"Evita", Glasgow King's Theatre, 15/5/18

Another review written for Backstage Pass:

http://www.backstagepass.biz/2018/05/theatre-review-evita-kings-theatre.html

Originally premiering as a concept album in 1976 Tim Rice and Andrew Lloyd Webber's Evita hit London's West End in 1978 making a star of Elaine Paige before arriving on Broadway with Patti LuPone in the title role. Evita (which means "Little Eva") portrays the rags to riches real life story of Eva Duarte who rose from poverty to become first lady of Argentina, alongside president Juan Perón, before reaching near-sainthood in the eyes of her beloved descamisados ('the shirtless ones') whilst simultaneously evoking the hatred of the upper-classes.

Evita continues as the pinnacle of the union of Rice and Lloyd Webber with an exciting, melodic score by Lloyd Webber and some of Rice's best lyrical work. Bill Kenwright's current touring version utilises the reworked material developed for the 2006 West End revival and continues to prove how iconic and powerful the musical is. 

It's a bit unfortunate that Bob Tomson and Bill Kenwright's direction is uneven with clumsy and melodramatic staging sitting alongside more poetic, economic renderings with some of the best ideas originating in Hal Prince's original staging or Michael Grandage's revival but the stuff that works here works brilliantly, almost effortlessly. Bill Deamer's choreography is witty one moment and understated the next and one yearns for more of it whilst the design serves the production perfectly well. The sound balance needs more work in the first act where some stage business overpowers the vocals - unfortunate in a musical where every lyric needs to be heard. 

Another occasional downside is the musical director's knack of reducing the tempo of some numbers rendering them intermittently flaccid. And yet, at other times, the musical direction explodes with energy, as in "A New Argentina". Perhaps the most unfortunate victim is the musical's most iconic number, "Don't Cry For Me, Argentina", here bizarrely staged before a crowd of oligarchs rather than Eva's natural audience, the workers, whilst the song itself is conducted at a slower pace than usual, further troubled by the choice to pause before each chorus interrupting the dramatic impetus constructed by Lloyd Webber. 

Yet this production remains a solid, engaging, exciting piece of theatre and is fortunate in its cast who tend to rise above any creative flaws: Cristina Hoey has only one number to sing as the teenage mistress of Perón but she more than makes her mark with a striking rendition of "Another Suitcase In Another Hall" which is the emotional highlight of the first act. Jeremy Secomb brings a strong presence and vocal to the role of "Juan Perón" even if he is ill-served by mundane direction. Gian Marco Schiaretti's "Ché" is a striking narrator-figure with a voice evoking memories of the movie version's Antonio Banderas though he is also left adrift at times by the direction. Madalena Alberto is a powerful figure with a powerful voice in the eponymous role but she is perhaps too refined at the start of the show to be entirely convincing as the earthy teenage "Eva" of small-town Junin, but when she shines she radiates and never more so than in her heart-breaking performance of "You Must Love Me" and the stunningly staged and sung "Lament", perhaps the strongest, and simplest, moment in the entire production.

This may be a bit of an uneven presentation of Evita but forty years on the material remains powerful enough to move and thrill its audience as one of the most triumphant works of musical theatre.

"Long Day's Journey Into Night", Citizens Theatre, Glasgow, 19/4/18

Written for Backstage Pass:

http://www.backstagepass.biz/2018/04/theatre-review-long-days-journey-into.html

Eugene O'Neill's semi-autobiographical play, Long Day's Journey Into Night, makes its mark at Glasgow's Citizens Theatre before the building closes for extensive refurbishment. O'Neill's Tony Award and Pulitzer Prize winning play concerns a taut day in the life of the Tyrone family of Connecticut in August 1912. Addiction, accusation, resentment and tragedy bleed through as the family face off against each other, bitterly recalling each flaw and shattered dream as each tries to placate their troubled past and uncertain present. As the family try to sustain a fragile facade of cohesive existence, bitter truths of poorly-hidden secrets threaten to upend the precarious balance each sustains. But truth will out as the day succumbs to night.

Dominic Hill directs a fine cast led by the vigorously mesmerising George Costigan as family head, “James Tyrone”, ably supported by Bríd Ní Neachtain as his fragile, tortured wife, “Mary”, and Lorn Macdonald and Sam Phillips as their imperfect, contrary sons. Each portrays a veneer of stable existence with the rotting truth beneath revealing itself as each emotional crutch is disclosed. Dani Heron, as summer maid, “Cathleen”, is equally as impressive; creating a vivid contrast in the production.

