"Chess", RCS, Edited Review For Backstage Pass

My review for the Royal Conservatoire of Scotland production of Chess (seen here) has been slightly edited and published on Backstage Pass:

http://www.backstagepass.biz/2017/03/theatre-review-chess-royal.html

Originally developed as a 1984 album Tim Rice, Benny Andersson and Björn Ulvaeus' musical Chess spawned several chart hits, including the number one single I Know Him So Well. It was later deconstructed, rewritten, hacked apart and re-staged in various forms by a variety of directors to the point that no two version of Chess have ever been the same. In 2008 Tim Rice presented a concert version at the Royal Albert Hall in an effort to present a version close to definitive.

The musical portrays the story of chess grand-masters Freddie Trumper and Anatoly Sergievsky, representing the U.S. and U.S.S.R. in the World Chess Championship, and the woman who comes between them, Florence Vassy, who works with the American but soon falls for the Russian player. The Cold War political undertones inform the various machinations of the plot but ultimately it is a story of doomed love.

Chess is oft cited as having a complex plot but this is not so, especially if the direction is precise and focused. But here a lack of clarity and a penchant for excessive staging muddies the storytelling despite the apparent need to spoon-feed the audience information at times. It's a rather chaotic production that lacks cohesion and Andrew Panton's direction is woefully misguided and it's apparent he does not understand the musical and has not listened to Rice's lyrics, which are integral to the storytelling. Panton's staging doesn't join the dots and there are some very questionable decisions which fail to serve the plot. Act II is especially chaotic and incoherent and there is also an obsession with onstage drinking and an excessive use of fog, which threatened to engulf the audience during I Know Him So Well. 
The choreography by Darragh O'Leary is serviceable  but there are many missed opportunities, including a rather unremarkable One Night In Bangkok and a rather staid Merchandisers. His most successful work is in the second chess game where the conflict between Freddie and Anatoly is truly put to the fore in dynamic fashion. 
Kenneth MacLeod's design is clumsily dwarfed by a central platform that causes some serious stall sight-line issues but is otherwise rather run-of-the-mill and uninspired with the upstage platform under-used, though the video screen design is a welcome variation, even if the graphics themselves are questionable. The costumes include some odd choices and appear as a random assemblage of 1980s stereotypical images; Corey Haim in The Lost Boys; Miami Vice; huge over-the-top bear-skin hats for the Russians; even adorning the ensemble of One Night In Bangkok as if they were in Liberace's gym - replete with gold tank tops and shorts. Indeed the costumes are rather unvaried in scenes causing a massive swathe of singular colour to overpower the stage. Among the most unusual costume choices are for the ensemble, presumably here meant to represent chess pieces, during the chess games where cumbersome head gear is sported, recalling the helmet of TV's Knightmare. 
The unrestrained lighting design by Grant Anderson is often also a hindrance to the audience's view, often blinding them, and it is regularly overpowering, though there are also successful moments and ideas as in The Deal. 
This presentation is based on the London version, using some of the more recent additions and revisions and whilst the musical direction is fine, other musical edits are undertaken and these are rather hit and miss serving no real purpose with many being cloddish, and where sung lines are spoken, devoid of underscore, these are often awkward. That said, it's always a joy to hear Chess with a full sized orchestra - including a full string section.

