Half an hour with "Funny Girl", 28/4/16, Savoy Theatre, London

Following its sold out (in 90 minutes!) run at the Menier Chocolate Factory, "Funny Girl" transferred to the West End's Savoy Theatre in a slightly expanded production. Starring Sheridan Smith, whose name is emblazoned above the title on every advertising board going, the West End production is also very nearly sold out.

Booking a ticket early was essential and this was done last November (the transfer was announced before the Menier run had actually begun) so the wait was a long one. But, only one week following its opening night, the day finally came. Much preparation and cost had gone into seeing the first revival since the original London production back in the 1960s which was the sole purpose of our visit to London. We had to finance the cost of travel to and from London, accommodation for the night whilst there and, of course, the tickets themselves. I absolutely refuse to pay "premium" prices since the very idea is nothing less than a con by money-hungry producers. None the less the cost was not cheap!

So it was we got into London with enough time to check into our hotel and grab a bite to eat before we headed off to the Savoy.

Let me say now that the theatre staff were far more welcoming to us than they had been a year before when we visited the same theatre to see the revival of "Gypsy".

It was interesting to see the variety of merchandise available for the show - t-shirts, mugs, umbrellas, bags etc. Yet "Funny Girl" still had no souvenir brochure on offer!

We settled into our dress circle seats with a great view of the stage with much anticipation.

The lights dimmed and the 13-player orchestra (complete with strings!) struck up with the Overture. The presence of the strings was most welcome, even if the sound remained a little thin.

Smith appeared as "Fanny Brice" and the show started proper. Smith gave Brice a pronounced Bronx accent which appeared to limit her diction somewhat with quite a number of words muffled. This accent also seemed to interfere with her singing which was curt and not always in tune. For certain the final note of "The Greatest Star" was off, yet quite flawless in the brief reprise that soon followed. Smith was certainly amusing in the role, although not outright hilarious, and she was given to acting more like a desperate idiot out for attention (even being rather sexual with some of the male dancers - let's be frank; she was groping their crotches!) rather than a natural comedienne letting her talent speak for her. Given I was not a natural fan of Smith (unlike many I had come for the show) I was actually starting to warm to her and, flaws and all, she was certainly proving that "Funny Girl" need not rely on the spectre of Barbra Streisand.    

The rest of the cast were quite ebullient in their roles but we were sadly given little time to appreciate them as, following Fanny's stage debut with the "Cornet Man" number (another somewhat slogged performance from Smith), immediately following Fanny's introduction to "Nick Arnstein" (a dashing Darius Campbell) and her singing of the twiddly "Nicky Arnstein" lines when the stage was emptied (apparently a simple exit as per usual) when the show suddenly stopped. There was a dead stage for a minute before an announcement was made over the speakers: A technical issue had prompted a brief delay. The safety curtain was lowered.

After 10 minutes or so the front of house manager made an announcement that the delay was taking longer than expected so patrons were free to use the lavatories and bars. 

Audience members became restless not long after and there were some confrontations with the front of house staff. Some irate man was shouting at the young woman at the coat check/merchandise stand. Approximately 30 minutes later the dreaded announcement was made that due to "Technical Difficulties" the show had to be cancelled. This was greeted by boos and jeers from various factions in the audience, some of whom shouted "no! no!" when the front of house manager advised that the box office should be contacted the following day for refunds as it had been closed for the evening. His brief speech was previously interrupted by noisy, talkative audience members which prompted other patrons to shout at them to "shut up!" so the f-o-h manager could be heard. 

Frankly it was bordering on chaos, but the Savoy Theatre staff were nothing but courteous and as helpful as their limited information allowed.

Given the apparent technical naivety of the production it was instantly puzzling as to what technical problem could have caused such an issue as to prompt the show's cancellation. Almost immediately rumours began circling that the issue was perhaps more to do with Smith herself and the media soon started commenting on these rumours.

It is unfortunate that the producers have allowed the very vague term "technical difficulties" to persist when a more exact explanation might have put paid to the rumours before they started.

It is, of course, greatly disappointing when a show is cancelled only half an hour into a performance as it's too short a notice in order to make other plans. It is also annoying when such efforts and costs have gone into a trip whose sole purpose was to visit the production. 