The direction gets a bit melodramatic at times but, ultimately, with the superb wooden frame and clear plastic design of Tom Piper and the moody lighting of Ben Ormerod, the atmospheric sound design and musical score of Matt Padden and Claire McKenzie, respectively, it all gels to create an elegant, Gothic atmosphere that becomes reminiscent of a Tennessee Williams memory play with phantoms of the past manifesting to possess the animate present: as day turns to night realism metamorphoses into a haunting tragedy of epic proportions.

Fair warning – it’s a long play but Hill is, fortunately, able to bring out the humour well and it is, in the end, worth taking in this classic play performed by a strong cast in a visually striking production.

"Top Hat", Glasgow King's Theatre, 21/2/18

In the world of musicals it can honestly be said that many a show is kept alive by the efforts of the amateur company who often perform musicals rarely produced by professional producers and who further the audience and potential fandom of these shows in doing so. It will probably be the case with "Top Hat" which enjoyed a successful, if curtailed, West End run (winning the Olivier Award for Best New Musical) and a following UK tour but which has since all but dropped off the map.

Based on the classic 1935 Fred Astaire and Ginger Rogers comedy movie with songs by Irving Berlin the plot follows dancer Jerry Travers who falls in love with Dale Tremont after his tap dancing disturbs her sleep in the hotel room below his. Tremont incorrectly assumes Travers is the stage producer Horace Hardwick who has brought Travers over to London to open a new show. Hardwick's wife is Tremont's friend and so Dale is disgusted when the man she assumes to be married proposes to her. Screwball comedy ensues.

Of course, the plot is rather weak, as to be expected, but is still none-the-less charming especially when delivered with such aplomb as Paisley Musical and Operatic Society bring to it. It is the Irving Berlin songs that really make the show and with such classics as "Cheek To Cheek", "Puttin' On The Ritz" and "Let's Face The Music And Dance" it's hard to go wrong. 

Berlin's music is handled beautifully by musical director Sean Stirling who treats the score with assurance. There is an element of the ol' Hollywood Glamour that is brought out which succinctly suits the production. 

"Top Hat" is famous as a dance production and PMOS had a difficult challenge before them but their efforts pay off with the elegant choreography of Marion Baird delivered well and confidently by the cast; so much so that I believe the company could have handled even more complex material. 

Alasdair Hawthorn directs another assured production, bringing out the humour and the effervescence of the material with ease. The lighting could be more focused and varied but, in reality, this is a small niggle and, sure, there are moments that require tightening - especially in the transitions - but I've no doubt they'll be rectified as the run continues. There are, indeed, some clever location reveals in the first act which I only wish had continued into the second and it is such small details as these that I enjoy and that Hawthorn often delivers. 

The production has double-cast its leads and, on this occasion, I saw Greg Robertson and Claire Logue as "Jerry" and "Dale" respectively who both lead the company amiably and with confidence. Robertson has a natural charm and easy voice whilst Logue is a sweet and funny performer and they play well opposite each other. They are supported by a company who make the most of the humour and the staging. Alastair McCall as "Horace Hardwick", Iain G. Condie as his manservant "Bates" and Ross Nicol as the flamboyant "Alberto Beddini" all have plenty of opportunity to shine and do so with hilarity. Lindsey Ross also shines as "Madge Hardwick", prowling the stage with a commanding presence and brilliant comedic traits. The ensemble are also ebullient and there are a number who stand out in the odd scene including Robin Cameron's "Florist" and Jenny Carty's "Receptionist". The utilisation of the ensemble is another strength in Hawthorn's direction and there is plenty of business within the company to occupy the audience member.

"Top Hat" is a few hours of joyous, buoyant entertainment filled with cracking musical numbers and numerous laughs delivered by a vibrant, vivacious company who continue to push themselves and each other for the sake of their audiences' enjoyment.

"Rita, Sue & Bob Too", Glasgow Citizen's Theatre, 13/2/17

Written for Backstage Pass:

http://www.backstagepass.biz/2018/02/theatre-review-rita-sue-and-bob-too.html

Schoolgirl baby-sitters Rita and Sue long to leave their dull world and so take their charges' father, Bob, up on an offer which develops into a three-way affair. Never mind that Bob is married to Michelle; to the girls he represents excitement, adventure and a brighter future away from their unhappy home lives. But, of course, life is never so simple.

Andrea Dunbar's play, written whilst still a teenager, re-emerges in a timely revival within a world all-too-similar to the one in which Dunbar birthed it; social divisions and mobility, redundant aspirations and the sexual politics between men and women are as pertinent now as they were in the Thatcher era when "Rita, Sue and Bob Too" first premiered.

