Latest reviews first...
12th - 16th November
Crescent Theatre
Our House
⭐⭐⭐⭐ A great show chockfull of Madness!
It has unfortunately taken them a while (due solely to the original venue being hit by the RAAC issues last year) but St Alphege Musical Production Society (STAMPS) have finally managed to stage the Madness Musical “Our House”, albeit at the Crescent Theatre in Birmingham rather than at The Core in Solihull.
As a result, you can imagine the joy of the cast in getting the songs of Madness out to the audience in a show which combines a love story with elements of “do the right thing or face the consequences” via a whole host of classic songs. It all starts with Joe, a slight 16 year old, who wants to celebrate his birthday by showing off to his girlfriend by breaking into a building to look down on where lives. Bad move. He gets caught and from this point, Joe’s personality is split between Bad Joe and Good Joe. And it takes a good few years – and a lot of songs from Madness’s catalogue - before Good Joe triumphs and gets his girl.
The songs cleverly weave together into the story (written by Tim Firth who also penned Calendar Girls and Kinky Boots), whether the location is the school, the prison, Las Vegas (which allows a sneaky rendition of Night Boat To Cairo!) or the wedding celebrations. The cast have some great dance numbers to perform as well as some duets and solos. Two duets which worked particularly well were One Better Day (Joe and his dad) and It Must Be Love (Joe and girlfriend Sarah) but the entire cast worked well together to get the choreography and songs just right in the ensemble numbers. Look out especially for the scene where all the Union Jack umbrellas are out and something very clever happens…
A 7-piece band provided all the music live at the side of the stage with the song repertoire covering everything from Baggy Trousers, Embarrassment, Driving In My Car to House of Fun, Wings Of A Dove and, obviously, Our House.
Many of the cast have with a number of years of stage performing under their belt and some are new to STAMPS. This includes the lead Dylan Norris, perfectly cast as the likeable young Joe and who gives a very confident performance in his two roles as Good and Bad Joe (and who also has the most costume changes to do!). Robert Bateman and Devlin Young serve as his buddies with Melanie Bateman as his girlfriend and Emily Holtham and Katie Elliot as her co-conspirators (Robert, Emily and Katie also designed the show’s extensive choreography).
As it is an unfamiliar venue, it is only to be expected that not everything was perfect. The first half was marred to some extent by poor sound (levels wrong, microphones not working properly or not turned on on-cue, interference, etc). However, once the second half got underway, it was clear that most of these issues had been resolved and everything sounded a whole lot better.
http://www.facebook.com/TheViewFromTheStalls/posts/596881226012535
12th - 16th November
Malvern Theatres
Murder On The Orient Express
⭐⭐⭐⭐⭐ A really entertaining adaptation of the classic Christie story
It is certainly one of Agatha Christie’s best-known – and well-loved – stories, having been subject to a number of film, TV and video game adaptations over nearly 100 years, most notably Sidney Lumet’s 1974 Oscar-winning film version with Albert Finney as Hercule Poirot (though Christie apparently did not think his moustache was “the finest in England!).
The problem of how to convert a story with so many characters into a stage play was solved when Ken Ludwig’s version premiered in 2017. Out went 6 of the major characters leaving 8 main suspects trapped on a train in a snowdrift in the middle of nowhere with no help contactable.
There was still the issue of how to convey the cramped atmosphere of multiple train carriages on stage. In the event, it has been done very successfully and believably.
The show starts with an empty stage and some sound effects until the cast members appear as a group and set out tables for the hotel café. One of the group is Poirot himself whose “little grey cells” get to work on the conversations he is hearing as the tables revolve on stage.
This motley collection of travellers then arrive on the station platform waiting to board and head out on their luxurious journey to Calais (the first published version in the United States was renamed Murder on the Calais Coach) and it is here that a little bit of magic happens. Onto the stage, the railway carriage appears, totally lifelike, containing 3 bedrooms and the corridor which links them together in the style of a train from the 1930s. At each end of the carriage is the beginning of the next one, giving the impression of an entire train. During the show, the carriages move around the stage showing them from different angles and also are converted into other scenes such as the restaurant car which, true to form, is where Poirot makes his final announcement and it is a dénouement which tests his ability to separate an emotional response from that of an impartial detective.
In spite of the bloody murder of one of the passengers, the show is littered with some very funny lines, none of which are at the expense of Poirot’s French (sorry, Belgian!) accent, each one lightening the tension as Poirot determines exactly who is the culprit.
Michael Maloney takes the role of Poirot for this production – an unenviable task given that he is following in some very famous footsteps such as David Suchet’s mammoth appearances in all of the Poirot stories on TV. But he portrays him very well indeed (in spite of a couple of microphone malfunctions) along with the rest of the cast, each character totally unique, with Bob Barrett as the Wagon Lits boss, Mila Carter as the Countess, Debbie Chazen as the Princess, Rebecca Charles as the sidekick Greta, Simon Cotton as Samuel, Jean-Baptiste Fillon as the train’s French conductor, Christine Kavanagh as Helen, Paul Keating as Hector, Iniki Mariano as Mary, and Rishi Rian as the Indian colonel. Then there is the image of Daisy Armstrong, the glue which joins them all together…
This is a thoroughly enjoyable evening’s entertainment, even if you do already know the outcome!
http://www.facebook.com/TheViewFromTheStalls/posts/596247306075927
5th - 9th November
Malvern Theatres
Summer 1954
⭐⭐⭐⭐⭐ Two stories by a popular post-war playwright…
If you search for a play by Terence Rattigan called Summer 1954, currently being staged at Malvern, you won’t find it. This is because the evening is actually made up of two different Rattigan plays, The Browning Version and Table Number Seven (which is itself one half of his play Separate Tables).
So it is actually two for the price of one, with a cast of 14 for Table Number Seven and 7 for The Browning Version. This explains why, at the interval, the cast come on stage to take their curtain call… And that cast included the amazing Dame Sian Phillips, 91 years young and impeccable as Mrs Railton-Bell in Table Number Seven.
The aforementioned year is relevant as both plays are set around this time in the post-war era when attitudes were slowly beginning to change but with restrictions still in place. So, for example, the “major crime” of importuning which Major Pollock (Nathaniel Parker) is accused of in Table Number Seven could not even be mentioned in Rattigan’s original play as any mention of homosexuality was banned by the Lord Chamberlain. It had to be changed to harassment of women instead but it was back to the original for this production in these rather more enlightened times. Not that Mrs Railton-Bell was in any way supportive, unlike her daughter Sybil (Alexandra Dowling) who little by little distanced herself from her mother, shockingly disobeying her. Set in a Bournemouth hotel-cum-boarding house, the play examines these different worlds colliding…
Some of the cast returned for the second play which revolves around another British institution, a private school, and the relationship between staff and pupils with a touch of marital infidelity. The teacher in question, Mr Crocker Harris (as with Major Pollock, a part written for Eric Porter) is about to leave as a thoroughly defeated classics teacher but not before he is visited by one of his pupils who goes some way to restoring his faith in schooling (and explaining the title of the play too) if not in marriage which in parallel has fallen apart.
Presenting two plays requires two different settings (country hotel and school) and, in fact, each play has two settings as well. This is cleverly achieved by the large revolving set which presents each scenario in turn and the decoration certainly evokes the 1950’s era. Sadly, it wasn’t long before Rattigan was out of favour with new “kitchen sink” dramas by the likes of Harold Pinter and Allan Sillitoe taking over. So it is good to see that Rattigan’s plays can still hold their own for a modern audience.
All reviews are available on the website: www.theviewfromthestalls.org.uk
30th October
Malvern Theatres
A Warning To The Curious
⭐⭐⭐⭐⭐ An eerie tale for winter nights…
M. R. James’s Ghost Stories are quite well-known and in the past have been a favourite for late night outings on TV.
Two (out of thirty three!) of the stories are being presented at various venues over the next few weeks and these are Whistle And I’ll Come To You and A Warning To The Curious. Both plays are presented on a bespoke stage in Studio One with the audience on three sides and both are solo efforts for Toby Burchell.
It is the latter show which has been on the stage for the past couple of nights and both shows will continue in other venues as near as Worcester and as far as Bath.
A Warning To The Curious is just that – a warning that you might not like what you find when you go looking, particularly for a shy, nervous man named Paxton in this eerie tale. Paxton happens to be staying at the same hotel as the narrator and his pal Henry Long. Toby plays all of the characters with ease – switching between the narrator and those he comes across in the small seaside town of "Seaburgh" (an extensive description of the town presents a thinly disguised version of Aldeburgh in Suffolk where the author spent time as a child. There is also a Martello tower which is near Aldeburgh and which is key to the story as well as the hamlet Friston which is home to a church dating back to the medieval period and becomes Froston in the story). Paxton inadvertently stumbles across the last of three missing crowns which legend says protect East Anglia and the country from invasion from, amongst other, the French and the Germans (the play was written in 1925). True to form, it did not give Paxton much protection!
Toby’s portrayal of the half a dozen or so characters is much more than a reading of the script – he is convincing enough to ensure that we believe the unfortunate deeds which take place on the misty coast (reflected by mist flowing over the audience too) that result in a violent death. It is a place, he says, that he will never return to…
Be careful what you look for!
A Warning To The Curious will be at Hanbury Hall Droitwich on November 1st, the Alma Theatre Bristol on November 19th and Greyfriars House Worcester on December 7th
Future performances of Whistle And I’ll Come To You are at Hanbury Hall Droitwich on October 31st, Kings Theatre Gloucester on November 15th, the Alma Theatre Bristol on November 18th and Greyfriars House Worcester on December 6th
http://www.facebook.com/TheViewFromTheStalls/posts/586981220335869
The review of Whistle And I'll Come To You is here:
http://www.facebook.com/TheViewFromTheStalls/posts/392704893096837
29th Oct - 2nd Nov
Malvern Theatres
Never let me go
⭐⭐⭐⭐⭐ A fascinating insight into a dystopian society
Never Let Me Go comes from the pen of Sir Kazuo Ishiguro, a Japanese writer who moved to Britain when he was five years old and who wrote The Remains of the Day. Both plays were made into films and both feature quintessentially British scenarios. Whilst Remains of the Day is built around activities in a fictitious stately home near Oxford, Never Let Me Go features a boarding school in Hailsham.
The play moves through the decades and starts in what appears to be a hospital ward with one patient Phillip (Maximus Evans) being attended to by his newly-acquired carer Kathy (Nell Barlow). You immediately get the impression that this is not a “normal” situation as indeed later scenes will explain. These are, in fact, people undergoing state-sanctioned cloning, whose lives – and how long they will live - are pre-determined. Amongst the other schoolchildren are Ruth (Matilda Bailes), outspoken and confident, the complete opposite of Tommy (Angus Imrie), painfully shy and ignored by his fellow pupils. We see all the characters later in life as their characters change.
Things started back in the school and so the set changes to give an indication of what chaotic school life was like before moving on to later stages in the characters’ development. There are clues, however, to indicate that something strange is taking place – certain drawings that the kids have done, for example, are taken away by the mysterious Madame and things get “lost” and end up in Norfolk(!). It also becomes clear that these clones are, in fact, donors for the next generation and have limited possibilities for extending their life span other than by what they refer to as a “deferral”, only available if they can show they are truly in love with another clone. They are also aware that they are clones and that their “true selves”, the “possibles”, are out there somewhere.
The set design is very clever, consisting of a large curved wall with 4 double doors built-in, through which the scene changes happen fast and frequently. This allows the flow of the narrative to be very smooth and effective, especially as use is made of another device: the last few words spoken in one scene are in fact the first words of the following scene. This simple device helps to cleverly connect everything together.
This is a very thought-provoking play and production, raising a number of what-if scenarios.
http://www.facebook.com/TheViewFromTheStalls/posts/586673683699956
23rd - 26th October
Swan Theatre
31st Oct - 1st Nov
Coach House Malvern
Top Girls
⭐⭐⭐⭐ A play which has featured on many a Best Play list
Sexual politics and feminist themes are high on the list of priorities when it comes to the work of British author Caryl Churchill and this is evident in her play “Top Girls” which is the play selected by the Swan Theatre Amateur Company for both the Swan Studio theatre and the Coach House theatre in Malvern. This is a play which has often featured on many Best Plays lists since it first appeared in 1982.
It is a play which definitely demands the audience’s attention, given that it starts with a type of dream fantasy sequence when the main character Marlene is meeting others in a restaurant – these “others” are, however, historical characters who have something in common with each other and Marlene. So we see Pope Joan, who, disguised as a man, is said to have been Pope between 854 and 856, the explorer Isabella Bird, Dull Gret the harrower of Hell, Lady Nijo, the Japanese mistress of an emperor and later a Buddhist nun and Patient Griselda, the patient wife from The Clerk's Tale in Geoffrey Chaucer's Canterbury Tales. A mixed bunch then who often speak over each other (which initially sounds like it is a mistake but is, in fact, part of Churchill’s style).
