"The Importance Of Being Earnest", 24/11/15, Glasgow Theatre Royal

Unexpectedly written for Backstage Pass:
http://www.backstagepass.biz/2015/11/theatre-review-importance-of-being.html

 

 

"The Importance of Being Earnest" brims with the wit and humour for which Oscar Wilde is famous and class, social standing and identity are key elements in this famous comedy with Simon Brett's 'framing device' of a group of aged amateurs staging a revival of their most successful production allowing some of Britain's most respected middle-aged actors to play parts usually reserved for those half their ages.

What we witness is a rehearsal for their forthcoming production taking place in the home of leading lady "Lavinia Spelman" (Siân Phillips) which also turns out to be the perfect setting for this interesting take on Wilde's comic classic. All cast members take the role of a member of the "Bunbury Company of Players" and portray either the actors rehearsing or the crew supporting them. Brett's 'backstage' material hints at shenanigans between the company members which could be really quite humorous but his material is left sadly underdeveloped. Brett's conceit is a little uneven and there are moments when it intrudes on the play proper to negative effect, although this is by no means a constant issue and it is ultimately unfortunate that the framing device isn't followed through to the very end of the production. Indeed in the second half it is very easy to forget the play-within-play concept and enjoy Wilde's play for what it is.

 

Lucy Bailey's direction is assured, elegant and witty and her unfussy work allows the cast to shine fittingly. Bailey keeps the pace driving along for the most part and, although there are one or two moments which feel a little slack, the momentum continues on like the proverbially oiled wheel and there are some lovely and well staged moments throughout. The humour and wit inherent within both Wilde and Brett's material is drawn out almost effortlessly and to great effect by Bailey and the excellent cast she directs.

 

William Dudley's set design is opulent and detailed creating a space of great value to the production adding to the wonderful lustre of the production as a whole and his costumes are equally excellent and perfectly attuned to the production both on and off the Bunbury stage.

 

The jaunty music and sound design of Tom Mills is equally appropriate and unobtrusive and the lighting design by Oliver Fenwick is subtle yet mood-appropriate and compliments the setting gloriously, especially in the latter half where the effect of colour and shadow is sublime.

 

The cast is uniformly superb, equally adept at portraying their Bunbury character and, where appropriate, their Wilde character. Nigel Anthony as "George", husband to "Lavinia", is underplayed to perfection and his dual Wilde roles of "Lane" and "Merriman" have some lovely, humorous moments. Likewise Rosalind Ayres whose "Wendy" plays the essential part of "Miss Prism" whose interactions with the "Rev. Canon Chasuble" of David Shaw-Parker (as "Paul") are engaging and charming. Her ultimate reveal at the climax is wonderfully timed and performed.

 

Carmen Du Sautoy as "Maria/Gwendolen Fairfax" and Christine Kavanaugh as "Ellen/Cecily Cardew" capture the spirit and energy of their roles and they shine appropriately, performing with abandon and to perfection, taking no prisoners with their delivery of sharp and witty lines especially in their face-off over the titular character(s). They also manage to capture the perfect balance between real acting and the over-acting attributed to amateur companies (often mistakenly) such as the Bunbury Company. It is this juxtaposition that is a little unsettling in Brett's concept but, regardless, they - and everyone else - perform it quite brilliantly.

 

Nigel Havers and Martin Jarvis both sparkle in their parts and they are ebullient, spirited and youthful, demonstrating the prowess of true talent and they effervesce as "Dicky/Algernon Moncreiff" and "Tony/John Worthing" respectively. Theirs is clearly a job they love and enjoy doing making the audience's enjoyment all the more fulfilling.

  

Special mention must be made of Carole Dance's prop-lady, "Sasha", and her escapades involving cucumber sandwiches: a wonderful addition by Simon Brett captured brilliantly by an under-used actress.