It is unfortunate that there are no believable character arcs in this production based on directorial choices but the cast rise above the limitations imposed upon them: 
The Arbiter of Emma Torrens is terribly under-used and appears as a visual merging of Sam Bailey and Ana Matronic. Though she is often rooted to one spot throughout the show her dynamic vocals punctuate the production with massive effect. 
Jamie Pritchard as Anatoly is a charismatic, attractive figure who has an interesting, if unusual, vocal technique and he serves the role well and, for the most part, creates a sympathetic character that appeals to the audience. 
Freddie is portrayed as an erratic drug addict - at least in Act I, since this vice disappears in Act II. This imposed addictive factor serves only to negate the principle that Freddie is an unpleasant character because of his intense focus, to the detriment of all else, on the game of chess and his childhood as revealed in Pity The Child. Here his addiction is the issue rendering his actions in the second act as without reason. Barney Wilkinson's voice is suited to the rock role and he is certainly a watchable Freddie. 
Walter and Molokov are rather unusual portrayals, with Walter, here played by Jacob Stein, being a rather unpleasant stereotype, complete with cowboy hat and cigar, whose singing part has been unwisely all but cut. Shane Convery's Molokov is likewise stunted by directorial choices, though he, at least, has more to do. 
Svetlana has little to do, aside from verging on histrionics, and is dressed rather extravagantly for a Russian woman from Soviet-era Russia, even the wife of the Russian chess champion. In the role, Hayley VerValin does her best with the little material she is given but it is unfortunate her solo, Someone Else's Story, does not employ the appropriate 1990 Australian rewrite lyrics which make more dramatic sense for her character. 
Florence has the most successful vocals of the production (Nobody's Side is the highlight of the show) though her character is again marred by direction; having her drunk during Mountain Duet, a scene where she is supposed to fall for the Russian, negates the sober choice she is meant to be making. That said, the fact that Florence and Anatoly have no physical contact during the number makes the scene, and Freddie's response to it, ultimately futile. But Daisy Ann Fletcher is certainly something of a powerhouse in the largest role in the show. 
The ensemble do well with what they are given though this often constitutes some of the most cartoon-like, comical stereotyping ever seen which only belittles the cast and the material they perform. The ensemble vocals during Act II fall apart somewhat with Bangkok often sounding akin to a cacophony but they are especially successful when they are portraying the Reporters, handling some of the most demanding musical material very well. 

Kudos must be given to the Royal Conservatoire for attempting this demanding show but, sadly, for the most part it is a misdirected effort laden with flaws filled with excesses worthy of a Tom O'Horgan production and it is unfortunate that the cast are let down by an unremarkable creative team who have created a production that is all too clumsy and clunky and not at all as elegant as the game of chess, and the musical of the same name, should be.

"Chess", Royal Conservatoire of Scotland (New Athenaeum Theatre), Glasgow, 18/3/17

Tim Rice, Benny Andersson and Björn Ulvaeus' musical Chess was originally developed as a 1984 album which spawned several chart hits, including the number one single I Know Him So Well. It's journey to the stage was the start of a turbulent journey where the musical was deconstructed, rewritten, hacked apart and re-staged in various forms by a variety of directors. So much so that no two version of Chess have ever been the same. In 2008 Tim Rice presented a concert version at the Royal Albert Hall in an effort to present a version close to definitive.

The musical portrays the story of chess grand-masters Freddie Trumper and Anatoly Sergievsky, representing the U.S. and U.S.S.R. in the World Chess Championship, and the woman who comes between them, Florence Vassy, who works with the American but soon falls for the Russian player. The Cold War political undertones inform the various machinations of the plot but ultimately it is a story of doomed love.

Kudos must be given to the Royal Conservatoire for attempting this most demanding show but, sadly, for the most part it is a misdirected effort laden with flaws and throughout there are excesses worthy of a Tom O'Horgan production.

Chess is oft cited as having a complex plot but this is not necessarily so, especially if the direction is precise and focused. But here a lack of clarity and a penchant for excessive staging muddies the storytelling despite the apparent need to spoon-feed the audience information at times, as when screens explain the lyrics 'S.R.O.' and Molokov's manila folder emblazoned with 'Classified' - despite the fact that the word should be in Russian. In comparison, other design elements are far too busy to be successful, as in the tops worn by the Merchandisers.

It's a rather chaotic production that lacks cohesion and Andrew Panton's direction is woefully misguided and it's clear he does not understand the musical and has not listened to Rice's lyrics, which are integral to the storytelling. Panton's staging doesn't appear to join the dots and there are some very questionable decisions which fail to serve the plot. Act II is especially chaotic and incoherent and there is also an obsession with onstage drinking and an excessive use of fog, which during I Know Him So Well threatened to engulf the audience.