The play jumps around in time and space with other scenes taking place in Marlene’s office, an employment agency where she has just been promoted and, going back a year, to the home of her sister where an unexpected reveal happens relating to her niece…
The cast is (almost) exclusively female, most of whom have 3 different roles to act out and some are relatively new to the company, having joined in 2022. The acting is uniformly excellent, the different roles played with apparent ease, especially Jenny Cheong who has both Japanese and American characters to portray. The historical characters and the modern day ones both have parallels regarding their position is society, especially regarding men. So what does it take for a woman to succeed?
If you are looking for a show which will make you think, this is definitely one for you.
It plays at the Malvern Coach House theatre from 31st October to 2nd November
Next from the company will be 2 plays by David Tristram - Last Tango in Little Grimley and The Fat Lady Sings in Little Grimley at the Swan Studio from 27th to 30th March 2025
http://www.facebook.com/TheViewFromTheStalls/posts/583930247307633
24th October
Malvern Theatres
Ocean Film Festival
⭐⭐⭐⭐⭐ A stunning series of films celebrating the diversity and fragile nature of our oceans
The second of two visits for the Film Festival World Tour after the earlier BANFF Mountain Film session is always the Ocean variety and this year it consisted of 6 films, varying in length from 7 minutes to just under an hour.
The Call of the Cold showed Iceland as we mere mortals will never experience it with a variety of very cold escapades including diving between the ever-moving tectonic plates separating North American and Eurasian continents which is slowly splitting the country in two.
Tess Felix is an artist who has created some stunning art from the flotsam and jetsam plastic that she finds dumped on the shoreline or floating in the sea.
Ice Maiden displayed a woman with true strength of character, attempting the fastest solo circumnavigation of Antarctica. Even when severe storms “demasted” her boat and almost sank it, she managed to carry on and beat the previous record, something she then repeated even more successfully two years later.
The Whale Song showed not only how those beautiful creatures can interact with humans and with each other communicate through singing (but only the males apparently) but also how this can be mixed by a DJ to become a dance floor hit.
Metropolis is a tongue-in-cheek short documentary about a day in the life of the creatures that inhabit the seabed, some of them very scary-looking indeed!
And The Call is the story of a guy whose experience of losing his leg to a shark whilst surfing made him respect them all the more and set out to help protect them.
All the films make the best use of high quality modern filming techniques, underwater cameras and drones to show off the natural world at its finest as well as at its most fragile.
The 2025 Banff Mountain Film Festival World Tour hits Malvern on February 4th.
http://www.facebook.com/TheViewFromTheStalls/posts/583222160711775
22nd - 26th October
Chaddesley Corbett Village Hall
The Vicar Of Dibley
⭐⭐⭐⭐⭐ A funny retelling of how the arrival of a vicar changed parish life for good!
The Vicar of Dibley, Richard Curtis’s ecclesiastical comedy, ran for 3 series on the BBC from 1994 (yes, 30 years ago!) and introduced us to a range of characters and the comings and goings of small village politics as well as the installation of, gasp, a female vicar.
The show was re-written as a stage play for amateur companies to perform and this is what Tinkers Farm are presenting this week at Chaddesley Corbett Village Hall (a suitable venue if ever there was one!).
Of course, a show which contained as many as 8 uniquely identifiable characters has to be reproduced as faithfully as possible to feel authentic. It is therefore important to choose actors who can mimic the originals and the company have done very well to do that as they are all instantly recognisable, both from their looks and their gestures. So we have the newly-arrived vicar Geraldine (Catherine Tabberner), a buxom wench who finally manages to convince the parish committee of her worth, her sidekick Alice (Becky Johnson) with her nonsensical conversations, the Hortons father and son (Andrew Potter and Luke Plimmer) who have opposing views on the likeable Alice, minute-taking Frank (Raymond Turrell), never quite sure what he should or should not include in the meeting minutes, busybody and none-too-successful cook Mrs Cropley (Diane Hingley), perpetual ditherer Jim (Roger Goddard) – first in when Geraldine says to Hugo “You may kiss the bride” and last but absolutely not least, the randy farmer Owen (Matthew Morgan). In fact, of all the cast, it was Matthew’s portrayal – both voice and actions – which completely got the original Roger Lloyd Pack’s portrayal of the character and sounded exactly like him.
The show (running at just over two hours) takes the audience from Geraldine’s unexpected arrival in the village through to the marriage of Alice and Hugo, mostly done on a couple of sets on stage (the parish meetings and the vicar’s lounge) except for the wedding itself which cleverly uses the Village Hall’s aisle to bring the couple together back the back (with Owen videoing every intimate moment!). The show is made up of many relatively short scenes which means flipping between the two sets on stage – this meant that the stage hands had to do a lot of work in the dark to reset the stage each time whilst the audience waited for the actors to reposition themselves and the scene to be revealed.
The company (including the four youngsters) did well to accurately portray these well-known characters and provided an evening of comedy entertainment which the audience thoroughly enjoyed.
Next up from Tinkers Farm – The Producers from 14th to 17th May 2025
http://www.facebook.com/TheViewFromTheStalls/posts/582506834116641
22nd - 26th October
Alexandra Theatre
Dear Evan Hansen
⭐⭐⭐⭐⭐ A moving and uplifting musical with a very talented UK cast
Every so often, along comes a play or a musical which blows the competition out of the water.
The much-anticipated revival of Dear Evan Hansen is definitely one such show. Originally a stage play back in 2015, it became a less-than-favourably reviewed film version in 2021 before Covid effectively put the whole theatre thing to rest. Now it is back, London misses out and, since the beginning of this month, the regions get to see the show.
Dear Evan Hansen has music and lyrics by Benj Pasek and Justin Paul (who wrote songs for films such as La La Land and The Greatest Showman) and is based on a book by Steven Levenson. This, his first musical, follows Evan Hansen, a high school senior with debilitating social anxiety, who inadvertently finds himself in a situation which he is unable to control.
Casting is key in a show based around one character and for the UK tour, a remarkable 27 year-old Scottish actor called Ryan Kopel takes the leading role and runs with it for all its worth, as an All-American boy (with fortunately no trace of his Scottish roots!). In fact, compared with the equally impressive Ben Platt in the film version, Kopel portrays even more effectively that anxious, disillusioned, lonely soul that is Evan Hansen with all the subtle indications – just watch his hand movements - of someone who is uncomfortable both at home and at school. Life in nature is where he feels most suited.
Told by his psychotherapist to write a letter to himself – “Today is going to be a good day and here's why” – in order to express how he really feels (hence the title), this same letter is taken by Connor Murphy, a school bully who is equally a misunderstood outsider and, when it is found on him when he later commits suicide, the “relationship” between the two becomes misinterpreted by Connor’s family, a deception which Evan can only go along with, with disastrous consequences as the internet makes the situation go viral.
Maybe not the happiest of scenarios for a musical but one which does give rise to a superb set of songs whilst making you think about his situation (without it being rammed down your throat) and while most of the lead characters get their own song, it is nonetheless Kopel’s renditions which carry the pathos of the situation most effectively (though his mother Heidi (Alice Fearn) comes close with the song “So big/So Small”. The songs blend perfectly with the narrative too, something which can feel unnatural in musicals when a character suddenly bursts into song. Here the spoken and sung words meld together and work as one, right from the beginning where his solo “Waving Though a Window” firmly establishes the context of the show.
There is not a single song which is not relevant to the plot with other particularly strong ones being “You will be found” and “For Forever”, with a live 9-piece band providing the impressive score.
Clearly expectations from the packed house were high and, judging by the response to his first song, those expectations were not just met from the very start but exceeded by far.
http://www.facebook.com/TheViewFromTheStalls/posts/581830394184285
21st - 26th October
Malvern Theatres
Rebus: A Game Called Malice
⭐⭐⭐⭐ A relatively short murder mystery from a master of the art
It’s a case of life imitating art in Rebus: A Game Called Malice, a story which was written by Sir Ian Rankin whilst self-isolating during Covid and subsequently brought to the stage in collaboration with Simon Reade. Given that lockdown meant he was confined to one room, so it is that the characters in the play are also all in the same room (though fortunately no other Covid rules apply here). They are, in fact, at a dinner party in Edinburgh (including Rebus, as guest rather than investigating officer) where Harriet, the host, has concocted a murder mystery rather like Cluedo which the others attempt to unravel.
Until, that it, a body is unexpectedly found in an upstairs room…
The first question is who exactly is this unexpected dead intruder, the second is how did he die and the third, were any of those present responsible?
As the story progresses, it becomes clear that all is not well between the attendees and soon the recriminations start. Fortunately, Rebus is on hand to put some order into the proceedings, using his experience as an ex-cop to kick off the investigations.
Rebus is played by the ever-popular and regular Malvern visitor Gray O'Brien, with Abigail Thaw, Teresa Banham, Neil McKinven, Jade Kennedy and Richard Hodder (standing in for Billy Hartman on Press Night) taking the other roles. The deceased person remains a mystery, never to be seen…
With a run time of well under 2 hours including interval, it seems more like a slightly extended TV version of a play rather than providing a full evening’s entertainment in the theatre, particularly given that there is just a single, if rather lavish set, though the six characters interact well with each other as secrets, lies and threats unfold until the final moments when all is revealed.
http://www.facebook.com/TheViewFromTheStalls/posts/580818384285486
16th - 19th October
Swan Theatre
Animal Farm
⭐⭐⭐⭐⭐ A stage full of animals in a well-acted play about human nature…
Two legs bad, four legs (or wings) good – that is the mantra declared by the revolutionaries in Animal Farm in this collaboration between the Worcester Rep, the Young Rep and the People’s Rep. The collaboration gives the opportunity to expand greatly the size of the cast, useful when you need a farmyard full of animals.
George Orwell’s play is a thinly-disguised satire or critique of political systems where the few manipulate the many by creating rules for their own benefit, in this case targeting Josef Stalin’s rise to power and subsequent dictatorship. It reflects current society as much today, if not more so, than it did when it was written.
When the farmer has been overthrown, it is time for the animals to take charge and Manor Farm becomes Animal farm. “All animals are equal” is one of the 7 new commandments of Animalism to be followed, along with no interaction with humans. It doesn’t last long. Very soon the pigs take control and even then, arguments and lies lead to disagreements and expulsion until a dictatorship is in place. Put in their place by the pigs, the other animals can do little except suffer in silence and, of course, the pigs reconnect with humans when it is in their interest to do so. Nathan Blyth, Rachael Cummings and Rob Holman are the Rep members taking the parts of Squealer, Napoleon and Boxer, with the rest of the cast taking all other roles.
With so many in the cast and a range of animals to portray, it could easily have become a bit confusing as to who is who, especially as they are not wearing any identifying features like masks, but fortunately this is not the case and you can easily follow the story whilst despairing at how easily the views and hopes of the masses can be manipulated by the few.
As a collaboration between three groups, this worked really well and it played to a gratifyingly large audience which will give them the confidence to stage more shows like this in the future.
Never trust a pig – at some point, they will turn against you!
http://www.facebook.com/TheViewFromTheStalls/posts/578362807864377
15th - 19th October
Malvern Theatres
The History Boys
⭐⭐⭐⭐⭐ As relevant today as it was 2 decades ago
Alan Bennett’s extensive catalogue of plays can hardly be faulted. From his early days when he formed Beyond The Fringe with fellow Oxford graduates Dudley Moore, Jonathan Miller and Peter Cook, through to the period when he penned the Talking Heads monologues, The Madness of George III and the Woman in the Van and finally to today, at 90 years old, creating The Choral, his first original screenplay for 40 years, Bennett must be proud of the fact that a play-cum-film which gave many young actors their first big break has been revived.
Twenty years on from its premiere at the National Theatre, The History Boys is back playing to new audience and what a revival it is. Although set in Cutler’s Grammar School for Boys in Sheffield, no date is explicitly mentioned. This production however, through the extensive use of music, makes it clear that we are very firmly in the 1980’s and it is worth seeing for the choice of music alone.
The play revolves around the school’s headmaster and his staff – two permanent and one temporary played by Milo Twomey, Simon Rouse, Gillian Bevan and Bill Milner – and an eclectic bunch of 6th formers heading, possibly, to the delights of Oxford or Cambridge. Each has his own story to tell and this runs alongside the battle between the staff regarding their teaching methods. This leads to some hilarious scenes when the so-called history class is caught performing saucy scenes in French…
History teacher Hector is both loved and disliked by his pupils – a bit of a perve to say the least, the boys are confused somewhat by his teaching methods especially when compared with those of the replacement teacher Irwin who is barely 4 years older than they are. Whose teaching methods will give them the best chance of passing to the next phase, if indeed they know what they want out of their lives?