That said, it is always possible that technical issues can happen. Likewise it is always possible that a headlining star may have to pull out of a performance due to illness or other unforeseen circumstances (as was the case in the ENO's production of "Sunset Boulevard" that starred Glenn Close) and people are only human, after all.

I'd like to think that the rumours about Smith are only that and nothing more and that it was indeed a technical issue - whatever that may be - that prompted the unfortunate cancellation.

What adds salt to the wound is that some ticket vendors have been rather unhelpful in assisting affected audience members in obtaining refunds or exchanging the tickets (and given the limited number of tickets remaining this is an anxious issue for some) to the point where telephone lines have been extinguished.

A most unpleasant experience all told.

UPDATE 2/5/16:
There have been reports in the press regarding the alleged behaviour of Sheridan Smith at this particular performance and, if they were found to be true (which could possibly be substantiated by the various reports Stage Managers and Company Managers keep), it would prove to be a most upsetting turn of events. I can forgive a true "technical difficulty" but if a "star" is being disrespectful not only to her fellow cast members but also to the orchestra, crew and theatre staff - not to mention the PAYING AUDIENCE - then it is deeply disturbing and I sincerely believe that the producers, if the reports are indeed true, have a duty to provide every audience member with compensation.
It was bad enough trying to deal with the ticket vendors (in this case Ambassador Theatre Group) whose procedures and staff made the process a vexing experience and also a time consuming one.

"Thriller Live", Glasgow King's Theatre, 18/4/2016

Reviewed for Backstage Pass:

http://www.backstagepass.biz/2016/04/theatre-review-thriller-live-kings.html

It is no surprise that "Thriller Live" continues to thrive in London's West End given the strength of the material: The songs of Michael Jackson. What comes through (too) loud and (not quite) clear during the course of the production is how many varied hits the late artist actually had - that and the adoration he and his material elicit from others. Cynically one could look at this production as a glorified tribute act, albeit with top-notch production values, but it is certainly more than that. "Thriller Live" is a fitting tribute to the "King of Pop" performed as a quasi-chronological presentation of some of Jackson's most popular songs sung by four principal singers and a dance ensemble performing his unique style of choreography.

 

The concert style setting and lighting (by Jonathan Park and Nigel Catmur, respectively) creates a perfect environment, including video walls, in which to present some outstanding musical numbers although the costumes by Shooting Flowers, whilst obviously influenced by and reflecting the various looks of Jackson, leave something to be desired: There is certainly a case for designs attuned more to each individual performer. That said, some of the ensemble costumes, especially during the "Thriller" and "Bad" album sequences, are spot-on.

 

 

It is unfortunate that the sound mixing still requires work as the bass-heavy music overwhelm the vocals of the singers onstage. Given most of the voices featured exist in the Treble range it is surprising that the sound could be so clumsy.

The band itself are sharp: Not a single off-note and the arrangements are superbly performed.

 

Gary Lloyd's choreography echoed Jackson's authentically whilst he seamlessly weaves in his own work to compliment the pre-existing material. His direction, however, is a little lacking. There are times throughout where his staging becomes static and uninteresting, especially in the first act where the space is used to little advantage. Act two, however, springs into renewed life; no doubt because the material is from Jackson's most successful period - the "Thriller" and "Bad" albums. Here the staging and choreography become intensely dynamic, almost verging on becoming full-blown musical numbers and it is here that the show coalesces into a complete whole and works perfectly.

Every now and then a little dialogue on the history of Jackson and his career is presented but this is nothing more than filler material for the most part and frankly wouldn't be missed if excised. All told, given that so much musical material is crammed into two and a half hours, the show does feel a bit long in both acts and wouldn't suffer from a little trimming here and there.

 

The company are nothing short of excellent and each ensemble dancer is able to present themselves both as an individual dancer and as part of a core of tightly drilled dancers performing in unison. It is also refreshing to see a company of performers who look age-appropriate.                    

When not drowned out by the band the four singers (Angelica Allen, Adam J Bernard, Shaquille Hemmans and Rory Taylor) soar almost effortlessly and do due justice to Jackson's original vocal stylings although many of the lyrics are lost in the wall of sound. But, occasionally, a singer - Taylor especially - is able to punch through the bombast and leave an impression and Taylor's solo number "She's Out Of My Life" is one of the many highlights.