  

But the production belongs, appropriately enough, to the glorious Siân Phillips whose theatrical magic still burns bright and who delivers a stellar performance epitomising the ideal of stage presence. Exuding class and sophistication she deftly switches between the Bunbury character of "Lavinia" and Wilde's indomitable "Lady Bracknell" commanding the stage with the slightest of movements, effortlessly conveying the wit of Wilde's work with deliberate effect and completely inhabiting the theatre with her complete performance. It is a joy to watch her in such an entertaining and well written role and she continues to prove what a great and talented actress she really is.

  

Much like Phillips, the whole production is redolent of class and style and is in stark contrast to a number of recent touring productions where such strong production values are not so evident. "The Importance of Being Earnest" is full of verve and energy and is a chance to see some great actors at the peak of their craft and, although not a perfect production, one could do worse than to experience such a wonderfully superb cast working with some of the strongest material ever written for the stage in one of the most beautiful productions seen for a while.

 

 

"An Inspector Calls", Glasgow Theatre Royal, 3/11/15

Written for Backstage Pass:
http://www.backstagepass.biz/2015/11/theatre-review-inspector-calls-theatre.html

23 years since its premiere at the National Theatre this touring production of Stephen Daldry's production of J B Priestley's "An Inspector Calls" still retains its awe-inspiring magnetism whilst remaining ever more politically relevant. First produced in 1945 in Moscow, Priestley's play is a treatise on social responsibility illustrating how one person's acts can have significant consequences.

Daldry's production created a mini-revolution when first presented with its theatricality, from lighting to set design, releasing Priestley's text from the confines of the somewhat dated drawing room drama it had become. From the arresting air-raid siren that announces the opening of the play through to the pregnant expectation of the final still moments, the drama unfolds in a stirring whirlwind of revelation as one by one the Birling family, celebrating the engagement of Sheila Birling to Gerald Croft, are presented with the events that culminate with the suicide of a young woman apparently known to all present. Interrupting their celebrations, the mysterious Inspector Goole proceeds to relentlessly coerce each individual to confront the truth of their part in the tragedy, unravelling the hypocrisy of the façade they each present along the way.

Director Daldry, whose work also includes "Billy Elliot" (both movie and stage musical), together with Ian MacNeil's design and the lighting of Rick Fisher, establishes an environment that crystallises the fragility of the Birling household surrounded by the bleak landscape of a reality they purposefully choose to ignore whilst the musical score by Stephen Warbeck is evocative, dramatic and suitably underscores the emotional impact of the events unfolding onstage. Daldry's total use of staging, design and text epitomises the trend of "director's theatre" with each element combining to create a whole that only an assured, confident director with a clear "vision" can execute with such surety and he never allows his cast, nor Priestley's text, to become a secondary factor. Everything functions to serve the drama and the cast that conveys it and they remain the primary focus in a production that could easily have been overwhelmed by other elements. Daldry's greatest achievement is in stripping away the barriers of time so that the themes resonate to a modern day audience; whilst the events of the play are set in 1912, Daldry establishes an audience of "Supernumeraries" (in 1940s dress) to bear witness to the Birlings' confessions whilst also having moments where the theatre audience is addressed. Time is blurred but the relevance is not.

The cast are uniformly excellent and perform in a slightly heightened aspect that is entirely appropriate to the nature of the production whilst remaining completely honest and real throughout. Liam Brennan's "Inspector Goole" dominates proceedings and his wonderful voice is only one aspect of his commanding performance whilst Caroline Wildi's "Sybil Birling" is a model of control and regality. Tim Woodward as her husband, "Arthur", offers a contrasting attitude. As the more socially-aware younger "Birlings", Katherine Jack and Hamish Riddle are spirited but equally as fragile as they are self-aware. Matthew Douglas' "Gerald Croft" presents an assured confidence that even the truth finds difficult to shake at times and Diane Payne-Myers, as the predominantly silent maid, "Edna", establishes a complete performance with her constant scuttling about the stage, subtly reacting to the eventual unravelling of the Birling family around her.

Every action performed by every actor serves to further events and there is virtually nothing that is presented as a triviality.