The set is a simple one consisting of a wall which revolves – on the one side, the plain outside of the classroom, on the other the classroom itself. But it is the clever use of music and choreography which makes the set changes fascinating. Each one (and there are many) is accompanied by the 80s soundtrack – songs which every will know from the likes of OMD and Duran Duran – as the boys work together to set up the next scene. But not all of the music is pre-recorded. Indeed, the show starts with an a ‘Capella version of St Elmo’s Fire, there is an exhilarating version of Stand and Deliver and oddly enough, going back a few years, classics such as Bye Bye Blackbird and Bewitched Bothered and Bewildered. Much of the singing shows the undoubted talents of Lewis Cornay as young Posner – short in stature, Jewish and gay and all the better for it.
The film may have made stars of many of the actors and this touring version should certainly do the same. Without exception, all of the roles were really well acted and deserved the standing ovation at the end, after the audience heard exactly how the boys had fared in their subsequent lives.
Of course, Bennett definitely has a way with words. After all, who else would think to describe history, pretty accurately and succinctly in fact, as “just one fucking thing after another”. Brilliant!
http://www.facebook.com/TheViewFromTheStalls/posts/577600147940643
7th - 12th October
Malvern Theatres
Rocky Horror Show
⭐⭐⭐⭐⭐ Wonderfully, gloriously kinky and camp!
Malvern is certainly showing its sleazier side this week if the first night of Rocky Horror Show is anything to go by. A night out in fishnet tights and high heels for some - and that's just the men - all assembled to celebrate the return of those alien trans-sexuals from Transylvania.
If there is one musical which continually re-invents itself, bringing its energy and charm to a brand-new audience as well as retaining its hard-core fans, then it must be Richard O'Brien's show. Opening in June 1973, O'Brien's story of a pair of lovers who unexpectedly find themselves in a completely different world headed by Frank N Furter and his motley bunch of friends/workers/lovers/Phantoms has been a perennial favourite on the touring circuit for years and as such, with clever and varied casting particularly in the main roles of Frank and The Narrator, continues to draw a huge and very involved audience. Indeed, the involvement of the audience is as important an element as the story itself and tests every Narrator to the extreme.
In the past, these narrators have been as varied as Nicholas Parsons, Steve Punt, Dom Joly and Alison Hammond. This time it is the opportunity for comedian Nathan Caton to strut his stuff on stage and respond in kind to the many “interruptions” shouted at him from the audience, some of which, as he acknowledged, were very filthy indeed - especially from a supposedly gentile town like Malvern! There were a couple of up to date quips too, one about Keir Starmer’s “gifts”, showing that the script is continually updated. Any newbies to the show may well be intrigued as to how much the audience is an integral part, not just by pre-empting the script but also many of them wearing appropriate clothing.
In this show, the muscular Frank is played by Stephen Webb with Connor Carson as clean-cut Brad and alongside this pair is Lauren Chia as Brad's other half Janet (dammit!). The pivotal role of Riff Raff is taken this time is Job Greuter (replacing Kristian Lavercombe who has played the part in over 2000 performances). The very energetic and acrobatic part of Rocky is the domain of the appropriately-muscular yet diminutive Morgan Jackson, expertly carrying out his aerobics perfectly on the Malvern stage.
Part way through the second half, there was the dreaded “technical fault” which meant a break in the show and the curtains closed. Nothing which a Malvern audience can’t handle of course, giving rise as it did to an impromptu singalong of the Time Warp and an unexpected rendition of Happy Birthday for one audience member!
The whole cast worked brilliantly as, to be fair, did the audience! The musical accompaniment from the live band hidden away at the top of the stage was superb. The spectacular and colourful ending using smoke and lights was also beautifully done and had the audience on their feet doing the Time Warp along with the cast.
It certainly seems that the show, forever being refreshed with new casting, effects and updated scripts, is set to continue for many years to come. Well, it is now already over 50 years old…
http://www.facebook.com/TheViewFromTheStalls/posts/570609388639719
1st - 5th October
Malvern Theatres
1984
⭐⭐⭐⭐⭐ A thought-provoking portrayal of things to come…
There can be no single year which, in name only, has had such an impact on a nation’s psyche.
1984 conjures up in most people’s minds a life of being monitored and controlled and where any transgression will be met by severe punishment. In addition to which, of course, 1984 has provided two enduring TV show formats, Big Brother and Room 101.
The new adaptation of George Orwell’s book “Nineteen Eighty-Four” by Ryan Craig (produced by Theatre Royal Bath) immediately puts the audience in that situation (minus the punishment!) in only its second week of a nationwide tour. On stage is an enormous eye upon which live roving images of the audience are displayed. There is no escape…
It is a clever use of modern technology to bring home the fact that these days, far more so even than in Orwell’s day, we are being watched and listened to. Step out of line and you know what will happen. Room 101.
This is the very scenario which allows O’Brien (Keith Allen) and Winston Smith, comrade number 6079 (Mark Quartley) to act out the battle of what is effectively Master and slave and the psychological manipulation of the latter into believing he is seeing what, in fact, he is not seeing at all. Winston sets off on his personal road to Hell by the simple act of keeping a diary alongside his allocated job of editing old news articles to fit the new narrative of the so-called Ministry of Truth, where certain words are banned.
Keith Allen plays the sometimes-friendly, sometimes-menacing O’Brien expertly as if it is the most natural behaviour possible whilst, and this is particularly true in the second half of the play, Quartley brilliantly plays a man beaten down mentally and physically in scenes which are sometimes necessarily hard to watch. So beware if you are of an easily-shocked nature – you may find some of the increasingly depraved activities which go on in front of your eyes quite distressing.
The cast of 7 on stage is complemented by a whole range of people who appear in-vision only, including a short cameo by Mathew Horne and Big Brother himself (Nicholas Woodeson) who finally gets to speak.
There is no escaping the fact that Orwell’s scenario gets closer to reality as time goes by – watching the play may act as a warning to what potentially could happen here.
http://www.facebook.com/TheViewFromTheStalls/posts/566673799033278
10th - 14th September 2024
Alexandra Theatre
Here You Come Again
⭐⭐⭐⭐⭐ A wonderfully evocative musical for the whole family!
To distinguish a musical about a famous singer from being a simple tribute act to being an actual meaningful story, you need a setting. And, in the case of Here You Come Again, that setting is a somewhat surprising one for two reasons. Firstly, it is set in the attic of Dolly Parton superfan Kevin Rutter's attic and secondly, this location was originally American actor Kevin Cahoon's real hometown of Longview, Texas.
For the UK, the script and setting have been masterfully transformed into something exceptionally British, the attic being located in Halifax and overlooking an Aldi carpark. Equally as important is making the circumstances something which audience can relate to and in this case, we are presented with something so recent and which had such a massive impact that it is still in the minds over everyone - Covid lockdowns.
The show is largely a two-hander with Aidan Culter playing Kevin and Tricia Paoluccio as not only Dolly but also taking the credit for writing the show with husband Gabriel Barre and Bruce Villanch.
Tricia, an American who clearly knows a thing or two about Dolly, gives a rendition of this undoubted Queen of Country which is spot on in every aspect.
Aidan is actually understudy for Steven Webb who was unavailable on the first night in Birmingham and was superb at playing a, let’s say, rather chunkier version of Kevin and all the better for it. His portrayal of the lovable Kevin was superb, from the moment he first appears, climbing through his attic window wearing a mask and carrying multi-packs of toilet rolls (we all remember that, don't we?!) to his chance to perform with his idol. It's all in his head, of course. Or is it?
The two actors play off each other brilliantly and convincingly, especially as the pair could hardly be more different: she a confident world-class star and innovator, he a shy 40-year old failed comedian coming out of a relationship with his uncaring and overbearing boyfriend Jeremy and wandering through life with little direction, locked away in his parents' attic with little or no human contact except for his mum and dad who are self-isolating downstairs and providing his meals and Covid tests.
The songs, as you would expect, fit in neatly with the narrative without appearing forced, from the major hits like Jolene, 9 to 5, Islands in the stream (which was a hilarious duet), I will always love you, Love is like a butterfly and the title track to others like Hush-A-Bye Hard Times and Me and Little Andy. And when it comes to a party, who better to invite than good old Boris (or at least a cardboard cutout) which shows, along with saucepan banging, Joe Wilks and banana bread, how much this script has been expertly crafted for a British audience. And there’s more than a little of real Dolly magic too! It's actually hard to imagine what the original American script was like, given that this is such a quintessentially British show.
And if the response of the first night audience is anything to go by, it must be a very satisfying show to be part of. A very, very funny script and setting, beautifully sung classic Dolly songs and a story we can all, on various levels, relate to – whether you are a Dolly fan or not, young or old, this is definitely a show to see. There is a wonderful finale when the set is pushed aside to reveal just the seven in the cast (including the musicians) and a run through with the audience of many of the songs featured in the show.
http://www.facebook.com/TheViewFromTheStalls/posts/551790467188278
28th - 31st August 2024
Malvern Theatres
Dial M for Mayhem
⭐⭐⭐⭐ A comedy which probably accurately portrays the tribulations of small venue touring
Hot on the heels of their previous shows in Malvern, The Verdict and A Murder is Announced, comes this new play which explores the trials and tribulations of a small company touring the bleakest reaches of Scottish village halls to put on their show Dial M for Murder (a play which the company have actually toured with four times over the past few years).
Played out against a very impressive backdrop of the ever-changing Scottish coastline complete with CalMac ferries passing by, initially in glorious sunshine and then in the rather more expected Scottish weather, gloomy with heavy rain, the location is the village hall of Loch Shindig and the characters involved are about as far removed from the real play as you could imagine. Mainly because, apart from the actors in the show itself, it is a ramshackle collection of locals who take centre stage. Village halls are, by definition, used by many local groups – badminton players, knitting circles and the like – none of whom are especially pleased at being displaced by this travelling company whose audience looks like barely reaching the dizzy heights of double figures. One dressing room has to be shared with the local GP whilst another is the disabled toilet and, of course, the set itself has to be transported from location to location in a clapped out van and built for each performance, no mean feat even when everything goes as planned which obviously it doesn’t here.
It is a “play within a play” but not of the type portrayed in the popular “Goes Wrong…” series of shows. There is maybe less “mayhem” than you might expect – or maybe it is more subtle than collapsing sets, etc. The acting here is strong, with some playing more than one character (Eliza Langland is Jean Murray/Ellen Harrison/Morag McCullough – all sturdy Scottish women, Alasdair Baker plays the wonderfully named Rupert Valentine Tinglewell (he was in Crossroads, don’t you know?!) and Alasdair McGilivray, a proud Scot whose sheepdog is always noisily present but sadly offstage, Joey Lockhart is Liverpudlian George the AA Man and one of the touring company along with Theo Woolford, Isabella Inchbald and Luke Rhodri. There is also a nice range of accents, from Scottish to Welsh to Scouse whilst Rupert Valentine Tinglewell always speaks like he has an audience lapping up his every precisely-spoken word (whilst the truth is they would rather be far away from his continuous flatulence – and those pants!)
One of the enjoyable things to do is to try and establish when the show is set, given all the references to things which are no longer around – Midland Bank, Safeway, Brookside (there were unfortunately no programmes available on opening night to give any details but apparently 1991 is the year in question, one of the years when Middle Ground did actually tour the show… so art imitating life perhaps?)
The production flowed nicely but the two stage resets in Act Two are a bit jarring – the first one is done just by dimming the lights as the stage furniture is moved around as we watch whilst the second much longer one gets the full curtains-closed treatment leading the audience to wonder firstly if that is indeed the end of the show and then if something has actually gone wrong. As the audience was becoming noticeably restless at this point, this is one part of the show which needs attention.
http://www.facebook.com/TheViewFromTheStalls/posts/543541581346500
23rd - 25th August 2024
Malvern Theatres
Where's Me Mates?!
⭐⭐⭐⭐⭐ A different side of Malvern Panto’s Jester!
Anyone who has been to the panto in Malvern will know the real star of show is Mark James in one of his many guises – Louis La Plonk. Buttons, Captain Smee… Everyone’s favourite Silly Billy really, every year (and this coming Christmas is no exception).
But unless you have been to one of the country’s many holiday camps this summer, you may not have got to see his “other side” which is a show full of magic and mystery. And that is exactly what he has brought to Malvern over the Bank Holiday weekend. Using the tagline which he is most famous for, “Where’s Me Mates?!” is billed as 70 minutes of non-stop laughter, magic and mirth with plenty of mayhem and madness thrown in for good measure. And it certainly delivers all that and more.
The show takes place in Studio One which means you are always getting close up views of the magic and trickery as it is performed in front of your eyes and yet, try as you might, you cannot work out how some of the tricks are done, especially when they are derived from random input from the audience. Mark is in his element (though not in the silly costumes he wears for the pantomime!) as he gets the audience involved in each trick and as the audience ranged from 6 to 73 on the opening show, there is plenty to choose from, sometimes remaining seated and sometimes on the stage helping out.
If all you have seen is the Panto Mark, you will definitely be surprised at how skilful he is at performing his magic whilst being fully engaged with the audience just as he is in panto as it is one of the trademarks of his appearances. And after the show, he is more than happy to chat with the audience as they are leaving.