The choreography by Darragh O'Leary is serviceable, as is most of the musical staging but there are many missed opportunities, including a rather unremarkable One Night In Bangkok and a rather staid Merchandisers. His most successful work is in the second chess game where the conflict between Freddie and Anatoly is truly put to the fore.

Kenneth MacLeod's design is clumsily dwarfed by a central platform that causes some serious stall sight-line issues throughout the show. Beyond that it is rather run-of-the-mill and uninspired and the upstage platform is under-utilised, though the video screen design is a welcome variation, even if the graphics themselves are questionable, often reminding one of an American action movie title design. The costumes include some odd choices and appear as a random assemblage of 1980s stereotypical images; dressing Freddie as Corey Haim in The Lost Boys in Act I and a Miami Vice wannabe in Act II, adorning the Russians in huge over-the-top bear-skin hats, huge-shouldered security figures (and I mean huge), adorning the ensemble of One Night In Bangkok as if they have arrived from Liberace's gym - replete with gold tank tops and shorts. Indeed the costumes in such numbers are rather unvaried causing a massive swathe of singular colour to overpower the staging. Among the most unusual costuming choices are the ensemble costumes, presumably meant to represent chess pieces, during the chess games where cumbersome head gear is sported, recalling the helmet of TV's Knightmare.

The excessive lighting design by Grant Anderson is also sometimes a hindrance to the audience's view, often blinding them, and it is often overpowering, though there are also successful moments and ideas as in The Deal.

This presentation is based on the London version, with some of the additions and revisions of the Royal Albert Hall concert and whilst the musical direction is fine, other musical edits (including removing some of the backing vocals and reply lines in songs) are undertaken and these are rather hit and miss serving no real purpose with many being clumsy and where sung lines are spoken, devoid of underscore, these are often clunky. That said, it's always a joy to hear Chess with a full sized orchestra (not "band" as shamefully described in the programme) including a full string section.

It is unfortunate that there are no clear character arcs in this production since any established scenic points are all but ignored by the director and his choices. But otherwise the cast rise above the limitations imposed upon them:

The Arbiter of Emma Torrens is terribly under-used and comes across as a visual merging of Sam Bailey and Ana Matronic. Though she is often rooted to one spot throughout the show her dynamic vocals punctuate the production with massive effect.

Jamie Pritchard as Anatoly is a charismatic, attractive figure who has an interesting, if unusual, vocal technique and he serves the role as best as is possible given the erratic direction and, for the most part, creates a sympathetic character that appeals to the audience.

Freddie is portrayed as an erratic, alcohol-swigging drug addict - at least in Act I, since these vices miraculously disappear in Act II. This imposed addictive factor serves only to negate the principle that Freddie is an unpleasant character because of his intense focus, to the detriment of all else - including his relationship with Florence - on the game of chess and his family history as revealed in Pity The Child. Here his addictions are the issue rendering his actions in the second act as without reason. Barney Wilkinson's voice is suited to the rock role and he is certainly a watchable Freddie.

Walter and Molokov are rather unusual portrayals, with Walter, here played by Jacob Stein, especially being a rather unpleasant stereotype, complete with cowboy hat and cigar, whose singing part has been unwisely all but cut. Shane Convery's Molokov is likewise stunted by directorial choices, though he, at least, has more to do.

Svetlana is given little to do, aside from occasionally verging on histrionics, and is dressed rather extravagantly for a Russian woman from Soviet-era Russia, even if that woman is the wife of the Russian chess champion. In the role, Hayley VerValin does her best with the little material she is given. It is also unfortunate that her one solo, Someone Else's Story, employ the original Broadway lyrics where the song was written for Florence, rather than the 1990 Australian rewrite where the song was assigned to Svetlana with suitable corrections, as this would make more dramatic sense for her character.