 

When dance and vocal performances gel it is truly an excitingly thrilling experience and there is many a time throughout the show when this is the case.

One of the better concerts-for-theatre "Thriller Live" is a great reminder of the dynamic force that was Michael Jackson and is a surprisingly energising show that creates something akin to a party atmosphere amongst an audience ready and willing to lap up the pure Michael Jackson energy produced.

"Priscilla Queen of the Desert", King's Theatre, Glasgow, 29/3/16

Written for Backstage Pass
http://www.backstagepass.biz/2016/03/theatre-review-priscilla-queen-of.html?m=1

 Ostensibly an adaptation of the movie, "The Adventures of Priscilla Queen of the Desert", this colourful and exuberant musical utilises pre-existing songs and elements of the most exquisite Australian drag show to create a production that is exciting, entertaining and thoroughly engaging.

We follow Sydney drag artist "Tick/Mitzi" (Duncan James) who is engaged by his secret wife to bring his act to the middle of Australia, bringing along two fellow performers; the outrageous "Adam/Felicia" (Adam Bailey) and transsexual former "Les Girl", "Bernadette" (Simon Green). Traveling across the outback in the eponymous bus, they encounter positive and negative reactions towards them from various factions as they travel to the 'heart of fabulous'; discovering love for each other and for themselves along the way.

The current tour captures the essential brilliance of the London West End production - albeit in a typically slightly reduced form (common for UK tours given the venues available) - and the direction of Simon Phillips (reproduced here by James Capewell) stands up strong, as does the book by Stephen Elliot (writer and director of the original film) and Allan Scott. With energetic choreography by Ross Coleman & Andrew Hallsworth and the stunning Tony-winning costumes of Tim Chappel and Lizzy Gardiner (based on their original, Oscar-winning, designs) "Priscilla" is a show with never a dull moment and even the design, adapted from Brian Thomson's original, is colourful and humorous.

Credit must also be given to the orchestrator/arranger Stephen 'Spud' Murphy (& Charlie Hull) for making the eclectic songs gel as a musical score, working to the benefit of the plot (as opposed to many a musical of the juke-box variety) whilst ensuring the musical material functions as an essential part of the show.

The cast is more than ably led by the trio of Adam Bailey as "Adam" and Simon Green as "Bernadette" who play polar opposites and exude energy and unexpected emotion whilst Former "Blue" member Duncan James is really quite a revelation in the part of "Tick", a role he clearly relishes. 

The ensemble is a thoroughly integral part of the show and there is not a single weak link. Indeed there is much to enjoy from the company; the ensemble dancers; the glorious "Divas" of Lisa-Marie Holmes, Laura Mansell and Catherine Mort through to the cameo roles including "Bob" (a pleasantly underplayed Philip Childs); the "Miss Understanding" of Matt Crandon and, of course, the saucy "Cynthia" of Julie Yammanee. Throughout the production there are many moments where the ensemble and its various members are given a chance to shine.

It's true that some of the choreography could do with tightening in places and it is a shame that the production sometimes feels shoe-horned into a theatre really too small for it given there are various elements of the production that have had to be adapted, and even omitted, for the relatively small King's Theatre. That said, the show remains outrageously entertaining and it is no surprise that this production has been spruced up and revived for another tour and it remains one of those musicals that serve as a positive tonic to modern life, ensuring that every audience member leaves with a huge smile upon their face. Fabulous!!

Tengwar

"Annie", King's Theatre Glasgow, 9/2/16

A review written for Backstage Pass:

http://www.backstagepass.biz/2016/02/theatre-review-annie-kings-theatre.html

"Annie" is a musical that needs little introduction; the story of "Little Orphan Annie" was adapted for the musical stage in the late 1970s from the comic strip that began in 1924 and went on to become one of the most successful musicals on Broadway at that time. Featuring some of the most famous songs in musical theatre, including Tomorrow and Hard Knock Life, this new touring production is directed by Nikolai Foster, artistic director of the Curve, Leicester, and is a bright and colourful affair that bursts with thrilling energy.

