft of money and the resulting suicide of someone close to all those present this particular night.
Upon entering the auditorium songs of the period are heard and the audience are confronted with an elegant set whose angles belie its outward appearance: Something perilous lurks under the outer façade of respectability. Gary McCann is responsible for the design and his costumes are also gloriously realised whilst the effective lighting is by Tim Mitchell.
Direction by Michael Attenborough is suitably moody and heady though static at times and the pace could be improved upon in places whilst the sometimes heightened performance style is a little inconsistent.
The cast are generally strong with each actor confident in his or her role and this includes Rosie Armstrong and Susanna Herbert who, on this occasion, covered the roles of "Olwen Peel" and "Miss Mockridge" respectively.
As "Robert Caplan" Colin Buchanan is a little clunky at times although this may be down more to direction than the actor's choices.
Finty Williams as "Freda Caplan" is spirited, lively and hugely entertaining whilst Michael Praed as "Charles Stanton" is the most natural with Priestley's text and the most physically at ease and is thus perfectly suited to his character who has some of the most funny lines which Praed delivers effortlessly and dryly.
Altogether this is a sound production which, following a slow start, soon gears up toward a most intriguing climax.
http://www.backstagepass.biz/2014/10/theatre-review-dangerous-corner-theatre.html
As far as playwrights go, J B Priestley certainly must rank amongst the more famous and popular following productions of "An Inspector Calls" in the last few decades and this new touring production of "Dangerous Corner" is a solid presentation of what was his first attempt at writing for the stage.
Its plot revolves around a group of well-to-do people at a social gathering whose lives start to unravel when uncomfortable truths begin to emerge following the painful revelations of lies and deceit concerning the theft of money and the resulting suicide of someone close to all those present this particular night.
Upon entering the auditorium songs of the period are heard and the audience are confronted with an elegant set whose angles belie its outward appearance: Something perilous lurks under the outer façade of respectability. Gary McCann is responsible for the design and his costumes are also gloriously realised whilst the effective lighting is by Tim Mitchell.
Direction by Michael Attenborough is suitably moody and heady though static at times and the pace could be improved upon in places whilst the sometimes heightened performance style is a little inconsistent.
The cast are generally strong with each actor confident in his or her role and this includes Rosie Armstrong and Susanna Herbert who, on this occasion, covered the roles of "Olwen Peel" and "Miss Mockridge" respectively.
As "Robert Caplan" Colin Buchanan is a little clunky at times although this may be down more to direction than the actor's choices.
Finty Williams as "Freda Caplan" is spirited, lively and hugely entertaining whilst Michael Praed as "Charles Stanton" is the most natural with Priestley's text and the most physically at ease and is thus perfectly suited to his character who has some of the most funny lines which Praed delivers effortlessly and dryly.
Altogether this is a sound production which, following a slow start, soon gears up toward a most intriguing climax.
Tuesday, 16 September 2014
"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.
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.
Thursday, 31 July 2014
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Diary of a Benefit Scrounger: Confirmed - The FULL Impact of Cuts Disabled Peopl...: Since the coalition came to power, sick and disabled people have claimed we are being fundamentally harmed by the coalition welfare refor...
Sunday, 20 July 2014
'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.
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.
Friday, 11 July 2014
'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.
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.
Wednesday, 18 June 2014
'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?
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?
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