Florence has the most impressive vocals of the production (Nobody's Side is the highlight of the show) though her character is again marred by the direction; having her get drunk during Mountain Duet, a scene where she is supposed to fall for the Russian, negates the sober choice she is meant to be making. That said, the fact that Florence and Anatoly have no physical contact during the number makes the scene, and Freddie's response to it, ultimately futile. But Daisy Ann Fletcher is certainly something of a powerhouse in the largest role in the show.

The ensemble do well with what they are given though this often constitutes some of the most cartoon-like, comical stereotyping I've ever seen which only belittles the cast and the material they perform. The ensemble vocals during Act II fall apart somewhat with Bangkok often sounding akin to a cacophony but they are especially successful when they are portraying the Reporters, handling some of the most demanding musical material very well.

Chess is a most demanding show and it is unfortunate that the cast are let down by an unremarkable creative team who have created a production that is all too clumsy and clunky and not at all as elegant as the game of chess, and the musical of the same name, should be.

An edited version of this review was later published on Backstage Pass and can be read here: http://sharmanprince.blogspot.co.uk/2017/03/chess-rcs-edited-review-for-backstage.html

"La Cage Aux Folles", Edinburgh Playhouse, 7/3/17

Despite premiering in London in the 1980s, this is the first ever UK tour of Jerry Herman and Harvey Fierstein's "La Cage Aux Folles". Following its West End transfer, the Menier Chocolate Factory production of a few years back was rumoured to tour but this, sadly, never happened. Now Bill Kenwright has taken the lead and produced a first class production, taking a risk on a title that has little track record outside of London, but one that more than delivers. What prompted Kenwright's decision I do not know but the production is more than welcome and especially timely given the politically volatile times we live in.

The musical tells the story of Georges, owner of St. Tropez cabaret club La Cage aux Folles, whose son, Jean-Michel, returns home to announce his impending marriage to Anne, daughter of right-wing politician Edouard Dindon, who seeks to close the nightclubs and restore 'tradition' values. Georges raised Jean-Michel with his partner Albin, whose alter-ego is Zaza, star of La Cage aux Folles. In an effort to win favour from his potential parents-in-law Jean-Michel requests that Albin make himself scarce when the Dindons arrive to meet his family. The tension and emotional turmoil that follows forms the crux at the heart of a story which illustrates how a solid family is formed by those sharing love and respect for each other, as demonstrated in Herman's beautiful song "Look Over There", and that as different as people may at first appear to be, in reality they share many similarities. 

There is some light trimming of Herman's score, which remains one of his finest, and some minor tinkering with Fierstein's book but these are not detrimental but, rather, serve to update and focus some details and both Herman's songs (including the anthemic "I Am What I Am", "The Best Of Times" and the lush "Song On The Sand") and Fierstein's book remain as entertaining, witty and as potent as ever. 

Director Martin Connor makes some brave choices, including ad-libbing and asides, and maintains a fluidity throughout whilst the choreography by Bill Deamer is attuned to the scenes in which they take place, be they 'onstage' or off, and further the quality of the production. The set and costume design of Gary McCann is exquisite and is elegantly complimented by the lighting. Where the previous Menier Chocolate Factory production took the lyrics of the title song as indication of the second- or even third-rate nature of the club, here the club's design is untarnished glamour and the production numbers, whilst retaining an element of the less-than-perfect, are first rate. Here the title number is performed with a wink as if something of an ironic joke about the nature of the club.
The orchestrations are surprisingly effective and the musical direction of Mark Crossland is on top form. Which is fortunate, given that Zaza keeps him on his toes.

This production appears to fuse time periods with 70s design elements working alongside modern ones, and this creates an impression of the timelessness of the piece, of how relevant its message is now as when the original Jean Poiret play was written. The variety of accents heard across the characters also illuminates the idea of inclusion, that the human story, regardless of where we originate, involves us all.