This co-production between Out Of Joint, Octagon Theatre Bolton and The Royal Court Theatre is an elaboration of Dunbar's world that is reflected in her non-judgmental, frank yet witty writing. That it is not too far removed from current issues is a boon and the play also essays the positives of resilience, reconciliation and the fragile bonds of friendship in unconventional circumstances. In reality fairy-tale happy endings are absurdly rare and Dunbar is unafraid to ponder this fact in her story.

Director Kate Wasserberg's lithe, uncluttered staging allows a forthright presentation, furthered by Tim Shortall's design, where the humour and pathos of the text (newly edited by John Hollingworth) is brought to vivid life in splendid performances from a cast led by Taj Atwal, Gemma Dobson and James Atherton as the titular characters. Samantha Robinson, Sally Bankes and David Walker make up the remainder of a company who each venture delicately balanced interpretations whilst avoiding sentiment and pity. Without exception the cast excel and all are eminently watchable. 

Played without an interval (and running less than 90 minutes) "Rita, Sue and Bob Too" is a stark yet amusing enterprise presenting a life scarcely seen - and oft ignored - that speaks eloquently - even in its crudeness - to a contemporary society with all-too-familiar issues. Happy endings are relative and Dunbar reminds us of that.

People Watching - A Web Series

Upon a friend's recommendation I viewed the online series "People Watching"; a series of animated shorts based around subjects we in the western world may ponder over at one time or another.

Each episode lasts between approximately 5 - 11 minutes which enables the series to be watched as and when required without the need to invest a huge chunk of one's time unless you so choose - as I did. With episode titles such as "The One Self Help Group We'd Actually Join" and "Why Non Religious Confessionals Should Be A Thing" there is a subject to attract most adults.

The series is written, directed and illustrated by Winston Rowntree whose insight is acute, witty and occasionally moving. The writing is sharp and well constructed with a colourful, energised animation style even while purposefully basic with a boldness that extends to the occasional background joke. 

An adroit voice cast performs Rowntree's diatribes and wit and create individual persons in tandem with the unique visual character designs.

"People Watching" is an entertaining and thought-provoking series which could be used as an opening to some serious discussions amongst folk.
Be aware that the series does have some adult language when taking into account who may wish to view it.

Series One consists of 10 episodes and you can Watch Here. Hopefully a second series will emerge.

"Strangers On A Train", Glasgow Theatre Royal, 22/1/18

Written for Backstage Pass:

http://www.backstagepass.biz/2018/01/theatre-review-strangers-on-train.html

Based on the novel by Patricia Highsmith, this stage adaptation by Craig Warner of Strangers On A Train embarks on a UK tour in a production that is regrettably lacking. Highsmith's thriller (famously adapted into a film directed by Hitchcock) depicts two strangers, Guy Haines and Charles Bruno, who randomly meet on a train where Charles proposes the idea that each murder an obstructive figure in the other's life. What follows details obsession, guilt and desperation as both come to terms with the events undertaken.  Whilst the concept holds much potential it is primarily in the execution, rather than the writing, that the production falls flat.

Director Anthony Banks' approach is melodramatic, his staging often static and the tone he creates is rather arbitrary and irregular which, ultimately, negates the positives - including the homosexual undertones - of Warner's writing which itself could do with some tightening. Banks also needs to address the pacing issues which dog the production and render it sluggish and tension-less; with greater variety in staging and a brighter pace, the play could certainly be of more interest to watch. 

Banks' staging is aided somewhat by a set by David Woodhead which - in principle at least, if not implementation - creates interesting theatrical environments within which the characters can live, though transitions still remain which could be contracted, even as the set morphs from one scene to the next. The design is further enhanced by Howard Hudson's lighting and the projections of Duncan McLean.

The actors render the roles melodramatically, though rarely at the same level, and this unevenness is jarring. Most successful are John Middleton (formerly of "Emmerdale") as private detective 'Arthur Gerard' and the 'Elsie Bruno' of  Helen Anderson with each more attuned in traversing the fine high-wire that is melodrama. Jack Ashton as 'Guy Haines' ultimately fares well but, fundamentally, the cast are hampered by the overly heightened tone of the production and many occasionally cross the line, unfortunately, into farce. Were the production directed in a more authentic, realistic mood then the results could have been far superior but, as it is, the cast attempt to make the best of their direction to varying degrees of success.

Strangers On A Train is something of a missed opportunity with a promising - if wordy - script impeded by a misjudged conception uneven in tone and pace and is a story worthy of better.