With three more shows on Saturday and two on Sunday, it Is definitely a magical Bank Holiday in Malvern and a real treat for kids and adults alike. Miss that and you will have to wait until Sleeping Beauty which starts on December 12th.
http://www.facebook.com/TheViewFromTheStalls/posts/539934535040538
20th - 24th August 2024
Malvern Theatres
Fame The Musical
⭐⭐⭐⭐⭐ The Forum Theatre resounds to the music and singing of this talented cast in a colourful spectacular show
Hot on the heels of Malvern Theatre’s Young Company’s excellent production of the somewhat sombre Greek tragedy that is Euripides’ Medea with its small cast comes a much more jubilant production, Fame The Musical, a show where the actors can really let their hair down in a riot of singing, dancing and music. The theatrical version is based on English director Alan Parker’s massive 1980 hit film, the title song of which (sung by the late Irene Cara) became an anthem for anyone aspiring to be on the stage.
This is, after all, a show which portrays the progress of a bunch of teenagers through their time at a school for the Performing Arts. So art reflecting life really as the cast of 28 (the age range for the company is 8 to 25) deal with the issues created by the coming together of pupils from different backgrounds, different likes and dislikes, different talents and abilities and, maybe above all else, different relationship expectations.
There is the super-talented Iris (Issy Taylor) who comes from a poor family but who is nonetheless head and shoulders above the rest in terms of her ballet skills, two “bad boys” Jack and Joe (George Passalacqua and Ted Rowe) who each have their own demons to deal with (and who provide many of the funniest moments), Carmen (Cloe Pitt) who is basically obsessed with fame and the “white stuff” which will ultimately be her downfall, Nick (Ewen Daunt) who eschews all the modern stuff, preferring Shakespeare and other more serious writers, Mabel (Grace Price) who is always (apparently) watching her weight, Schlomo and Goody (Kai Haines and Sam Perkins), both budding musicians, Lambchops and Serena (Sorrel Coxcoon and Elizabeth Kaleniuk) and also, of course, the elders, those in charge of keeping this ragbag collection of individuals together and teaching them not only perform arts skills but life skills as well, Miss Sherman, Miss Bell, Mr Sheinkopf and Mr Myers (Naomi Shore, Scarlett Griffiths, Toby Edwards and Alex McDonald-Smith). And, of course, it is all done in American accents as this show is as American as apple pie!
Two other important people to credit, as they provide the real backbone to the show, are the Director/Musical Director and the Choreographer, without whom the cast would not be able to demonstrate their talents. Such is the pull of the company that Andy Reiss has been in charge of their musical productions ever since their first show (The Little Shop of Horrors) back in 2012 and is here with a live four-piece band. The dance routines have been designed by Katie Leeming, no stranger herself to performing, being a long-term member of Beyond The Barricades. Together, they have helped make a show which is as jubilant and hopeful as it is, in some respects, sad.
Act. Dance. Sing. Play music. Perhaps more than ever this is the skillset required to make it as a versatile cast member in theatre these days. Fame The Musical is effectively giving these young actors the chance to play themselves, going through the same highs and lows that the characters themselves experience. Pushing the students to their limits is what Fame’s School of Performing Arts is all about and, to their credit, the members of this young collective have done themselves proud.
http://www.facebook.com/TheViewFromTheStalls/posts/539063018461023
20th - 24th August 2024
Alexandra Theatre
Pretty Woman The Musical
⭐⭐⭐⭐⭐ The classic film is set to become a classic musical
There are two things which “Pretty Woman” is famous for – firstly the song by Roy Orbison (though more accurately “Oh, Pretty Woman) and secondly the hit film starring Richard Gere and Julia Roberts. The latter was co-written by Garry Marshall (who also created The Fonz and Mork and Mindy) and from a gritty and much darker tale blossomed a heart-warming and lovable romcom. So lovable in fact that some 34 years later, a musical version has been doing the rounds, starting in 2018 in Chicago and Broadway and with long residences in places such as London’s West End (though it started there for just a couple of weeks before Covid closed it down).
Anyone who has seen the film will inevitably make comparisons with the casting – therefore this is an important element to get just right. Here we have Amber Davies (a previous Love Island winner) as Vivian and Oliver Savile (who has been in many a musical) as Edward and, in the roles of street hustler “Happy Man” and the very respectable Mr Thompson, it’s the charming Ore Oduba (Strictly winner in 2016). Vivian’s friend and confidant Kit is played by Natalie Paris. The main casting works well in both the singing and acting aspects but there is also the “Unexpected Star of the Show” in the form of Noah Harrison as Giulio, a bellboy who steals every scene he is in with his boyish innocence and facial expressions which had the audience in stitches.
The music for the show comes from the pen of Brian Adams and Jim Vallance, both of whom have had successful careers in the business and, accompanied by a live orchestra (which at one point was hilariously conducted by Ore Oduba!), they portray the storyline perfectly. The sets (mainly the streets of Hollywood or the penthouse apartment of the famous Beverly Wilshire Hotel) are cleverly designed and effortlessly moved around the stage to give a very colourful aspect to the production.
The show moves into unusual territory when Edward takes Vivian, dressed up to the nines, to the opera and we are treated to some fantastic and powerful operatic singing from Lila Falce-Bass who, amazingly, is making her professional debut in the show. Other that that, she is cast as a Bag Lady!
There are many touches of comedy too, mostly from Ore where the script gives him the chance to cheekily mention the fact that he used to be a professional dancer and the numerous dance sequences make the most of his talents too.
At the start of Act Two, we are treated to the first chords of Pretty Woman before the musician is stopped and we are promised it “later”. Which, of course, is how the show ends, in a rousing encore which had everyone up on their feet, encouraged to sing along. It is fair to say that it wasn’t well received (by critics) back in 2018 who criticised its lack of gender “correctness” but judging by the reaction of the audience, not just at the end but in their response to each of the songs, everyone got what they expected and perhaps more so.
http://www.facebook.com/TheViewFromTheStalls/posts/538397708527554
16th August 2024
Greyfriars House & Gardens
The Importance of Being Earnest
⭐⭐⭐⭐⭐ Another successful outdoor show from this talented company
Tethered Wits have three outdoor productions this summer – Jeeves & Wooster and The Railway Children (previously reviewed) from the main company and a treat for lovers of Oscar Wilde, The Importance of being Earnest performed by the Tethered Wits Academy, their training section.
Yes, it’s the one with the “handbag” and plenty of farcical situations, deceits and characters from a different world to the one most of us inhabit.
There are eight actors involved in the production (twice the number in their other shows) with the 2 main characters, the eligible bachelors Algernon Moncrieff and John Worthing, JP played by Charlie Harris and Ethan Bareham respectively. They do a great job of setting up the situation for the oncoming confusion over who exactly is who in respect of their prospective partners Gwendolen Fairfax (Alexa Ellison) and Cecily Cardew (Antonia Billington). The sticking point in any potential romantic liaison is, of course, Lady Bracknell herself (Beth Ellison) who came out with many classic lines related to her exalted position in society and her obvious disdain for the lower orders. Completing the line up with their own side story were Miss Prism (Martha Sharp) and the Rev Canon Chasuble (James Carder-Geddes) with Samuel Crawford taking on the roles of the manservants Lane and Merriman to both households.
All of this was played out in the gardens of the National Trust’s Greyfriars House in Worcester on a warm summer evening (though warm summer evenings do get a bit chilly once the sun has disappeared) but this lovely property did pose one problem. As the performers and the audience are all on the same level, whenever the cast sat down (in doing so consuming a lot of tea and sandwiches!), they effectively disappeared from view for many of the audience, along with their voices, making it harder to hear the conversation taking place.
This was an excellent production which brought out both Wilde’s silliness as well as the more serious satirical content of what was to be his last ever play. The cast certainly deserved the applause they received at the end of the show.
http://www.facebook.com/TheViewFromTheStalls/posts/535920455441946
15th - 17th August 2024
Alexandra Theatre
The Sound Of Music
⭐⭐⭐⭐⭐ An exceptional show from such a young cast of performers. Highly recommended!
It is probably the most beloved of all musicals, given its wide range of famous songs and the number of times it is featured in sing-a-long versions, and it is the show chosen for this year’s Stage Experience performances at The Alex this week.
The Sound Of Music, created in 1959 by Rodgers and Hammerstein, is staged by more than 80 participants – mostly on the stage but a dozen on the technical side too – all aged between 9 and 24, none of whom had been in a room together even two weeks ago. So to bring together such a collection of young people and create an outstanding show, as they have done in previous years, is no small order, especially as the music is played live by a 10-piece orchestra.
At the helm is regular director and choreographer Pollyann Tanner who knows a thing or two about creating these shows as she has been doing it since the first-ever production back in 2003. Many of the participants will never have set foot on a stage before so her job, in a short space of time, is to lead, inspire, nurture and teach the enormous cast to work together and bring an iconic musical to the awaiting audience.
Indeed, as the show opens to the setting of the abbey where a group of nuns are in prayer, the audience is left wondering how on earth such a beautiful, powerful and heavenly sound could possibly come from such a young team, so strong and clear are their voices. And when it comes to stand-out performances, one just has to be Ella Blair who plays Mother Abbess in her first show at the Alex and who closed the first act brilliantly with Climb Ev’ry Mountain, such an important song to get just right.
Something equally important to get right is the casting of Maria and with Molly Hopkins given that role (apparently one of 20 who auditioned who could have done it), the show is in safe hands, not only with her beautiful clear singing and spoken voice but also with her interaction with the initially somewhat regimented 7 children of Captain Von Trapp (Cree Henson, in his third Stage Experience role).
By definition, this is a heavily female-led show (5 daughters, just two sons and a whole load of nuns!) but everyone gets an equal chance to shine as there are many ensemble pieces involving the entire cast, especially during the final “concert” competition where the “rivals” are played for comedy and fun.
No-one should be surprised by the fact there is an unashamed political element to the show, given that it involves the Austrian family’s attempt to escape to Switzerland at the time of the Anschluss, when Nazi Germany was annexing Austria. Whilst it might these days seem somewhat jarring to see Nazi insignia on display, it is nonetheless a historical fact and does not diminish the power of the musical to address such “sensitive issues”.
Once again, the entire team behind Stage Experience has come up trumps and given the packed house a show which they adored and responded to with a long standing ovation - a show which indeed all involved will remember for many years to come. And for those performers for whom this was the first opportunity to be on a stage, they will no doubt have taken with them many valuable lessons and the knowledge that being initially a young amateur performer can lead onto a very successful professional career. Long may it last as we await the announcement of next year’s choice of show…
http://www.facebook.com/TheViewFromTheStalls/posts/535221478845177
7th - 25th August 2024
The Old Joint Stock pub
First Date
⭐⭐⭐⭐⭐ A really funny show in a most unusual location
Two floors up, above the bar and restaurant of the Old Joint Stock pub, a listed building opposite the discreetly gorgeous Birmingham Cathedral, there is a remarkable space for a well-established theatre company. Small and cosy with seating for 95, the space is the perfect setting for the award-winning American show First Date as it transforms itself very simply into a meeting place called Cupidz, where two singletons have decided to meet for a drink and maybe something more.
Aaron, a naïve shy newbie to blind dating seems to be no match for confident serial (unsuccessful) dater Casey. Chalk and cheese spring to mind as the couple slowly reveal themselves and the distance between them becomes clear as faux pas follows faux pas. But could there just be a little spark between them which could bring them together? So far, so touching. But the couple are helped/hindered by images from their past, critics inside their heads, characters played by the three other cast members (one of whom the audience has already “met” as he welcomes guests to their seats). Aaron has a wingman who is out to ensure he gets a relationship without mentioning his ex. Casey has a sister who has been instrumental in setting up the date. Both have parents who have had an important part to play in their upbringing. Both have friends in common. The list of extras goes on…
This is not just a comedy but also a musical and here the actors play to their strengths. In the confined space of the theatre, the songs are powerful, loud and clear with some excellent vocals, especially from Casey. And Aaron even manages a successful and completely unexpected cartwheel across the stage at one point. The show is tightly written and never falters, moving effortless from one scenario to another, from ice-breaker drinks to main course (real food!) to the final bill as secrets reveal themselves. The cast are superb in bringing a dating scenario to life, completely realistic in their portrayal of a couple obviously at odds with each other, maintaining the required American accents throughout. It is a very, very funny show.
So do the pair finally have enough common ground to go on a second date? You will have to go along yourself to find out!
If the cast can fill a theatre even on a Saturday matinée, then it must be doing something right - the show runs until August 25th.
All show details can be seen on their website:
https://www.designmynight.com/birmingham/pubs/city-centre/the-old-joint-stock-theatre
http://www.facebook.com/TheViewFromTheStalls/posts/532121022488556
9th August 2024
Tewkesbury Abbey
The Railway Children
Jeeves and Wooster
⭐⭐⭐⭐⭐ Two fun shows for young and old-er, hopefully in the sunshine!