Another strong aspect of the production is the casting, led exceptionally by John Partridge as Albin/Zaza whose rich, silky vocals, at times sexually husky, deliver Herman's melodies and lyrics with ease, with every syllable imbued with purpose. His physicality is dynamic yet controlled and he moves effortlessly in heels (not for the first time as Partridge previously appeared as Marilyn in Taboo). As the emotional dynamo of the production he is adept equally in the intimate scenes as he is in his flamboyant scenes as Zaza where he ad-libs profusely, breaking the fourth wall occasionally - something that could threaten to derail the momentum of a production but which, here, becomes part of Zaza's magic. This is a role that Partridge was born to play and he makes the most of every moment especially his emotionally heartbreaking, yet rousing, performance of "I Am What I Am".

Adrian Zmed is a suave and attractive Georges, ever the calm at the centre of the storm that revolves about him. His relationship with Albin is tender, loving, never feels artificial and together they create an impression of emotional history and connection that maintains their relationship, replete with a palpable chemistry. Diametrically opposite to the wild nature of Albin, Georges is a necessarily solid, dependable character who might come across as dull, but that is not the case in Zmed's capable hands (and vocals) and he is as engaging and as charming as is possible and establishes himself as one of the many joys of the production.
The Cagelles of the company are unique, vivacious figures who lend sterling support, whether in the club numbers or not, and each promotes a strong presence when they appear and they dance and sing with sublime enthusiasm. The fact they can create individual characters within the confines of ensemble performance is a credit to each of them.
Marti Webb's Jacqueline may be relatively small role but it is an important one and Webb lends her powerful and impressive voice to the production and she is a welcome, calming, presence. Dougie Carter makes a visually and vocally attractive Jean-Michel and the Jacob of Samson Ajewole is a physical, comedic treat. Further support is excellently provided by Alexandra Robinson's Anne Dindon, Su Douglas' Marie Dindon and, as right-wing politician Dindon, Paul F Monaghan who, together, form the counterparts to the less traditional family of Georges, Albin and Jean-Michel.

A lively, thrilling, emotional, uplifting, joyously vibrant musical that proclaims 'we are what we are' and that that is more than okay, La Cage Aux Folles still retains an impact that is as credible, and as vital, as when Jean Poiret wrote his original play back in 1973. This vivacious production serves the material exceptionally well and is an example of the best of theatre at a time when entertaining, powerful stories need to be told and need to be seen and heard.

"The Play That Goes Wrong", Theatre Royal, Glasgow, 6/3/17

Written for Backstage Pass:

http://www.backstagepass.biz/2017/03/theatre-review-play-that-goes-wrong.html

Extolling the virtues of the worst aspects of amateur dramatics, The Play That Goes Wrong brings its anarchic chaos back to Glasgow as part of its new UK tour. Filled with uproarious action, witty dialogue and the worst actors (in the best possible way) the play presents the Cornley Polytechnic Drama Society's production of "The Murder at Haversham Manor". Or, rather, it attempts to as, needless to say, things go awry from the off.

Intelligently written by Henry Lewis, Jonathan Sayer and Henry Shields and utilising elements of farce, physical theatre and anything appearing on a list of theatrical nightmare scenarios from technical errors and misplaced props to timing mistakes, the production is cleverly constructed along the lines of the murder mystery plays of old whilst even managing a nod or two to the sacred Gaffer tape of theatre technicians among other bright moments dotted throughout. The authors' word play is exciting and no doubt contributed to their receiving the Olivier Award for Best Comedy in 2015. Dynamically abysmal lines are delivered with aplomb, exaggerated diction and even with excruciating mispronunciation.

The physical production is no less as varied and the staging is tightly choreographed around a set that is as dangerous as it is effective. Add to that the equally en pointe use of lighting and sound and you have the tumultuous parts to manufacture a manic whole. The construction and execution of the play is potently delivered thanks to the writers and director Mark Bell and it is a testament to the creative team that the production still feels as fresh and remains as achingly funny as ever.