There are few socially relevant plays which are as thrilling and exciting to witness as this theatrically stunning production and it is a testament to the writing of J B Priestley and Stephen Daldry's execution of it that the play remains a relevant and powerfully thoughtful one especially given the political times in which we reside.

"The Smallest Show On Earth", Theatre Royal, Glasgow, 26/10/15

Written for Backstage Pass:
http://www.backstagepass.biz/2015/10/theatre-review-smallest-show-on-earth.html

 

Based on the 1957 British Lion comedy, The Smallest Show On Earth is the story of a pair of penniless newlyweds, 'Jean' and 'Matthew Spenser' (Laura Pitt-Pulford and Haydn Oakley) who learn they have inherited a cinema in Sloughborough. After setting out to view what they hope will be their financial salvation they discover that the 'Bijou Kinema' is anything but. Faced with stiff competition from a rival cinema run by 'Ethel' and 'Albert Hardcastle' (Ricky Butt and Philip Rham) they set out to restore the 'Bijou' to its more successful days. Faced with its quirky staff, including alcoholic projectionist 'Mr Quill' (Brian Capron - of 'Coronation Street' fame), and sabotage attempts from the 'Hardcastles', the 'Spensers' must formulate a plan to make their little flea-pit into a success before it is bought out and turned into a car-park.

It seems an odd juxtaposition that the British plot should be united with Irving Berlin but the marriage is a happy one and his songs are used to serve and further the story which has undergone some happy adaptation from the original film: Thom Southerland and Paul Alexander's script captures the feel of those Ealing-period British comedies and is peppered with great one-liners and develops some appealing relationships not necessarily in the original film.

Musical supervisor/arranger Gareth Valentine and Orchestrator Mark Cumberland ensure that the songs are weaved into and around the dialogue and the sound produced by the six-piece orchestra is spot on. All of these elements consolidate to create a fully formed piece of musical theatre that feels organic and sincere. Of course, it was not unusual for composers to create new musicals from their own back-catalogue and Berlin was amongst those who elected to pick and choose numbers when creating a new musical for stage or screen, so the idea of using pre-existing numbers is not a new strategy here but it is a successful one.

David Woodhead's set and costume design is elegant and witty and is beautifully complimented by Howard Hudson's lighting design. Thom Southerland's direction is energetic, tender and precise and he is adept at creating interesting, exciting transitions whilst never neglecting his cast with whom he creates some lovely sequences although some tightening could be undertaken in places. The musical staging is entertaining and the choreography by Lee Proud is perfectly suited to the style and nature of the piece, evoking an age long since past.

The cast are led by Liza Goddard as 'Mrs Fazackalee' and Brian Capron as 'Mr Quill' and both are pleasing to watch whilst also providing some of the more moving moments in the production. Laura Pitt-Pulford and Haydn Oakley have a delightful and believable chemistry as the newlyweds and both are blessed with glorious vocals. Christina Bennington and Sam O'Rourke are unrelentingly charming as the youngsters from opposing families whose sweet, adolescent relationship adds a youthful energy and warmth to proceedings whilst Matthew Crowe, as reluctant solicitor 'Robin Carter', has some of the most fun onstage; he proves to be a truly entertaining all-round performer and gleans all he can out of one of the most amusing parts in the show. The supporting ensemble is strong in all aspects and the entire company shines consistently.

"The Smallest Show On Earth" is a charming, amusing and ultimately entertaining heart-warming little show that harkens back to a more nostalgic time and it is a bit of a dark horse amongst the more monolithic productions that are also currently touring. The theatrical equivalent of a hearty Sunday roast this understated yet tenacious and robust production is perfect fare for many an audience member and the opportunity should be taken to enjoy it while you can: It is a lovely little show.