Foster is a rather under-valued director whose name is not (yet) as well known as it deserves to be. His direction for "Annie" is beyond assured and is a fine indicator of how well he is able to orchestrate a large scale production such as this. Foster is able to deftly manipulate the smallest detail, be it lighting, sound or piece of acting business, so that each piece builds up into the most satisfying construct of theatre where nothing is wasted. Whilst the libretto has the occasional moment that threatens to drag, Foster is able to marshal his forces into keeping the stage alive and this is true from the outset given his decision to dispense with the overture and to instead dive straight into the plot following the period radio broadcasts that are heard as the audience take their seats.

 

Nick Winston's choreography is exciting, witty and smart and perfectly attuned to Foster's direction and the musical numbers are executed with verve by an excellent ensemble of performers. 

Colin Richmond's costumes are period specific and have the vivacity of a living comic strip whilst his set design, a playing area decorated with the map of NYC and other details broken up using an odd motif of jigsaw pieces (reminiscent of the alphabet tiles throughout the design of the musical "Matilda"), becomes filled with beautifully realised scenic elements making up such scenic delights as a gloriously near-caricature of an NYC 'Hooverville', the grim orphanage and the elegant art-deco Mansion of "Oliver Warbucks". The lighting design of Ben Cracknell works brilliantly well in tandem with the set being vivacious and kinetic whilst also creating some beautifully moody and evocative sequences where appropriate.

The orchestra, led by accomplished musical director George Dyer, are sprightly, energised and powerful and the orchestrations by Dyer are punchy, elegant and animatedly rousing. 

It is not unfair to say that a lot of the success of "Annie" relies on the portrayal of "Miss Hannigan" and Elaine C Smith is, bizarrely, not up to the comedic demands of the role. Her vocal chops are perfectly adequate, even if her dance skills are not, but there are moments where she looks unsure and her portrayal threatens to drag down the energy of some of the scenes she is in. She is more than ably supported in many of her scenes by Jonny Fines as "Rooster" and Djalenga Scott as "Lily St Regis" who are quite brilliant, both vocally and physically. Their portrayals are finely tuned and they dazzle throughout. Fines especially hints at the dangerous predator that lurks beneath the barely placid surface of an already detestable character. 

The "Daddy Warbucks" of Alex Bourne is presented as a more kindly figure from the off as opposed to the usual portrayal and he lends a commanding presence and fine voice to the role and is one of the few more natural realisations in an otherwise larger then life production.

In the title role Elise Blake is a dynamic, charming and vocally gifted "Annie" who never fails to be a sympathetic and eye-drawing force. She is a talent to keep an eye on indeed. In fact, the entire company of orphan girls (Team Rockefeller at this performance) are strong and vibrant and each presents a separate and engaging character and the stage is never more alive than when they appear on it. Their first number, Hard Knock Life, sets a standard of excellence that proves to be an accurate marker for the quality and vivaciousness of the production as a whole.

Of course, it would be amiss not to highlight what many would consider the true 'star' of the production: "Sandy", here played by Amber who presents a most sympathetic and engaging furry figure eliciting some profound 'ah-ing' from audience members. Quite frankly, it's a shame the dog is not utilised more.

 

This production of "Annie" is a striking comic strip come to life and is a jubilant production of pure joy bursting with outstanding talent both on and off stage. Nikolai Foster's new production sets a new standard in the quality of touring musical theatre, both in the design and the casting, and I hope that other producers take note for future productions. There is so very much to enjoy in this production - nearly everything, actually.

A Revisitation - 'Jesus Christ Superstar', King's Theatre Glasgow, 9th and 10th Sept 2010

In 2010 I witnessed two performances of an amateur production of "Jesus Christ Superstar" (it was double cast so I saw both) and, as was usual, I decided to write about it. Upon publication I received quite a bit of hate from members of the cast. Originally I wrote a review after seeing the first show but after seeing the second cast in the next performance I decided to rewrite the review to combine impressions from both shows.
For some reason I never published the review or the responses to it here on my blog (to be honest I thought I had) so do so now:


Let me point out here and now - these are my opinions and I stand by them.