"The Wipers Times", Glasgow, Theatre Royal, 7/11/17

Written for Backstage Pass:

http://www.backstagepass.biz/2017/11/theatre-review-wipers-times-theatre.html

In the midst of the centenary of the Great War it is surprising to find that there are few current theatrical efforts on the subject underway; the National Theatre's War Horse gallops apace, of course, and now The Wipers Times is also on hand to address the imbalance in its UK tour.

Adapted by Ian Hislop and Nick Newman from their television film, the play tells the story of the creation of the journal named "The Wipers Times" (from the Tommies' inability to correctly pronounce "Ypres"), a precursor to modern satirical magazines that forwent the route of detailing sombre events and endeavoured to raise the spirits of troops in the front lines with jokes, limericks and the like, often parodying the mainstream media of the time.

Translating the story from its historical routes via television and onto the stage, Hislop and Newman have skillfully crafted a funny, witty and truly moving play that utilises material from the original newspaper that they turn into theatrical pieces that pepper the true-life story of the newspapers' creators, Captain Roberts and Lieutenant Pearson. Simultaneously, Hislop and Newman raise these two men and their soldier-appreciated product from the bottom drawer of history.

Forming a backdrop to the frivolity, the Great War's progression poignantly comes to the fore at various points throughout the play and the tragedy of war becomes all the more striking when contrasted with the humour that soldiers themselves created as relief. For the most part, the jokes feel fresh and modern rather than a hundred years old and they further reinforce connections between the past and present (none more so than in the jokes that revolve around the Daily Mail).

Hislop and Newman's script captures the bravery, camaraderie and humour in the face of adversity that evidently saturated the soldiers' lives and director Caroline Leslie's production manages to balance the sober with the ridiculous, with a hint of the amateur nature of the newspaper's production in the skits realised in mock music-hall style. This is furthered by the creative unit set of Dora Schweitzer and the atmospheric lighting of James Smith. The sound design of Steve Mayo also breeds an appropriately disturbing soundscape and the musical settings by Nick Green, incorporating actual poetic content from the journal, furthers authenticity.

The cast are nothing short of superb and they are equally hilarious and tragic as apt and they form an authentic company ably led by James Dutton and George Kemp as Roberts and Pearson, respectively. They deftly portray the underlying fear masked with humour adroitly and their performances become all the more tremendous for it.

A powerfully moving yet heartily humorous play, The Wipers Times is strong stuff and serves also as an informative document of a forgotten piece of Great War history. Employing contemporaneous material composed by serving soldiers adds a depth to the humanity of such people not often seen in material written after the fact and this extra dimension creates a fresh take on a grim period of history.

Buy a ticket - history is rarely as concurrently moving and entertaining!

"Hairspray", Glasgow King's Theatre, 2/10/17

A massive success when it premiered on Broadway 15 years ago, Hairspray is based on the cult John Waters film and revolves around the rotund Tracy Turnblad who refuses to let her size stand in the way of her dreams and inspires those she meets to stand for what is right. Along the way she falls in love and becomes a driving force for good in a story that deals with race, integration, acceptance and dance.

Mark O'Donnell and Thomas Meehan's book is respectful of the original film and is filled with humour and warmth whilst the music and lyrics of Marc Shaiman and Scott Wittman perfectly encapsulates the bouncy, soulful sounds of the 1960's with a few anthemic numbers to boot.

The cast, led by Rebecca Mendoza as Tracy, Matt Rixon as Edna and Norman Price as Wilbur are pretty much faultless with stirring vocals, precise comedic timing and sterling performances throughout with standout moments from Brenda Edwards as Motormouth Maybelle including her rousing rendition of I Know Where I've Been.

As Seaweed, Layton Williams exhibits true star power in his lithe gymnastic performance which plays perfectly opposite his love interest Penny played by the charming Annalise Liard-Bailey. Jon Tsouras also stand out in his role as Corny Collins presenting some brilliant faces in his asides. The remainder of the cast are no less appropriate to their characters and purvey rounded performances.

The direction by Paul Kerryson is unfussy but it is the choreography of Drew McOnie which really brings events alive. Given that Hairspray is a vibrant and uplifting show set in the 60's it is unfortunate that the production is so ugly. The design by Takis is dull and uninspired and is rather unsympathetic with the nature of the musical. It is a clumsy design of unattractive angles which inhibit staging and sight lines and comes complete with dodgy projection and, sadly, the lighting of Philip Gladwell can do little to redeem it. Takis' costumes rarely do any better and, frankly, the production deserves better.

Given the promise contained within the material and the talents of its cast this production rises above mediocrity but could have been so much better again if it were not for such a dire design concept. Perhaps the next tour will look to rectify this.