The summer season for Tethered Wits encompasses not one, not two but three self-contained plays with E Nesbit’s “The Railway Children” and P G Wodehouse’s Jeeves and Wooster in “Stiff Upper Lip, Jeeves” with the third presented by the newly-formed Tethered Wits Academy which as part of their training programme is putting on “The Importance of Being Earnest”.
Get the timings right and the main shows can both be seen on the same day, as was the case when they were presented in the Rose Garden of Tewkesbury Abbey. The warm afternoon sun shone for the perfect show for children to attend, running at approximately 1 hour whilst in the slightly chillier evening (this is England so take warm clothes!) the same troupe presented the rather more farcical and longer Wodehouse story.
With both shows condensed to a suitable length for outdoor audiences, the writing also had to consider that, however many characters there were, there were only 4 actors to play them. Therefore it was a case of Alexandra Clare, Rory Dulku, Joe Keenan and Olivia Warren appearing in many different guises, such as Warren’s railway child becoming their mother simply by wearing a shawl whilst Dulku’s characters were often distinguished by their different accents. The same applied to the evening show as well.
The Railway Children may be seen as a show for a young audience but its themes certainly are much more global in scope and Lynne Lawrence’s script introduced all of the key elements within a single hour, such as the sudden mysterious disappearance of the father and the arrival of a Russian political defector, Mr Szczepansky. The innocence of youth wins over the scepticism of adulthood.
Meanwhile, in adult-land, in Oliver Stockley’s adaptation Wodehouse’s characters act more like children fretting over things which would be unimportant to us lower classes. Bertie Wooster looks pretty stylish in his new Alpine hat - or so he thinks. Others, notably Jeeves, hate it. But when Bertie embarks on an errand of mercy to Totleigh Towers, things get quickly out of control and, as usual, he's going to need all the help Jeeves can provide.
In both shows, there is comedy and live music (each actor is required to play an instrument) and there are a couple of touching duets between Jeeves and Wooster. The is also some audience involvement, especially in The Railway Children and, of course, that audience is never far away. The sound effects and the use of the limited stage props were clever – who knew that a glass jar full of beans could sound like a steam train!? – and seeing as we were in the Abbey grounds, were enhanced every 15 minutes by the chimes of the church clock.
Two completely different shows performed on the same day by the same cast of talented actors. Even the weather stayed fine which gave both audiences a great afternoon/evening’s entertainment from a company which has certainly nailed summer outdoor shows.
Locally, The Importance of Being Earnest will be in the gardens of the National Trust’s Greyfriars House on Friday 16th August
All show details can be seen on their website:
http://www.facebook.com/TheViewFromTheStalls/posts/531504245883567
6th - 9th August 2024
Malvern Theatres
Medea
⭐⭐⭐⭐⭐ A well-acted tale of treachery and murder in Ancient Greece
One thing about Malvern Theatres’ Chief Executive Nic Lloyd is that when he decides on a play for the theatre’s Young Company to perform, he does not take the easy option, neither for the cast nor the audience.
In the past, the company have presented Sophocles’ Antigone in 2018 and then Dylan Thomas’ Under Milk Wood a year later. This year, the play chosen for the six actors is Euripides’ Medea, a story with many themes – infidelity, betrayal, murder, infanticide (or in this case more specifically Filialicide), revenge and despair, in this case all done and dusted in the relatively short time of 75 minutes.
It is, nonetheless, a play which tests the acting skills of the cast who, for the first time, are benefitting from the new Studio One and presenting it in the round, with the audience on all four sides.
The cast is made up of Mia Field in the title role, Georgina Sockett as her nurse and, to some extent, confidant, Finn Meredith as the Greek King Creon, Oliver O’Neill as Jason (he of the Argonauts and Golden Fleece fame), Bertie Bird as Aegeus and Toby Burchell as numerous other persons.
Now you might think that Jason is the baddie here, having decided to leave his wife Medea and take up with Creon’s daughter Glauce as that is where riches lie rather than staying with that “barbarian woman” Medea. Obviously this situation does not please Medea and she sets about plotting her revenge once the King has stepped in to banish her and her children. Revenge is sweet they say but maybe not so much when we hear how Medea deals with it. So who is manipulating who here and who deserves our sympathy?
There is very little to the set itself other than a couple of short columns to sit on so the interest is wholly in the characters and the portrayal of them by the young cast. They acquit themselves very well indeed, particularly Mia who gives a believable performance of a woman basically going through the trauma of not just losing her family but actively causing it to happen. Georgina is excellent as the lowly nurse who tries to make her see sense. And, with the audience so close on all sides, it never feels intimidating.
The fact that Studio One was virtually full on the first night demonstrates that there is definitely a market for emerging talent even if the play itself was first performed nearly 2500 years ago. Though maybe we are not quite ready for a musical version, of which there have been a few over the years!
http://www.facebook.com/TheViewFromTheStalls/posts/529424346091557
16th - 20th July 2024
Malvern Theatres
Here You Come Again
⭐⭐⭐⭐⭐ A wonderfully evocative musical for the whole family!
To distinguish a musical about a famous singer from being a simple tribute act to being a story, you need a setting. And, in the case of Here You Come Again, that setting is a somewhat surprising one for two reasons. Firstly, it is set in the attic of Dolly Parton superfan Kevin Rutter's attic and secondly, this location was originally American actor Kevin Cahoon's real hometown of Longview, Texas. For the UK, the script and setting have been masterfully translated into something very British, the attic being located in Halifax and overlooking an Aldi carpark. Equally as important is making the setting something which audience can relate to and in this case, we are presented with something so recent and which had such a massive impact that it is still in the minds over everyone - Covid lockdowns.
The show is largely a two-hander with Steven Webb playing Kevin and Tricia Paoluccio as not only Dolly but also taking the credit for writing the show with husband Gabriel Barre and Bruce Villanch. Tricia, an American who clearly knows a thing or two about Dolly, gives a rendition of this undoubted Queen of Country which is spot on in every aspect. Steven's portrayal of the lovable Kevin is equally superb, from the moment he first appears, climbing through his attic window wearing a mask and carrying multi-packs of toilet rolls (we all remember that, don't we?!) to his chance to perform with his idol. It's all in his head, of course. The two actors play off each other brilliantly and convincingly, especially as the pair could hardly be more different: she a confident world-class star and innovator, he a shy 40-year old coming out of a failed relationship with his uncaring boyfriend and wandering through life with little direction, locked away in his parents' attic with little or no human contact except for him mum and dad who are self-isolating downstairs.
The songs, as you would expect, fit in neatly with the narrative without appearing forced, from the major hits like Jolene, 9 to 5, Islands in the stream (which was a hilarious duet), I will always love you, Love is like a butterfly and the title track to others like Hush-A-Bye Hard Times and Me and Little Andy. And when it comes to a party, who better to invite than good old Boris (or at least a cardboard cutout) which shows, along with saucepan banging, Joe Wilks and banana bread, how much this script has been expertly crafted for a British audience. And there’s more than a little of real Dolly magic too!
And if the response of the first night audience is anything to go by, it must be a very satisfying show to be part of. A very, very funny script and setting, beautifully sung classic Dolly songs and a story we can all, on various levels, relate to – whether you are a Dolly fan or not, young or old, this is definitely a show to see.
http://www.facebook.com/TheViewFromTheStalls/posts/517399160627409
10th - 21st July 2024
Commandery Gardens
The Three Musketeers
⭐⭐⭐⭐⭐The perfect summer night out at the Commandery Gardens!!
There's more than a touch of Gallic flair on display down at The Commandery as, courtesy of the Worcester Repertory Company, we are transported back to 17th century Paris and La Rochelle as The Three Musketeers aim to become Four with D'Artagnan's endeavours to join Athos, Porthos and Aramis in their support for their King.
But wait! The cast of five includes only three men. Which means a twist to the plot is necessary. D'Artagnan is actually... a woman! The small cast and budget also means that the audience is enlisted to provide the sound effects. And the siege of La Rochelle is represented by a mass of invisible soldiers. Allons-y!
Initially the Three Musketeers introduce themselves in French before, thankfully, they realise that no-one will understand them so revert to English although various French words and phrases pop up throughout the show (and yes, "couilles" is a naughty French word!). None more so than with Rob Holman's funny portrayal of Cardinal Richelieu. All the cast members play various roles which require some quick costume changes. It also ebtails some imaginative scripting to explain why sometimes only two Musketeers are on stage when for example, the Cardinal or King Louis or Monsieur Le Treville or The Duke of Buckingham (amongst others) are also on stage...
Apart from the aforementioned Rob Holman, who also plays Athos, there is Charlie Ryan as Porthos, Nathan Blyth as Aramis, Alexandra Whitworth as the scheming Lady de Winter and Queen Anne and Hollie Christian-Brookes as not just D'Artagnan but also love interest Constance.
Outside shows like these inevitably make use of as little stage furniture as possible and this is the case here with just a few boxes to hide behind (and change costumes) and a cupboard to use for exiting the stage. Little more is needed except of course... the swords, used in some well-staged sword fights. There are also a few horses (!) and some panto-style water guns. You've been warned!
This is a very enjoyable romp through a period of French history which was actually written 180 years ago. By the end, of course, Three do become Four and for what happens next, you will need to dig out Alexandre Dumas's sequels. It has been also, to some extent, a history lesson. Who knew that the famous Fleur de Lys symbol was used as a branding on slaves to show that they had committed an offence (their ears were chopped off for good measure!)?
So far, the weather has been fairly kind during the run - indeed the sun actually came during Friday's performance! - but fear not, there are contingency plans in place should the normal British summer weather return.
http://www.facebook.com/TheViewFromTheStalls/posts/515015550865770
9th - 13th July 2024
Malvern Theatres
What The Butler Saw
⭐⭐⭐⭐ The classic 1960s farce staged for a modern audience
London Classic Theatre’s run of plays continues with Joe Orton’s What The Butler Saw in Malvern this week, on the back of their recent touring productions of Abigail’s Party and Faith Healer.
It is the mid 1960s and the setting for the entire show is a room in the private clinic of a certain Dr Prentice, who in interviewing a candidate for the post of secretary. It is not long before the potential secretary Geraldine Barclay is asked to strip for an examination (this is the 60s, don’t forget!). In true British farce style, Mrs Prentice then arrives unexpectedly followed by her blackmailing bellboy from her hotel, Nicholas Beckett, who has taken some intimate photos of her. The character list is completed by a government official Dr Rance and an ineffective policeman, Sergeant Match. All the actors played their roles well, especially given all the ducking and diving and changes of clothing which were required. Behind the farce though is the subtext of Orton’s own life as a gay man and the hypocrisy of society at the time.
At 43 years old, this was to be Orton’s final play, after Entertaining Mr Sloane and Loot had seen his popularity increase. The play was finished in 1967, as is clear from the language, the imagery and the setting, which has been faithfully reproduced by the company’s designer, Bek Palmer (including a huge Pythonesque hand pointing down from above...!). This is, above all else, a classic British farce with all the elements the audience expects: unexpected entrances and exits, mistaken identities (even if the audience isn’t fooled!), men dressed as women, women dressed as men, etc but it was written at a time when rape was, apparently, no big thing whilst homosexuality was illegal, elements which are part and parcel of the comedy.
Whilst 1966 was obviously a good year for Orton and his plays, with Loot winning a Best Drama award, the following year was anything but. He was murdered by his lover Kenneth Halliwell bringing to an end his talents which were only just being recognised and celebrated. What The Butler Saw remains therefore rather unique – a play based purely on the final written text as Orton never saw the play on stage and therefore had no chance to make any amendments to it. All of which gives the directors (in this case Michael Cabot) the opportunity to present the play on stage as Orton might have envisaged it himself. The chances are he would have enjoyed seeing it being performed by the talented cast some 50 years later as it retains all the fun and humour of a typical British farce.
http://www.facebook.com/TheViewFromTheStalls/posts/513302981037027
2nd - 6th July 2024
Alexandra Theatre
101 Dalmations - The Musical
⭐⭐⭐⭐⭐ Proof that you can never have too much puppy love!
Originally entitled “The Hundred and One Dalmatians”, Dodie Smith’s novel has been through a number of adaptations since its publication in 1956, including Walt Disney’s 1961 animated film version and, in 1996, the version starring Glenn Close as the arch-villain Cruella De Vil. Now it has become a major musical (with a live band) touring the UK with either Faye Tozer (from Steps) or Kym Marsh (from Hear’say) taking the lead role.
In Birmingham, it is Kym who takes centre stage in a production which cannot fail to delight audiences, full as it is of super-cute little puppies (life-size puppets in this case). Dogs certainly outnumber people in this show as the puppies have their own “handlers” who expertly manipulate the dogs to give them very realistic movements, expressions and actions. In fact, the two adult dogs, Pongo and Perdi, view their adult owners Danielle and Tom (Jessie Elland and Samuel Thomas) as their pets and comment on their behaviour, asking why they spend time doing sloppy things like kissing when they could just be sniffing bottoms!