The play is filled with exceedingly well written characters (familiar to anyone who has taken part in am-dram) which are performed brilliantly by an ensemble of energetic actors, even if some feel a trifle shoehorned into predefined roles. From the sultry diva to the Laurence Olivier wannabe the stage is alive with memorable figures, even representing the unsung technical heroes (or not, in this case) that work behind the scenes.

The best of the worst of theatre, farcical and hysterical, The Play That Goes Wrong is nothing less than an uplifting and enjoyable dose of comedy and a theatrical treat that cannot fail to raise at least a smile and a giggle from the most jaded of theatregoers.

"The Full Monty", Glasgow King's Theatre, 27/2/17

Written for Backstage Pass:

http://www.backstagepass.biz/2017/02/theatre-review-full-monty-kings-theatre.html

It's been a whopping twenty years since "The Full Monty" burst on to the big screen, becoming something of a phenomenon in the process, and now the stage version, written by the film's original screenwriter Simon Beaufoy, is once again touring the UK and it remains as socially timely as ever.

Ostensibly the story of a group of unemployed Sheffield steel workers in the late 80s who decide to set up their own all-male strip group - whose unique selling point is that they go "the full Monty" - the play deals with a number of issues including sexuality, fatherhood, impotence and the societal pressures faced by employees and their families when unemployment strikes: when a person's identity, their pride and purpose, is inherently entwined with their employment status the search to regain those attributes can be a difficult one especially when one's own sense of worth can be damaged or repaired depending on how others see and treat you.

Beaufoy's script is lean and tight, liberally laced with humour and great lines, and the varied plot-lines of the men are equally considered, though Gary Lucy's "Gaz" has the main thread and the relationship between him and his son "Nathan" Felix Yates is an emotional highlight. Indeed, Yates threatens to steal the show with a charming presence and engaging performance. Lucy comes off exceedingly well and he makes an admirable leading man. Another well-handled and beautifully performed subplot is that which involves Anthony Lewis and Chris Fountain which is surprisingly moving and is treated deftly by both writer and director. It's fair to say that the leading actors who form the male strip group are equally strong (Kai Owen and Andrew Dunn are especially solid pillars amongst them) and the bond they form together onstage is palpable. The ensemble are also nearly as uniformly well cast and are used well but succinctly.

Jack Ryder's direction contains some clever, lovely moments and he handles his cast well. He also has a firm hand when it comes to the use of lighting and the disused factory set, including the scenic transitions which are almost from Poor Theatre, though he does make an error or two at the end of each act, including "Guy"'s 'reveal' and the abrupt curtain at the finale (the moment should be savoured a bit longer). The final strip is a little abrupt and a varied pace in the first quarter would also be welcome, but beyond these points he is a sterling director and ensures that there are nods to the original film peppered throughout.

Given the social relevance and poignancy of the story it is a little disconcerting that many of the (predominantly female) audience treat the play almost as if it were "The Rocky Horror Show" (or worse - a Hen party) complete with call-backs and not always appropriate cheers. But that's not to take away from the pleasure and enjoyment one feels when viewing a play which, ultimately, has to be one of hope. And we all need a bit of that.

"Made In Dagenham - The Musical", Glasgow King's Theatre, 23/2/17

Despite positive reviews the original West End production of "Made In Dagenham" had an unfortunately short life  (one of several that season) which is an indication of how precarious and challenging mounting a musical and garnering an audience for it can be. Sometimes it is simply a matter of timing and I think it fair to say that this amateur production is timely indeed.

The plot is based on the real-life episode of the female population of the Dagenham Ford car plant rising up to demand equal pay in 1968. Centred around machinist Rita O'Grady, her family and her co-workers the musical deftly portrays the difficulties of such a venturing at that particular time (some may wonder if it is any easier to rectify similar disputes in the modern age).