Happy Hallowe'en

 

 

"Sunset Boulevard", King's Theatre, Glasgow, 24/10/15

One of the last of Andrew Lloyd Webber's mega-musicals, "Sunset Boulevard" is based on the classic Billy Wilder film that presents the story of Joe Gillis, struggling screenwriter, who happens upon the mansion of Norma Desmond, 'famed star of yesteryear', who has spent the last twenty years of her life reliving her past glories on celluloid whilst cobbling together a screenplay that will mark her 'return' to the fans who, she believes, have never left her. Gillis soon becomes entrenched in Norma's crazed life and she quickly falls in love with him, whilst her ever-present manservant, Max, looks on passively. The tragedy soon reveals itself, however, as reality starts worming its way into Norma's world and her fragile existence starts to unravel.
Lloyd Webber's score is, appropriately, his most cinematic and contains some well-known numbers including 'With One Look' and 'The Perfect Year'.

The nature of the story presents inherent difficulties in staging the celluloid story and is a challenge for any company. Amateur group Glasgow Light Operatic Club should be praised alone for attempting such a demanding production.
In lesser hands the staging could have been an outright disaster but Alasdair Hawthorn is a more than competent director. It's true that not every sequence comes over successfully and that the exposition becomes a little turgid but, for the most part, the plot and staging is fluid and concise and the demanding transitions are handled appropriately.
The musical direction by David R Dunlop is a bit wanting in some areas; there are some numbers which are performed at a slower rate than appropriate whilst others feel a bit rushed. It is also unfortunate that a score orchestrated with strings replaces them with synthesisers thus rendering the score inappropriately synth and brass-heavy. This also has the effect of dulling some of the musical impact and phrases. That said, the musicians present did a great job with some of David Cullen and Lloyd Webber's most moving work.
Choreographer Antony Carter did a fine job in creating enjoyable dance sequences that never seemed to intrude upon the dramatic action
A lot of amateur companies are also guilty of somewhat neglecting lighting but this cannot be said for this production; here it was a considered aspect and an integral part of the whole, delineating space and mood effectively.

The cast rose to the challenge of "Sunset Boulevard" amiably and were led by Ross Nicol as 'Joe Gillis' and Aileen Johnston as 'Norma Desmond' and both held themselves well. Whilst there may have been a few too many moments of 'armography' for my liking, both Nicol and Johnston have a commanding presence with strong vocals to match and Johnston especially has moments where she surpasses herself, none more so than her triumphant return to Paramount Studios with the number, 'As If We Never Said Goodbye'.
Johnathan Procter's 'Max' stood as a pillar of strength epitomising the power of stillness whilst his vocals appropriately echoed the emotional that lay within. His was a most charming and moving performance. Kirsten MacDonald also has moments as 'Betty Schaefer' where she shines and she has a lovely tone to her voice, if only she let it out more confidently as she was a little reserved at times yet clearly has the pipes for the part; a fact in evidence come her duet with Nicol, 'Too Much In Love To Care', where she soars beautifully.
Also worthy of mention are Greg Reid's naive 'Artie Green' and the 'Manfred' of Iain G Condie who provides a wonderfully delivered number replete with comedy and underlying disdain. Director Hawthorn also makes a brief, uncredited, cameo in the appropriate role of 'Cecil B DeMille' adding a sense of reality to proceedings.

Kudos must be given to a company in taking a risk with such a demanding production but, for the most part, a company that succeeds. It is always important that theatre - at whatever level, amateur or professional - takes risks, embraces danger and offers something new to its audience and GLOC have certainly done that.

"And Then There Were None", Theatre Royal, Glasgow, 19/10/15

Written for Backstage Pass:

http://www.backstagepass.biz/2015/10/theatre-review-and-then-there-were-none.html

Arguably considered Agatha Christie's masterpiece, And Then There Were None remains amongst the most well known of all crime fiction and is Christie's best-selling title. First staged in 1943, and adapted by Christie herself this production has been set in 1939 and has been slightly adapted from Christie's original script by the production company to surprising, positive effect.

The plot revolves around a group of strangers lured as guests to an isolated island where a mysterious voice announces judgement upon them for their apparent past "crimes". What follows is an excellent showcase for the plotting talents of the Queen of Crime as murder follows murder and paranoia blooms among the remaining guests. Of course, trying to work out whodunit is all part of the fun of an Agatha Christie plot and the play offers much for the avid audience member/armchair detective.