Kym Marsh does a great job of being the rather frightening Cruella, which is no mean feat given what she wants to do with the puppies and their lovely young skins… Luckily she is thwarted from all angles by her own family (her nephews Casper and Jasper played superbly for laughs by Charles Brunton and Danny Hendrix) and by the animals working together, even including – shock horror! - a dog’s nemesis, a cat. In fact, three of them, beautifully puppeteered to perfectly reflect the aloofness which these felines have in real life. It’s a pity the puppeteers are mainly all billed as “ensemble” as they were far more than that – completely instrumental in bringing to life not just the little pups but also a range of other dogs and the cats as well as providing their voices throughout the show. It is so cleverly done that you forget the handlers are there and see only the animals.
As in the story, Pongo (Linford Johnson) and Perdi (Emma Thornett) have a litter of 15 puppies but this number expands once they are trapped in Cruella’s dungeon to the much larger number with the addition of all the others which she has secreted away. But wait! By the end, when the count is done, there are but 100 dalmatian puppies… Your heart will melt when number 101 arrives on stage!
This production, with its great sets, great acting and singing, but above all, superb puppeteering (or puppyteering?) provides a believable scenario whatever your age. Just ignore Cruella’s threat of skinning the puppies alive!
http://www.facebook.com/TheViewFromTheStalls/posts/509203068113685
25th - 29th June 2024
Malvern Theatres
Party Games!
⭐⭐⭐⭐⭐ A bang up to date satire on political life
The Gods must have been looking down favourably when Michael McManus’s new comedy Party Games! was scheduled to do its UK tour. Just a few weeks in and the country, unexpectedly, is going to the polls for a General Election. Which is what this comedy is all about. Set slightly into the future, the traditional parties have all but been eliminated leaving the newly-formed One Nation party to take up the challenge of running the country. The trouble is, it all looks rather familiar…
The new Prime Minister John Waggner (played by Matthew Cottle) is something of a buffoon, who can hardly believe that his party is in power, albeit needing an alliance with the SNP, and is likely to spout Latin at any moment. Sounds familiar? It should do, as McManus has many years of political experience under his belt and so is well placed to present to us a version of what we guess really does go on behind the closed doors of politics. So alongside him is his trusty but devious Chief of Staff and Spin Doctor Seth (Ryan Early) who would travel to Durham for an eye test without a qualm and his wife Anne (Natalie Dunn) who at least attempts to keep everything on an even keel. His Deputy is played by impressionist Debra Stephenson who is also the voice of the Alexa-soundalike Medianne with the rest of the PM’s political team made up of Krissi Bohn, Jason Callender William Oxborrow and Shaun Chambers. Most of the politicians of note from the past few years are mentioned in the script in one way or another – some of them becoming the name of a tarantula which has deadly consequences…
With so many real-life incidents to potentially include, it must have been a rare treat for the author to be able to choose from such ripe pickings. And the script is always evolving in a similar way to Drop The Dead Donkey did just before transmission. References are kept bang up to date, the latest mentions being for the date-of-election betting scandal whilst the script also includes, pantomime-style, references to both Great Malvern and Worcester. And a few farts for good measure!
The after-show chat with both the author and Joanna Read, the show’s Director, gave the audience the welcome opportunity to delve further into the origins of the show and how it has developed since it first started touring in ways which could not have been imagined during the initial writing stage.
You might think “it couldn’t happen here”. Watch this space over the next week or so!
http://www.facebook.com/TheViewFromTheStalls/posts/506202395080419
11th - 15th June 2024
Alexandra Theatre
Charlie and the Chocolate Factory
⭐⭐⭐⭐⭐Colourful, lively and great fun – another success for BMOS
Given that the show has only been available to amateur companies to perform since March of this year, it is certainly a bit of a coup for BMOS Musical Theatre Company to have Charlie and the Chocolate Factory as their summer show for 2024. And what a glorious spectacle it is too!
Roald Dahl’s tale naturally lends itself to a colourful and imaginative production, especially inside the factory itself, and the company has taken this fully on board with beautiful costumes and sets as well as incorporating impressive digital technology effects which would have been well beyond their reach just a few years ago. Having said that, it was the arrival on stage of the little Oompa Loompas which drew the biggest audience response, surprised at how it was achieved – no digital trickery there and definitely an inspired piece of theatre!
The story, of course revolves around a certain Mr Wonka – an initially somewhat unpleasant character who owns the huge chocolate factory but gives nothing away to the young Charlie who comes from a poor family (and whose grandparents are a right laugh!) and gets a chocolate bar but once a year on his birthday. The pairing of Robbie Love as Wonka and Theodore Traat as Charlie works very well with young Theo showing great confidence in the all-important starring role, especially as this is his debut with BMOS. (For certain performances, James Cowley takes on the role of Charlie).
The first half of the show introduces us to the winners of the first four Golden Tickets – the sausage-loving Augustus Gloop, the petulant Russian Veruca Salt, the gum-chewing Miss Beauregard and the screen-loving Mike Teavee - whilst Charlie waits patiently to see if he can find one. The second half sees the very funny demise of these contestants and there is definitely a surprise in store where we discover where the Bavarian Gloop hides his sausages! The story is very up to date (even Twitter and Trump are mentioned!) so these characters are easily recognisable.
This being BMOS, with well over 40 people in the cast and a whole host of backstage helpers plus the orchestra, we can expect the singing and choreography to be of a high standard and that was certainly the case here. These guys know how to put on a great show and this is most certainly a very family-friendly one with plenty of kids in the audience and plenty going on to keep them entertained too. And, of course, the response gives them the incentive to go bigger and better for their next show…
http://www.facebook.com/TheViewFromTheStalls/posts/497180255982633
11th - 15th June 2024
Malvern Theatres
Moby Dick
⭐⭐⭐⭐⭐ A riveting and inventive staging of the classic book
Running at more than 500 pages, adapting Herman Melville’s Moby Dick for the stage must have been quite an undertaking. This new adaptation by Sebastian Armesto, staged by the Simple8 theatre ensemble, condenses the story to a show containing all of the key elements into less than two hours.
Melville’s book is based on real life events of himself being a sailor in the 1840s and the actual demise of the whaling ship Essex in 1820 during the search for the notoriously hard-to-catch albino whale Mocha Dick. In terms of Moby Dick, there is just one survivor of the whaling ship Pequod captained by Ahab, who is out for revenge after losing a limb in a previous encounter. This allows for a perfect piece of casting for Guy Rhys. The sole survivor of the Pequod’s ill-fated journey is the novice deckhand Ishmael (Mark Arends) who becomes the story’s narrator and who teams up with the somewhat mysterious yet gentle and more knowledgeable Queequeg (Tom Swale) as they battle against the elements and against the will of the captain who is determined at all costs and in all weathers to kill the wretched mammal that took his leg.
It is by no means a standard adaptation either. The staging leaves a lot to the imagination and the sense of being at sea is heightened by a series of sea shanties along with musical accompaniment throughout. Initially on stage there are just two sets of scaffolding and four steps leading to a raised stage. During the show, this is made full use of with other simple elements introduced to reflect the action such as makeshift rowing boats and the grisly cutting up of their first kill. Most brilliant of all is the actual re-creation on stage of a whale – simply but very cleverly done, involving the entire cast and giving us a biology lesson to boot!
If you think that the novel itself, which was actually a commercial failure when first published, will lead to a complicated long stage play, think again. The way it has been adapted not only conveys the story of this whaling adventure but also brings the audience right to the heart of what it must have been like to have been a sailor in those arduous times with Ishmael’s direct to the audience narration making it feel personal and believable.
http://www.facebook.com/TheViewFromTheStalls/posts/496595272707798
4th - 8th June 2024
Alexandra Theatre
The 39 Steps
⭐⭐⭐⭐⭐ A cracking fast-paced show hitting all the right comedic buttons!
There are clearly a number of ways to present John Buchan's classic book The 39 Steps. The master of the genre Alfred Hitchcock did it in his 1935 thriller (with comic touches) starring Robert Donat. The BBC did its own rather dry version in 2008 with Rupert Penry-Jones. And writer Patrick Barlow threw away the rule book and created a very funny version which successfully played in the West End for 9 years. This is the version which has now been relaunched as a touring production by Fiery Angel. And in spite of the many characters and multiple locations, the conceit here is that it was written for a cast of just four...
Inevitably, the actors have their work cut out to present the story of Richard Hannay who reluctantly becomes embroiled in a spy caper which was played out to enormous comic effect with clever, ever-changing stage props and many very quick costume changes, on and off stage.
The comedy comes of course not from the plot itself but from the way the scenes have to be re-enacted, at speed, whether it be on board a train hurtling through the countryside heading for the Highlands (yes, there is an actual train on stage!), jumping from the Forth Bridge, on stage at the Palladium or in a wee Scottish hotel. Only Tom Byrne as Hannay plays a single role throughout ("quite good looking with a rather nice moustache") whilst Safeena Ladha, Eugene McCoy and Maddie Rice get to grips with a wide range of characters from a Cockney milkman to a pair of very funny clowns, a Femme Fatale, Scottish inn-keepers, policemen and rogues, train guards, newspaper sellers... the list goes on.
The script itself is remarkably respectful of and faithful to Hitchcock's version (even down to the train passengers and their range of ladies underwear!) despite using just four actors so whilst it was most definitely played for laughs - and frantically so - it was still exactly the same story as the original film. More than that, the show played subtle (and none-too-subtle!) homage to Hitchcock by including some very recognisable Hitchcock-isms – a shower curtain, an array of birds, being chased by a plane, his appearance in the show as in his films…
This type of madcap comedy is actually quite hard to achieve because of its rapid pace and the need for continuous perfect timing and changes of accents and costumes. Fortunately, it all works brilliantly and the good thing was that in spite of the undoubted effort required, the actors were clearly enjoying themselves and thoroughly deserved the cheers and applause at the end.
http://www.facebook.com/TheViewFromTheStalls/posts/492491439784848
29th May - 1st June 2024
Malvern Theatres
The Kite Runner
⭐⭐⭐⭐⭐ A stunning portrayal of a country and its people in turmoil
A decade ago, a show came to Malvern which we reviewed very favourably: “Sometimes a show can just blow you away… leaving the audience spellbound and the talented cast thoroughly deserved the standing ovation. Brilliant theatre on a far from common topic and culture”.
That show was The Kite Runner and it is back on stage this week in a version adapted by Matthew Spangler from the best-selling novel by Khaled Hosseini. Hosseini lives now in San Francisco and the story details his younger life in Afghanistan and how he came to be living in the States. It is a story of friendship, love, childhood dreams, religious intolerance, sadness and above all, betrayal and shame. It is a story which is stunningly portrayed.
Life back in the early 1970s was relatively peaceful for Amir, the central character, and his friend (and servant) Hassan. Having different ethnicities was not a particular problem for the pair as they were just kids who enjoyed mock gunfights, pretending to be John Wayne and especially kite flying. This was, until it was banned by the Taliban, a common pastime involving flying kites where the string itself is the key to success, covered as it was in small pieces of cut glass allowing the flyer to swoop down on his competitor’s kite and slice through the string. The person who collected the spoils (in this case Hassan) was the Kite Runner.
Hassan (Yazdan Qafouri) is a meek and obviously devoted friend of Amir (Stuart Vincent) who would do anything for him which leads ultimately to his downfall and both actors play their parts superbly. The story is narrated directly to the audience by an adult Amir so Vincent has to play the dual role of adult and child, which works very well. It is not only Hassan who must carry shame throughout his life but his father Baba too (played by Dean Rehman) who retains a secret until the end of his days. Many of the cast are involved in the kite flying scenes on stage – simple but very effective – and transform themselves from Afghans to all-American kids in Act Two where the story moves to the States, along with a brief interlude of 1980s disco music. Other than that, much of the music is played live on a tabla by Hanif Khan, even as the audience are arriving (a rare case of a round of applause being earned and given before the show actually starts!).
Afghanistan is typically depicted negatively but by starting the story in more innocent times after many decades of peace before revolution replaced the King, Soviet invasion and the Taliban’s unerring strict control, it at least gives an impression of life as it was and how it could be. As in the novel, it does not shy away from controversy for those individuals who wish to make it controversial, containing as it does what may be deemed offensive and sexually-explicit acts and language and a portrayal of ethnic-based bullying.
Whilst not claiming to be autobiographical, the story reflects many of Hosseini’s own experiences of growing up and leaving his country of birth. It is gratifying to see such a large audience enjoy a show about a totally different culture even on the first night and they gave to show a well-deserved standing ovation.
http://www.facebook.com/TheViewFromTheStalls/posts/488493080184684
21st - 25th May 2024
Malvern Theatres
Romeo and Juliet
⭐⭐⭐⭐ Romeo and Juliet as you have never seen them before
Flabbergast Theatre have become regulars at Malvern Theatres with recent productions of Macbeth and A Midsummer Night’s Dream, both performed in their own unique offbeat style. Their third production is possibly the Bard’s most enduring work – Romeo and Juliet.