The book by Richard Bean is lean and precise with barely an excessive moment throughout, although it is peppered with the occasional appropriate f-word. Humour is readily available throughout also and this is also true of the alternately witty and poignant lyrics of Richard Thomas. The music is by Grammy and Emmy-award winner David Arnold, who also composed the musical score for the original film on which the musical is based. Arnold's score has a fittingly 60s feel which is at once comfortable and nostalgic to the listener and he creates some musically exciting and stirring moments as well as some emotional ones. I hope "Made In Dagenham" is not his only foray into the musical world.

Paisley Musical & Operatic Society is one of those companies whose productions always aim far beyond the 'amateur' status and they are one of the (sadly) fewer who are willing to take risks with their choice of musical title. Indeed "Made In Dagenham" is certainly one of those. It is a musical which had a short run in London based on a small British film. It has never had a professional UK tour so, as a title, it is really quite unknown to most audiences. Thus selling such a show was an up-hill struggle from the off. But, nevertheless, PMOS elected to take on the challenge.

Artistically the gamble has paid off as the production can resolutely claim to be among the best type of so-called 'amateur' theatre (it's only amateur because the cast don't get paid, after all) and indeed is better than a number of professional productions I have witnessed.

Alasdair Hawthorn's direction is, typically, adroit and he is not one of those to stay safe with his choices, something which can be the worst aspect of 'amateur' theatre. Hawthorn is also well versed in the use of space and lighting, again aspects often overlooked in am-dram. The choreography of Marion Baird is another aspect that gels with the other aspects of the production and has nifty homages to the 60s throughout. Sean Stirling's musical direction is solid and he has molded the orchestra into an integral part of the fabric of the production.

There are times when the transitions could be handled more deftly and the sound levels could be adjusted to ensure the orchestra doesn't overpower the vocals at times, but these are really only minor quibbles in an otherwise sterling production which really has a rousing effect on the audience.

The casting of the production is probably the best I've seen on the amateur circuit with an ensemble who breathe vivacious life into each and every role onstage. Enterprisingly led by Carolyn Lowry as "Rita O'Grady" and featuring dynamic performances from, among others, Laura Moore as "Beryl" and Lindsey Ross as "Barbara Castle", the show is littered with enjoyable, energetic performances. And one has to mention the "Harold Wilson" of Raymond Morrison which is one of the many comedic highlights that run throughout the musical along with Blair Cruikshank's Trump-like "Mr Tooley" who delivers the rousing "This Is America" with glee.

A truly female-led show, but one that does not ignore the male element, "Made In Dagenham" has a dynamism and electricity amongst its cast that is rare and they are all, equally, the driving force (pardon the pun) of a punchy, principled musical that has much to say. Even today.

Given the impressive production it is inevitably sad to see that there were a number of empty seats in the auditorium. True, the musical may be a hard sell as discussed above, but it seems to be a growing trend in amateur theatre (hell, even modern productions are feeling it). We live in hard times and theatre is not a cheap night out, but without local support the amateur companies of this country are slowly fading into history. 

Amateur theatre, in all its forms is an essential part of our artistic integrity and they are often the birthplace of a life-long love of the arts. They are more than entertainment: they are social groups, support networks and even a form of counsel. The shy person is encouraged to break out of their shell, the unconfident are given a the opportunity to give themselves a voice, an outlet for their imaginations.

The numerous groups that populate the British Isles are often bastions of theatre, keeping the art alive in areas that don't necessarily have access to professional, commercial theatre. They also keep older and less-performed works alive, be it 'straight' plays or musicals. How often is "The King And I" revived by a professional producer? Without these often and unfairly looked-down upon companies the very history of theatre would be confined to the dusty pages of some momentous tome in the libraries of historians. 