The Agatha Christie Theatre Company has been creating fine productions of Christie's plays for the past decade and this is no exception. With assured, confident direction by Joe Harmston, who plays up the humour in Christie's writing, the play is never lax in engaging with its audience. It is true that there are moments when the laughs may be unintentional but the style is, at times, almost tongue in cheek and this is rather welcome in this spirited production where such amusement offers contrast to the sudden shocks that Harmston delivers. He handles the pace of the production easily and uses the space very well, investing the production with deft touches not inherent in Christie's script.

The set design by Simon Scullion is attractive, evocative and well suits the Art Deco period and are a perfect backdrop to the elegant costumes designed by Roberto Surace. The  lighting by Douglas Kuhrt is atmospheric, redolent and subtle as is the sound by Matthew Bugg. The only excess in these departments is the heavy-handed use of Latin chanting at the climax of the play.

"And Then There Were None" is blessed with a strong cast led by the dominant performance of Paul Nicholas whose strength and stillness capture the character of "Sir Lawrence Wargrave" whilst his voice drips authority. Mark Wynter is equally as charismatic as "Doctor Armstrong" and is utterly striking as the flawed professional. Eric Carte, as "General Mackenzie", is another performer whose characterisation is perfectly balanced and whose delivery elevates Christie's text to near-poetry quality at times. Indeed, all the cast deliver the dialogue with ease and imbue the text with a quality that raises it above the sometimes dated language that typifies Christie's writing. Deborah Grant as "Emily Brent" is a prime example; surpassing the potential limitations in the period text effortlessly whilst Kezia Burrows overcomes the language in a more physical manner as "Vera Claythorne". Mark Curry, Colin Buchanan, Ben Nealon, Judith Rae and Jan Knightley all serve the play in an excellent manner whilst Tom McCarron, as "Anthony Marston", succeeds in overcoming the most stilted, archaic vocabulary present in the script, turning it into the most natural expression within the environment created onstage.

The build up of pressure and tension does threaten to enter over-the-top territory before the dénouement and it is here the play could be refined as could the slightly overdrawn ending, but the production is never boring, flat or uneventful and is a considered, consistent, thoroughly enjoying, often thrilling production that will appeal to more than just die-hard Agatha Christie fans.
There is a reason that And Then There Were None is one of the most famous stories in crime fiction and this sumptuous production showcases it well. Discover it for yourself ...

"All My Sons", Glasgow Theatre Royal, 2/9/15

Written for Backstage Pass:

http://www.backstagepass.biz/2015/09/theatre-review-all-my-sons-theatre.html

 

Arthur Miller's first successful play, All My Sons, is presented by Rapture Theatre Company in a production that seems to have something of a curse upon it; not only was leading actor Paul Shelley hospitalised before opening night (though expected to return to the production for the Inverness run), but Trudie Goodwin very nearly followed him after collapsing a third of the way through the second half of the performance. Okay, not quite - but it did seem that the heat within the Theatre Royal was too much for her and her collapse mid-performance prompted a ten-minute delay. But, ever the trooper, and epitomising the maxim, "the show must go on", the performance was resumed with renewed vigour.

Miller's unflinching play, inspired by true events, is the story of a family, already dealing with the absence of one son, who are forced to confront the terrible truth that has been hidden for several years when figures from their past re-enter their lives. Recalling Greek Tragedy with its father-son relationships and the idea of resolution through reckoning, it's a moral play replete with definite opinions and outcomes. The principle of karma is also apparent and the conclusion, although somewhat shocking, is inexorable.

The design by Neil Murray is, on first impressions, a basic clapboard house and its backyard although, upon closer inspection, it appears that one corner of the building is covered with mould and appears to be rotting. It is a rather hollow and empty design which could be said to reflect the state of affairs of the people who dwell within - their lives are something of a façade and one shouldn't look too closely at the details. It could also be said to represent the nature of the production as a whole - unrefined and not quite detailed enough. The lighting by Sergey Jakovsky is serviceable but unexciting and the sound design by Craig Johnston needs more honing and could be more consistent and subtle.