Oddly, for this production, there was no programme available, no cast list or bios and, even more bizarrely, no mention of it at all on the company’s website either. A little bit of digging indicates that Lennie Longworth plays the diminutive cropped-haired Juliet whilst Kyll Anthony Thomas Cole is her doomed dreadlocked beau Romeo. There are in fact eight actors in the show which begins, in typical Flabbergast fashion, before the show kicks off with them all already on stage, identically dressed and wearing half-masks, performing various fighting scenes.
There is minimal scenery – in fact, no scenery at all really as all there is on stage is a large 3-level scaffolding which is used in various scenes. There is, however, music and singing, plenty of well-choreographed sword fighting and the expected dramatic conclusion as the two “star-crossed lovers” meet their fate. The actors wear largely the same costumes throughout with only the nurse having her own bespoke dress which certainly stands out.
This style of production won’t be to everyone’s taste, leaving a lot to the imagination during its 2 hours 30 minutes (excluding interval) and certainly if you do not know the story already, you might well be floundering with the narrative, wondering what exactly is going on and who is who within the two warring houses so at least read a synopsis first…
There is no doubt that Flabbergast enjoy pushing the limits to how traditional plays are presented and this is another example of taking a new approach whilst keeping the story intact.
http://www.facebook.com/TheViewFromTheStalls/posts/484462897254369
14th - 18th May 2024
Malvern Theatres
The 39 Steps
⭐⭐⭐⭐⭐ A cracking fast-paced show hitting all the right comedic buttons!
There are clearly a number of ways to present John Buchan's classic book The 39 Steps. The master of the genre Alfred Hitchcock did it in his 1935 thriller (with comic touches) starring Robert Donat. The BBC did its own rather dry version in 2008 with Rupert Penry-Jones. And writer Patrick Barlow threw away the rule book and created a very funny version which successfully played in the West End for 9 years. This is the version which has now been relaunched as a touring production by Fiery Angel. And in spite of the many characters and multiple locations, the conceit here is that it was written for a cast of just four...
Inevitably, the actors have their work cut out to present the story of Richard Hannay who reluctantly becomes embroiled in a spy caper which was played out to enormous comic effect with clever, ever-changing stage props and many very quick costume changes, on and off stage.
The comedy comes of course not from the plot itself but from the way the scenes have to be re-enacted, at speed, whether it be on board a train hurtling through the countryside heading for the Highlands (yes, there is an actual train on stage!), jumping from the Forth Bridge, on stage at the Palladium or in a wee Scottish hotel. Only Tom Byrne as Hannay plays a single role throughout ("quite good looking with a rather nice beard") whilst Safeena Ladha, Eugene McCoy and Maddie Rice get to grips with a wide range of characters from a Cockney milkman to a pair of very funny clowns, a Femme Fatale, Scottish inn-keepers, policemen and rogues, train guards, newspaper sellers... the list goes on.
The script itself is remarkably respectful of and faithful to Hitchcock's version (even down to the train passengers and their range of ladies underwear!) despite using just four actors so whilst it was most definitely played for laughs - and frantically so - it was still exactly the same story as the original film. More than that, the show played subtle homage to Hitchcock by including some very recognisable Hitchcock-isms – a shower curtain, an array of birds, being chased by a plane, his appearance in the show as in his films…
This type of madcap comedy is actually quite hard to achieve because of its rapid pace and the need for continuous perfect timing and changes of accents and costumes. Fortunately, it all works brilliantly and the good thing was that in spite of the undoubted effort required, the actors were clearly enjoying themselves and thoroughly deserved the cheers and applause at the end.
http://www.facebook.com/TheViewFromTheStalls/posts/480001321033860
18th May 2024
Malvern Theatres
The BANFF Mountain Film Festival World Tour
⭐⭐⭐⭐⭐ Six more exhilarating films from around the world
The second selection of films showing as part of the BANFF Mountain Film Festival World Tour - the Blue Programme - featured 6 more of those "why on earth would they do that?" entries to the competition (2 of them actually winners).
The longest of these, running to 40 minutes, was "Subterranean" in which two teams of "hobbyist" cavers in Canada attempt to break records for the deepest and longest cave systems in the country. Anyone suffering from claustrophobia would be squirming throughout this as it followed the teams deep underground through tiny waterlogged and muddy tunnels. What could possibly go wrong? Well, it's certainly not the best place to break your ankle for a start... Five days of hell if caving and living by torchlight is not your thing!
"Going Greenland" had an emphasis on Going Green by attempting to ski the country's mountains whilst travelling on a totally solar-powered yacht. Just remember that nature will always win out and provide snow when you need sun and then there is the question of getting to the country in the first place aboard gas-guzzling planes...
"Eternal Flame" (referred to as Flemme ("laziness") by the two participants) took us on a BASE jumping journey to the beautiful Nameless Tower - a 6,200 colourful granite peak in Pakistan.
Six days to ascend it and find a suitable jump point.
One minute for a glorious descent.
Not that everything went to plan - at the end of the first day's climbing, one of the pair realised he had left his glasses behind and set off back to the start to retrieve them...
"Mustafa Ceylan" showed how grit and determination can help you achieve anything as a young Turkish immigrant to Switzerland ditched football against his father's wishes in favour of skiing, learning his trade at a ski repair shop. Given the number of "fails" included in the humorous and heart-warming film, it is a true testament of ultimate success over adversity.
Another film which showed many failed attempts was "Reel Rock: Cenote" where a young papaya farmer in Mexico decided that the largely underground river which irrigated his land could also provide a source of adventure by tackling the climbing walls of these sinkholes allowing him to ditch farming for a new passion.
Finally, to the appropriate backing of Plastic Bertrand's "Ça plane pour moi" ("This works for me") came "No way!", a film about a paraglider who specialises in proximity flying, ducking and diving at speed over and between cars, cyclists and skateboarders and other natural obstacles. Three minutes of perfect flying. Until we get to the last minute, which was the blooper reel...!
Details of all films are on their website: https://www.banff-uk.com/films
The next presentation as usual moves from land to water with the Ocean Film Festival World Tour, now in its 11th year, which hits Malvern on October 24th: https://www.oceanfilmfestival.co.uk/
http://www.facebook.com/TheViewFromTheStalls/posts/482632977437361
15th - 18th May 2024
Stourbridge Town Hall
Guys and Dolls
⭐⭐⭐⭐⭐ A great production of the classic musical
Guys And Dolls is one of those musicals which is a regular on the circuit and has had a number of revivals as recently as 2023 in the West End. As such, over the years it has attracted big names to the roles of Nathan Brown (Daniel Mays, David Haig, Bob Hoskins), Sky Masterson (Ewan McGregor), Sister Sarah Brown (Julie Covington) and Miss Adelaide (Julia McKenzie and Imelda Staunton) whilst the 1955 film version starred Marlon Brando as Sky, Frank Sinatra as Nathan Detroit and Jean Simmons as Sarah.
But aside from these star-studded versions, it has long been the preserve of amateur companies to bring the show to the stage, with recent productions locally coming from BMOS Musical Theatre Company and the Malvern Theatres Young Company. Added to the list now is Tinkers Farm Opera who have staged an impressive show with a large cast at the Stourbridge Town Hall. TFO have long been producing shows – since they started in 1953, they have moved on from predominantly Gilbert & Sullivan productions to more general musical theatre like Fiddler on the Roof and Me & my Girl and have extended that range now to include pure comedy as well as incorporating a Youth section to widen their scope.
Under Director Emma Harley, Guys and Dolls allows them to present what they enjoy doing – a music and dance show which can easily showcase some of their best and most talented singers, as well as the acting skills of their members. The show begins with an extended overture which gives a chance for the cast to be on stage together from the start depicting the hustle, bustle and nefarious activities of life on the streets of New York. On the Guys side, Richard Cooper (company Chairman no less!) has the role of Sky, the smooth-talking somewhat manipulative character who takes on bets, one of which is to take the very reluctant Salvation Army Sister Sarah Brown (Gabby Baldwin) to Havana for the day. Both have their own solos but it is when they come together that the singing is taken to another level. Miss Adelaide (Beth Sivita-Coupland) also has a really strong voice, especially when again coupled with Gabby Baldwin) and Tyrone Powell’s Nicely-Nicely is wonderful as the core element of the classic “Sit down, you’re rocking the boat”. There are a number of other famous songs in the show, most especially “Luck be a lady“, the underlying theme of all the players in the crap game which ends up having to be played out in the sewers as the only location available to these reprobates. Standing head and shoulders above the local punters is the visiting gambler Big Jule (Alex Catana) – he doesn’t say much but what he does say means that you certainly don’t take on Big Jule especially as he has a gun!
Throughout the show, there are some great dance numbers, especially with the Hot Box Dancers and the scene in Havana, all done to the music of the 9-piece orchestra (which includes Chris Corcoran who has been involved in many shows in Worcestershire) under the direction of Simon Wilkinson.
Given that this was the first night, there did not appear to be any first night nerves with everyone raring to go. In fact, the only glitch appeared to be with one element of the sound where a couple of times, there was some electrical interference which resulted in a buzzing noise coming out of the speakers but presumably this will be identified and rectified for the rest of the shows which run until Saturday.
All in all, a very enjoyable evening’s entertainment, wallowing in the good, the bad and the ugly of New York street life with, of course, a happy ending!
Their next show is a pure comedy - The Vicar of Dibley - in October and this time next year, it's back to the musicals with The Producers
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30th April - 4th May 2024
Malvern Theatres
Cluedo 2
⭐⭐⭐⭐ A solid if somewhat frantic follow up to the original.
When the first stage version of Cluedo toured a couple of years ago, it was intriguing to imagine how the well-known board game would translate into a live show. Clearly how it was done made it a big success as it has now been followed by the rather unimaginatively-entitled Cluedo 2.
The director remains the same - Mark Bell - as does the set designer, David Farley, but writing credits this time go the prolific writing partnership of Laurence Marks and Maurice Gran who, for 60 years, have been responsible for major TV and stage hits including Birds of a feather, The New Statesman and, more recently, a plethora of Dreamcoats and Petticoats musicals.
Rather than replicating the first play, there have been some major changes this time. The original set, which consisted of walls which contained doors for each character, has gone and instead we are presented with a large backdrop of the actual Cluedo board. So where are all the doors? Well cleverly, in many cases a door is walked onto the stage, the character walks through it and we are in a new room (where other appropriate pieces of scenery are brought in). Clever, eh?
This play takes place in 1968, on a "dark and stormy evening" (obviously!) in a country manor house which has been bought by a rock star and where he is making a new album after a couple of flops. The various murderous tools are introduced, innocently enough, at the start of the play as the essence of each the characters reveals itself.
The well-known characters are all there and all seemingly having a reason to be a murderer as the death toll mounts (no spoilers!). It is curious and somewhat jarring that, given that Cluedo is an archetypal British invention (created during World War Two air raids by an avid but bored crime enthusiast called Adrian Platt - in Birmingham no less), two of the characters have been turned into Americans. Whilst this does lead to some of the comedy coming from Americans having different words for things (the essential weapon of the "spanner" is for them a "wrench" for example), it doesn’t really add anything than wouldn’t be achieved by having equally eccentric British characters in those roles.
Some of the set changes are quite extensive, requiring a lot of co-ordination by the cast and these do work really well and, by the end, most of the characters have been dispatched by fair means or foul…
With Jason Durr and Ellie Leach (2023 Strictly winner and, here, in her first acting role) playing the two main characters (Durr in particular playing his with real if exaggerated relish) the show has a fine ensemble cast and the audience certainly enjoyed the thrill of the chase.
Cluedo is celebrating its 75th birthday and the stage show is keeping the board game in the public eye. No doubt Cluedo 3 will be along at some point…
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29th April - 1st May 2024
Alexandra Theatre
Macbeth
Dr Jekyll & Mr Hyde
Romeo & Juliet
⭐⭐⭐⭐⭐ A superbly-entertaining way to present classic plays.
The Dickens Theatre Company have, for nearly 10 years, been producing exciting stage adaptations of classics such as A Christmas Carol whilst at the same time specialising in what they term "Revision on tour" of other plays, namely Macbeth, Dr Jekyll & Mr Hyde and Romeo & Juliet. All three are at the Alex this week (one night for each) starting with Macbeth.
The play naturally attracted a predominately young audience (school parties) who are treated to the essence of the play with a bit of extra explanation thrown in. This is done in a way which does not detract at all from the story itself and, in the case of Macbeth, it was Ross the Porter who popped in and out to explain what was going on in an amusing, rhyming way.