I think 'Jesus Christ Superstar' is one of the most exciting scores written for theatre and I have always loved the piece.
The Orpheus Club presented an enjoyable show which had things I liked and things I didn't.
If any company aspires to professional standards then I shall view the production as such. I think amateur companies far too often get a bad rep and for all misconstrued reasons. Amateur performers are probably amongst the most dedicated that exist - they have to juggle full time careers, funding shortages and never have the technical rehearsal time given to pro shows. Yet they never fail to entertain. I have seen far too many disappointing pro shows in comparison to amateur ones and often find the vigour and passion of amateur performers out-weigh those of the professionals.
So - onto the show itself; Walter Paul's direction is adequate if uninspired at times with some scene transitions being quite clumsy (transitions are important to the flow of a production and Joshua Logan was a pioneer in this field in his direction of 'South Pacific' in the late 40s) and I do wish these had been dealt with better. That said there are moments in the show which are quite exciting and thrilling. His use of the large impressive set, designed and supplied by Scenic Projects Ltd in a similar style to the original London production of 1972, varies but the highlight was the leper scene which was especially creepy as hordes of the lame came crawling up the steps to overwhelm Jesus. There are other times, however, when the set seems to overwhelm the cast giving one the impression that the stage is half empty though the entire cast may be onstage. The trial scene was another highlight for me with an impressive emotional build up. It's in scenes like these that the ensemble cast really comes up trumps; though their staging may be a bit too simplistic for my tastes the reactions of many of the cast feeds into the power of such scenes overcoming any directorial handicaps. The temple scene might be a case in point here; it was during this scene that I felt the direction was at its weakest with the scene portrayed as some quasi-holiday camp. There was certainly not enough sin on display to warrant Jesus' objections to the goings on (seemingly approved of by the priests who were in attendance - another directorial error methinks) and it was here that my mind wandered and thought I was witnessing, albeit briefly (thank god!) a performance of 'Summer Holiday' (ugh!). Thankfully the leper scene that followed pulled things back onto the right track.
The 'Herod' number was incredibly funny and a welcome reprieve. I have seen previous productions where Herod has been played almost straight and others where he was played as a clown and here he was certainly portrayed as more of the latter - a welcome choice brought off by an exuberant cast. The following scene was a marked contract, and another highlight, where Jesus' is beaten by the Roman soldiers during 'Could We Start Again, Please?', always one of my favourite numbers.
Paul's direction of the 'Superstar' number was a bit of an anti-climax for myself, more so as it follows the heart-wrenching trial scene; instead of an overwhelmingly powerful musical segue into the crucifixion it came across almost as an afterthought. Only my opinion but, as the final musical number, I have always felt that something impressive should be made of the scene and Paul had decided to use a minimum number of singers with a small chorus of dancers. Judas' appearance here as an outright rocker was impressive but the soul girls attired as 1940s club singers jarred, even if their voices were divine. The lack of a true finale to the number, replaced with a fade out here, also weakened the sequence for myself.
As for the crucifixion itself; I was actually impressed with most of it and the cast certainly added to the emotional intensity of the scene. My one quibble with this finale was that the director decided to introduce the character of Mary, Mother of God when Jesus asks about the whereabouts of his mother. As the character was never mentioned or seen previously in the production it seemed a dramatic error of judgement on Paul's part to introduce her for this one moment.
Costuming was primarily modern summer dress which  worked for most of the production (and really seemed to suit the apostles) whilst Herod and his court were attired in 1920s garb appropriate to the ragtime nature of the music in the scene. The priests were dressed in suits and leather coats giving the production a little of the variety it needed. Looking very much at times like members of a mafia the priests were amongst my favourite characters in this production and gave the production an added air of darkness and mystery.
Judas stood out dressed in dark quasi-emo clothing later transforming into a true rocker for the 'Superstar' number which really suited.
The Musical Direction of Andrew S. Nicol was well done although I did lament the cutting of some musical sequences and felt the temple number was too slow; draining the scene of some essential energy (a similar tempo was used in the 2000 video production and I felt the same there).
Choreography was simple and effective if a little un-original and was sparsely used. 'Hosanna', normally one of the choreographed numbers, was actually left dance free and I'm still unsure if that was a good thing or not.
Lighting by Ian Irving was a little too broad at times for my liking and I felt some scenes could have been lit better (especially to delineate space given the large space) but the leper scene and 'could we start again, please?' stood out as some excellent lighting. Here I might as well say that I felt the overall production was too light and I felt it could have done with more variety of shade, in the trial scene for example, although the priests were often given a darker lighting scheme.
The cast themselves generally excelled with the ensemble giving some verve to proceedings and the apostles forming a well rounded group of individuals who one felt truly were a brotherhood. James Thom's Peter came across very well and his vocal quality is something I really enjoyed. Steven Struthers as Simon gave a vibrant and energetic performance in the role being not too wild and not too subdued as the 'zealot' of the group.
The priests were, as said previously, well executed by Kenny Reid, Andrew Forrest and David Blackwood with Matt Bingham and Alex Robertson being equally impressive as Caiaphas and Annas.
Sean Stirling's Herod was a joy and his innuendo and comedy were excellent drawing heavy laughs from the audience whilst Kris Haddow as Pilate was truly impressive with a resounding voice and presence that commanded and drew your attention. For me he was certainly one of the highlights of the show, especially during the trial.
Judas Iscariot as portrayed by Tommie Hart, frontman of Zener Diode, had an impressive roll-call of vocal pyrotechnics to hand but I did initially feel his Judas wasn't varied enough, although in the second show I saw I did see more variety of emotion. Whether it was a decision taken by actor or director I felt that what is, to me, the most interesting role in the show was simply not given a believable story arc and almost seemed super-imposed on the production at times (actually, thinking about it, if this was a deliberate choice, if executed a bit better it could have been exceedingly interesting - almost like an 'Ariel' character; observing and dipping in and out of the action - but i detract). Hart's voice impressed the audience certainly but was not always to my taste although he really came into his own as a rocker during 'Superstar'.
Walter Paul does have a tendency to double cast some roles and he has done this again with Mary and Jesus. Both of the women playing Mary Magdalene, Jennifer McLardy and Lynsey McLaughlin, gave the role some emotional finesse albeit in different ways. McLaughlin brought an innocence and sweet voice and subtlety whilst McLardy brought some interesting vocal styling though at times her performance became a little too forceful. But both ultimately excelled as the single female role of note in the show.
John McLarnon and Ross Nicol played Jesus on alternate performances and ultimately I felt McLarnon's performance was more successful having a voice more suited to the role and also bringing a charisma and power that drew attention to the character; although his diction could have been a little better he excelled throughout and his lashing in the trial scene was something to behold.
Nicol as Jesus, at least for me, didn't quite have the same presence or vocal ability though his 'Gethsemane' and crucifixion were excellent. In the case of Nicol I felt I paid more attention to others around him whereas I was more drawn to McLarnon's Jesus who seemed a bit more natural.