Likewise these companies also take the risk of presenting a recent play or musical that may not have had the success it deserved in its first production but in doing so breathe new life into a work that otherwise would have have been dispelled to the gutter. As with "Made In Dagenham" part of the problem is familiarity - an unknown quantity is made known only by awareness. I'm sure as more and more productions pop up "Made In Dagenham" (and other similar "unknown" titles) will enter the popular field and future production will draw bigger and bigger audiences. But to that end these companies have to continue to exist and they can only do so with the support of the local (or not) audience. Theatre in all its forms enriches us and I urge all to take a similar risk as these companies take and once in a while buy a ticket (cheaper than a "professional" production in all cases) to a little-known show and go with an open mind. Who knows but that you may discover a new favourite play or musical?

Rant over. 

For now ...

Thoroughly Modern Millie, Glasgow King's Theatre, 6/2/17

Written for Backstage Pass:

http://www.backstagepass.biz/2017/02/theatre-review-thoroughly-modern-millie.html

Based on the 1967 Julie Andrews film of the same name, "Thoroughly Modern Millie" tells the story of Kansas girl "Millie Dillmount" (Joanna Clifton) who moves to New York in the 1920s in order to become a "modern woman" and marry for money rather than love. Along the way she  falls for the penniless "Jimmy Smith" (Sam Barrett) and must foil the dastardly scheme of "Mrs Meers" (Michelle Collins), whose hotel for young girls is a front for her enterprising business of human trafficking.

The nature of "Thoroughly Modern Millie" demands that the production be one that zips along with punch and is in possession of zap and pizzazz but, sadly, the show, in the first act at least, lacks something of this. For this reviewer, it seems that the production fails to build momentum; it's as if director Racky Plews is unable to move the production only rarely out of first gear and this has the effect of imbuing the act with an unfortunate sense of lethargy, despite the energetic cast. Fortunately, the same cannot be said for the second act which kicks into the higher gears more assuredly and which begins to show evidence of the zip and zap that is mostly missing before the interval.

 
The design elements are perfectly adequate for the production and the choreography (also by Racky Plews) is enjoyable whilst the small band manage to produce a well rounded sound, though it did overpower the vocals at times. It's also a shame that the orchestrations weren't rewritten to suit the production better (the use of synthesised strings is never a good idea).

The cast are the exception here, performing with an energy and verve that the production, in general, lacks. There is not a real weak link among them and one gets the sense that this cast is deserving of a superior production of "Thoroughly Modern Millie" in which to truly utlilise their given talents. Still, there are performances which, overcoming the limits of the production, excel: Jenny Fitzpatrick is a vivacious "Muzzy Van Hossmere" and possesses a dynamic voice while the "Mrs Meers" of Michelle Collins is suitably villainous and scheming. Damian Buhagiar and Andy Yau, "Ching ho" and "Bun Foo" respectively, bring humour and charm to roles which are nothing more than racial stereotypes while Katherine Glover, complete with a clear soprano voice, is endearing as "Miss Dorothy Brown". Sam Barrett cuts a dashing figure as "Jimmy Smith" and is blessed with a lovely vocal quality and his presence and chemistry with his leading lady is readily in evidence. As the titular character, Joanna Clifton proves herself as a more than capable musical comedy performer; she has a quality voice and her dancing ability is beyond question (as one would hope in the most recent winner of "Strictly Come Dancing") and she leads the company confidently. But special mention must be made of Graham MacDuff who plays "Millie"'s initial target, "Trevor Graydon"; his comedic talents are sublime and his voice and characterisation are of equal standard coming into their own throughout the second act where he all but upstages the entire company. Indeed the whole company thoroughly make more than the most available to them.

"Thoroughly Modern Millie" is still an enjoyable production, but one in which the whole is not necessarily the sum of its parts. Though the production is wanting in certain aspects it is ultimately saved by a cast who rise head and shoulders above what is required of them and they are, perhaps, worth the entry fee alone.

Hope

Given the current political climate the world seems to be enduring I thought it appropriate that my first post of 2017 should be the following image:

This is the Sindarin word 'estel' which, in English, translates as 'hope'.

And, boy, do we need it ...