David Tarkenter, understudying the part of Joe Keller, is very good in the role, as is Robert Jack as Chris Keller. Both are able to grasp the basic principles of each character and deliver them in an assured way. As Lydia Lubey, Pauline Turner also holds her own, albeit in a smaller part. Trudie Goodwin is quite excellent as Kate Keller and hers is the most thorough, nuanced and honest characterisation in a company of actors who exhibit moments of great promise but who seem to be restrained by tepid direction and thus are never really able to create thorough character arcs and sustained through-lines leaving the performances a little uneven complete with some laboured dialogue. And whilst the cast, as a whole, are never less than competent there are a number of dodgy accents and moments of stilted acting, although the humour is always delivered with aplomb, and one gets the sense that the actors on-stage are able to give even more than is in evidence if only given the chance.

Michael Emans' direction is somewhat lacking in consistency, often being clunky and stale and he is guilty of some obvious and uninspired handling of the performance space and it's his labours that are the predominant cause of flaccid performances and the creation of a production where energy and pace fluctuate for the most part, although the second act does trundle along with more fluidity than the first.

All in all this is a flawed production containing elements raising it beyond the mundane but it is nevertheless a fair effort of a powerful and demanding play. Should the producers and director revisit the production any time soon they would do well to build upon the successful components already present to create a more thorough and even production.

"Twelve Angry Men", Theatre Royal Glasgow, 22/6/15

Written for Backstage Pass:

http://www.backstagepass.biz/2015/06/theatre-review-twelve-angry-men-theatre.html




     Imagine you are one of a dozen men tasked with the responsibility of whether a young man is executed or not; that his fate relies on the choice you make; guilty or innocent. Now imagine you stand alone in your choice - would you give in to the pressure of your fellow jurors to agree with them or fight for what you believe to be true? This is the basic premise of Reginald Rose's Twelve Angry Men where we see twelve jury members tackle the evidence presented before them, their personal prejudices, and each other to reach a unanimous decision that will seal a sixteen year old boy's fate.

     Most famous as a 1957 feature film starring Henry Fonda, the play began life as a television play presented in 1954 before the first theatrical adaptation was staged. This touring production stars Tom Conti, Andrew Lancel, Gareth David-Lloyd and Robert Duncan amongst a cast who perform Rose's script with aplomb. The piece relies on a strong ensemble and there really isn't a weak link amongst a cast who confidently grasp the audience's attention, building tension throughout the play until the final decision is made. It is a credit to the actors that they are able to make such a wordy play into such a gripping experience. 

 

     Rose's script is more or less tight, though a little slow to start and he peppers the dialogue with many a humorous line and insights into the personal lives of the anonymous jurors. Rose creates characters who feel rounded and complete, despite the small clues we are given, and creates believable tension and conflict amongst them when facts face off against personal impressions and preconceptions. His use of logic in having characters deconstruct and evaluate the evidence and witnesses is strong and he imbues the play with a variety of themes that rear their heads at one point or another; such as consensus-building, standing strong against the odds and the potential outcomes of human error. Ultimately we realise that no justice system is truly perfect.

     Christopher Haydon's direction is quite assured and confident although he has some lines fall flat or presented somewhat clumsily. Haydon utilises the stage throughout; moving his actors about fluidly and expressively and thus avoiding the creation of a static and boring theatrical visual.

A drop displaying the Scales of Justice hides the jury room which is soon revealed contained within a steel girder cube complete with more naturalistic doors and windows and a table upon a slowly moving revolve (which adds to the sense of drama). Michael Pavelka's design is enhanced by the sound and lighting designs of Dan Samson and Mark Howett respectively and the lighting is especially moody and subtle further creating a sense of animation about the unit set.

 

     An intriguing take on a whodunit, Twelve Angry Men offers a chance to have us ask ourselves how we might act in any one of the jurors' place as we bear witness to the struggles and difficulties that such a position offers. And, ultimately, life is created by the choices we make. For ourselves and for others.