And here's some of the 'comments' I received from members of the cast (I've included the full conversations, including spelling and grammar errors, but deleted personal details):

From a female cast member:

Female Cast Member

JCS REVIEW !

Looking very forward to seeing your next production .... I've got a lot of friends who review for some excellent publications so i'll make sure you get a mention ! Plus I give pretty good critiques too ....I'll make it extra special for you smile emoticon
Nothing like some tit for tat hey......oh and it was such a same that you couldn't get to play ALTERNATIVE JUDAS as it should have been double cast !....... noone could even come close to Tommie's performance though......suck balls !!
Also talking about balls...... I look forward to meeting you at some point with my "unsubtle" foot and kicking yours !
You should behind amateur clubs pal and not putting them down after all you were a part of it for weeks..... will be suprised if you get into another club when your disgusting attitude comes into focus !
Nice to speak to you pet

Sharman Odd Tobias Prince

we are each entitled to our opinions. and believe me when i say i am very much behind amateur companies - but simply because they are so doesn't mean they should get off lightly. in my home town if it were not for amateur groups then there would be little musical entertainment. and each and every one gets professionally reviewed. there was much i enjoyed about each performance i saw - yours included, or can you not read? and as for Tommie Hart, although he was not to my personal taste as Judas, he cartainly impressed many. and Ben Goddard was an exceptional Judas! and by the way i have been known to suck the occasional set pff balls
be well and happy

Female Cast Member

Oh yes sweetheart I can read or i wouldn't have seen the review...... I don't give a flying fuck what you think of me ...those were not only cast members but friends of mine up there and some have little confidence as it is ....luckily enough I know i'm amazing so don't need you to reiterate the fact !
I think you might want to stop sucking balls it is clearly doing nothing for your personality !  

Sharman Odd Tobias Prince

you cannot comment on my personality whatsover as you don't know me
Be well ...

 

Feamle Cast Member
No i don't thank christ ....but i know alot of people who do !! and yes I can comment on whatever I like as " I am entitled to my own opinion and those of others " !!!
same to you !!!
can't wait to see shite I mean spring awakening ...woop x

 

Sharman Odd Tobias Prince

forgive me, but i am always witness to that which i making an opinion of. ... and happy x

 

Female Cast Member

in english ??? you mean .... " I am making ??? or" I make opinions of " ??? anyway I'm bored with you now so ........
goodbye

 

Sharman Odd Tobias Prince

oops- must remember not to copy and paste lol that should have been 'i am always witness to that which i AM making an opinion of' though tbh - "You should behind amateur clubs pal and not putting them down after all you were a part of it for weeks..... will be suprised if you get into another club when your disgusting attitude comes into focus !" you failed to put a "Be" after "should" and before "behind" but i let it slide
Hwyl

And another from a male cast member:

 

Male Cast Member

JCS Review

Hi
I believe u have already heard from a couple of people regarding ur very harsh and spiteful reviews. Now i appreciate that everybody is entitled to their opinion and i respect that, however I have to say, posting those comments on facebook knowing that the cast would see it at some point is disgusting! Fair enough if u had left it till after the run but to post it during the run of an amateur show which i might add you were a part of is bang out of order! You should be supporting amateur theatre not ripping it too shreds on facebook. Personally i couldn't give a toss what you think about me, but i know a couple members of the cast were extremely upset about your views which before going onto to do another 3 shows is the last thing you need. It is highly unprofessional, disrespectful and to some people who remember do this as a hobby extremely hurtful! Again personally i couldnt care less about your views but keep what i said in mind for future, and if you have anything like that to say again then have the balls to come up to the stage door and let us know. If you have a problem with anything i have said, i would be more than happy to discuss it with you over here or by all means call me on 07*********. Again I would like to express my sheer disgust at your actions, and hope that you face the consequences!  

Sharman Odd Tobias Prince

thanks

 

And some other comments from others not involved in the production:

"A review is one person's opinion. We all have opinions and are entitled to voice them. I think it is important to be honest. Some of the reviews I have read overuse the word "good". The scenery was good. The chorus numbers were good. Sometimes, as a performer, you read what you deem as the negative comments and get upset about them, rather than reading the good comments and building on them. If someone reviews me, orally or printed, and says something that I think I can work on, then I try to. Good job it isn't Strictly Come Dancing - have you heard some of Craig RH's comments?"

"I've never heard such a fuss over someone's opinions. Facebook is an open forum for people to express their own opinions. This unnecessary 'backlash' typifies all that is wrong with amateur companies who have lost touch with modern trends and furthermore highlights why such people are indeed amateur and not professional. there you go - there's another opinion that everyone call all have a moment about!"

"I loved the show, both casts and was thoroughly entertained! Don't get too upset by the opinions of others - you can't please everyone all the time! just enjoy what we do and hope that we can all keep on doing for many years to come! We have a fab hobby!"

"I thought your review was written very well and didn't slag anyone off just gave your opinion on what you liked about the production and what you didn't like. I can't believe the abuse you've had - that's ridiculous. If the actors are taking it to heart that much - they'd NEVER in a million years make it in the industry. Truth hurts I guess"


At the time someone also said to me that Scottish Amateurs were not used to being reviewed, which is fine, but my response was that where I come from they are and face the same quality of reviewing as a professional production. I also offered the idea that if you're going to put yourself (or your work) on display then one is open to the opinions of others. I've had some harsh critique of my own work throughout my life but I must say that the vitriol I received from the performers in this particular production (the female cast member was a professional performer at the time and the male cast member was at drama school and has since become a professional actor) was something else.
But I still stand by my verdict and stand by all my writing. Though, at times, my opinion may change after some time (for good or ill) I stand by the fact that these were my opinions at the time of writing and are as valid as anyone else's.

"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.