There are 7 actors here taking the roles of all of the characters (many dying along the way!) - presumably the same actors for each play. They portray the pretty ghastly descent into hell of Macbeth and Lady Macbeth whilst introducing us to many other characters such as the 3 witches, along with those who plot against authority. Clearly there are equivalences which can be drawn with current politics…
It is amazing how many quotes from the play are still well-known today: "Something wicked this way comes", "Out damned spot" and Tomorrow, and tomorrow, and tomorrow" to name but three.
As a way of introducing/explaining the classics to a younger audience, DTC have certainly hit the spot. And as seems typical with audiences comprised largely of school groups, the genuinely enthusiastic applause that the cast get at the end certainly makes their efforts appreciated and worth it.
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23rd April - 5th May 2024
Malvern Theatres
Pygmalion
⭐⭐⭐⭐⭐ An effective and simply-staged version of the Shaw classic.
There is nothing sophisticated about the set for Pygmalion at Studio One - indeed it is simply two large wooden boxes upon which the actors sit and around which they stroll unencumbered as they present the story to an audience which is in very close proximity and on all four sides. Any lack of scenery naturally concentrates the audience's attention on the young actors themselves, which is just how it should be.
Now well over 100 years old, George Bernard Shaw's comedy of manners, social class and upbringing, as well the importance of language and diction, can both delight and horrify modern-day audiences, especially those who know it only as the sugary and romanticised musical My Fair Lady.
The two main characters are, of course, the always well-dressed Henry Higgins and scruffy Eliza Doolittle played by Toby Burchell and Emily Henry, who faultlessly and believably spar with each other - each giving as good as they get but inevitably it will be Higgins who wins as he is from a higher social order. The transformation by Emily from course, dirty street-corner flower-seller (but with a good heart) to a persona aimed at being good enough to fool everyone at a ball is remarkable - you would hardly know it was the same actor. Gone is the crude East End language, accent and topics of conversation (Higgins claiming to be able to place any Londoner to within 3 streets of where they were born), all replaced by a refined vocabulary and dress sense. All perfunctory and artificial of course as when the humour of the transformation is replaced with the sad reality of the situation, Eliza Doolittle knows full well that she is just acting a part for Higgins and really has nowhere to go with it.
The attitude of Higgins towards his young ward is often quite shocking (to a current audience at least), often being aggressive and referring to her as a "squashed cabbage leaf" and whilst physical violence does not occur, it is nonetheless alluded to as when he threatens to "wring her neck". Has Eliza actually changed? In a moment of relapse whilst setting off for home, she says "Walk? Not bloody likely!" (the risky use of the word 'bloody' becoming known as a "Pygmalion"). She also has to explain to her peers what "done her in" means, showing that the new modulated tomes of her voice cannot disguise the words that she speaks.
In addition to the two main characters, the show also has Jessie-Mae Thomas as both Mrs Eynsford-Hill and Mrs Pearce, Edward Kirby as her son Freddy (who has his heart set on Eliza), Henry R Pyne as Colonel Pickering who, whilst having the same interest in language as Higgins at least goes about it in a rather more respectful way), Abbie Steele as Mrs Higgins (poor Mrs Higgins, one might say!) and Rhys Harris-Clarke as Alfred, the somewhat conniving father of Eliza.
Together they present a funny and touching account of the separation between the layers of society at the time and that, despite his efforts, Higgins never truly manages to get Eliza to shake off her past and who she really is.
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23rd - 27th April 2024
Palace Theatre Redditch
Young Frankenstein
⭐⭐⭐⭐⭐ A really enjoyable and monstrous evening's entertainment!
In 1974, Mel Brooks released his fondly-remembered parody of the 1931 Frankenstein film with himself, Gene Wilder and Marty Feldman in the main roles. Later he created a musical version of the story making it the perfect vehicle for amateur companies to stage. There is one big difference between his original film and the stage show - now it is in colour! (Brooks insisted that his film was in black and white as an homage to the original).
And Young Frankenstein (or rather Fronkensteen!) is the show chosen by Studley Operatic Society to delight audiences with, following on from last year's Kinky Boots.
Between the main cast and the ensemble, more than 3 dozen people appear on stage whilst an orchestra of 11 are under the stage giving it their all. So it is clear from the start that, once you add the director, producer, musical director and choreographer to that list too, this is no small amateur production - the set and the projected moving backdrop add to the sense of a big show full of music and, just as important, laughter. There are so many scene changes that the backstage guys are kept pretty busy too.
Ed Mears plays the title character (not looking unlike a young Mel Brooks in the role too) trying to come to terms with the fact that, however hard he tries to avoid it, he is the grandson of the famous Dr. Victor Von Frankenstein and will inevitably continue his work. But he needs an assistant and that comes in the shape of the lovely buxom Ingrid (Sophie Hall) - and she knows exactly what she wants! Indeed, one of the highlights of the show is the "Roll in the hay" number which doesn’t leave much to the imagination! But the original Doctor had his assistant too and she is still around. Enter Liz Bird as Frau Blucher, a woman who can scare horses at the mention of her name. She has some great musical and comedy pieces in the show including "He vas my boyfriend" - you certainly don’t mess with this Frau! Failing to keep his humpback to either the left or the right (as in the film) is Igor, played with great enthusiasm by Jeremy Dobbins and then there is The Monster himself. In one of the best set pieces involving Matt Bridgewater and other cast members is a version of Putting On The Ritz - superbly done and utterly hilarious with the very tall monster towering over everyone whilst doing his best to belong.
The show is relatively long (2 hours 50 minutes including interval) but never flags for a moment. With a great story, musical score and ever-changing scenery, the talented cast present a wonderful show with each half ending with a superb musical climax - "Transylvania mania" ends Act one and more "Ritz" at the end of the show which had the audience on their feet applauding. And quite rightly too.
If you thought operatic societies only ever presented shows in foreign languages for the already-initiated, be prepared to be amazed. It is clear that there are vocal talents on show here which could easily form part of such traditional operas but which are equally at home in a really funny off-beat comedy such as Young Frankenstein. Together they have managed to produce a high-quality show which will appeal to audiences of all types and age groups.
Next year's production has already been announced - Disney's Little Mermaid will be staged from 8th to 15th April 2025.
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16th - 20th April 2024
Malvern Theatres
The School For Scandal
⭐⭐⭐⭐⭐ Sheridan done as only Tilted Wig can do it!
Tilted Wig have followed up their two recent productions - Around The World In 80 Days and Frankenstein - with another co-production with Malvern Theatres, Richard Brinley Sheridan's School For Scandal. Written in 1777, the play along with The Rivals, proved to be one of his biggest hits. Not that it would ensure a life of luxury for him - he ditched his writing career for one in politics and sadly died in 1816 in abject poverty.
His legacy lives on, however, and centuries later, his plays still attract large audiences, particularly when presented by companies such as Tilted Wig who produce defiantly off-beat productions. Indeed, from the moment you arrive, the set which is used is basically surrounded by huge curtains, three telephones on stands, three ceiling lights and, later, a sofa so clearly this is not staged as a period piece but is a rather frivolous comedy of manners which could apply to any age.
The story revolves around Sir Peter Teazle - played by Joseph Marcell who was Geoffrey the butler in NBC's The Fresh Prince of Bel-Air who has married a much younger Lady Teazle (Lydea Perkins) whom he suspects, for no real reason, that she might be seeking "comfort" elsewhere, often talking about it directly to the audience. She isn't, of course, but it gives her the idea "why not?"…
Most of the cast play dual roles and luckily there is never any confusion with their costumes clearly indicating who they are - a lot effort has been put into making the wardrobe aspect central to the play, delivering very colourful outfits for most characters. Weasel, however, a streetwise wide-boy, remains suitably monochrome. Whilst all of the cast played their roles extremely well, of particular note are Alex Phelps and Garmon Rhys who expertly portray their very funny characters Joseph and Charles as well as Bumper and Backbite (they all have strange names!) and there is some fine moments requiring some very adept interplay skills (throwing and catching books for example) which fortunately all worked a treat.
The use of music was cleverly done too, introducing each separate scene and abruptly stopping as the lights came back on but the best of the music was reserved for the unexpected finale. All eight actors came back on stage after the applause and gave us a thoroughly enjoyable music and dance sequence which clearly they were loving as much as the audience and which somehow typified Wilted Wig's approach to the classics - do them respectfully but differently.
The programme is also worth reading.. Entitled Town and Country, it details the play and actors and contains some amusing (fake) adverts - anyone for some old false teeth?!
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16th - 20th April 2024
Alexandra Theatre
Drop The Dead Donkey
⭐⭐⭐⭐⭐ Just like an old school reunion - the gang are back together again!
Well, it has been a few years… 24 years in fact since the Globelink News team went down with the ship. But now, thankfully and miraculously, they are back together again as Drop The Dead Donkey (Channel 4's innovative topical sitcom which ran for 8 years from 1990) is back on stage with new owners, a new channel - TRUTH News (surely a dig at Trump's Truth Social) - and a beautifully-crafted take on how news is currently presented.
What is utterly remarkable is that, such is the love and respect for the show, the entire roster of actors and scriptwriters is back (barring those sadly no longer with us but who are certainly not forgotten in this production). So, as before, the script comes from Andy Hamilton and Guy Jenkin and, as before, is kept bang up to date with references to current events such as the publication of Liz Truss's book and plenty of no-holds-barred satirical commentary.
The news landscape has changed dramatically since the original series as has the way it is delivered but this is just another day's work for the boss Gus (Robert Duncan) as he embraces AI and makes a total hash of it as expected. AI produces more lies than his team ever could if left to their own devices - which they are not - and as the build-up to opening night progresses, what the news readers have to present gets ever more absurd. Back in their roles as competitive presenters are a gloriously non-pc Sally Smedley (Victoria Wicks) and bad boy Dave (Neil Pearson) who has, so he says, left all his vices behind. Susannah Doyle is back as leather-clad Joy, only this time she has progressed to the HR department and is thoroughly enjoying the power trip that role gives her. The always-bumbling George still heads up the team (though with nothing to do thanks to AI) and for George, even getting the voice-activated coffee machine working is a step too far. Helen (Ingrid Lacey) is the voice of reason and Julia Hills and Kerena Jagpal (the latter filling a few all-important diversity boxes for the station) join the cast as Mairead and Rita the weathergirl - sorry, person. And then, of course, there is Damien, with Stephen Tomkinson reprising his role as the none-too-honest field reporter who now is confined to a wheelchair. If you remember the series, you will be glad to know that Dimbles the teddy bear is back too…
There is a lovely reminder of the tv series - and the teddy bear - right at the start as a few highlights from Damien's career are shown on the big screen before each of the cast members arrive on the studio set individually and each one to a round of applause. And at the end, there is a touching tribute to the cast members missing from the show - David Swift who played the alcohol-loving Henry Davenport who dies in 2016 and Haydn Gwynne (Alex Pates) who sadly died only a few months ago. As the cast took their curtain call, photos of the two were displayed above them.
The tv show may have ended decades ago but the stage show, with the tagline "The Reawakening!" is bang up to date in terms of its content and over-the-top graphics, showing that whatever is the current state of news presentation, there is always something to be mocked, derided and cut down to size. And as if it wasn't real enough already, there is a "shocking" filmed piece with Sir Trevor McDonald and a very strange news piece about another Sir, one David Attenborough!
For the actors and writers as well as for the audience, recreating the tv was definitely a risk well worth taking and the show is a real success, a trip down memory lane which is equally relevant to today.
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9th - 13th April 2024
Alexandra Theatre
Shrek The Musical
⭐⭐⭐⭐⭐ A spectacular show for all the family!
With pretty much everybody having seen at least the first (and best) Shrek movie, any attempt to convert this animated gem into a stage musical has a tough job. And given that all four main characters (Shrek, Princess Fiona, Donkey and Lord Farquaad) are essential to the plot, each having their own unique characteristics, the transfer to the stage will have to replicate them perfectly to work.
And so it is that with a huge cast of around two dozen, a live orchestra and really impressive staging, Shrek (Antony Lawrence), Princess Fiona (Joanne Clifton), Donkey (Brandon Lee Sears) and Lord Farquaad (James Gillan) are reborn as fully-fledged comic characters whose story of good banishing evil is told in song, more than 20 years after the original film which starred Mike Myers, Cameron Diaz, Eddie Murphy and John Lithgow in those same iconic roles.
There are many more characters in the show than actors to portray them so many of the cast take up to 5 separate parts so there must be some fast costume changes backstage. In many cases, these are the fairy tale characters who, as an ensemble, are very colourful and impressive. These include 3 blind mice, 3 little pigs, a cross-dressing big bad wolf, a white rabbit, Peter Pan, the Pied Piper, the wicked witch and Pinocchio. All characters which will be instantly recognisable to a younger audience. There is also a very funny sparring sequence between Shrek and Princess Fiona as their friendship develops via the song "I think I got you beat" which ends up as a farting and belching contest which kids will love - you can never get enough toilet humour in a comedy!
The massive backdrop shows just how much digital technology has come on in recent years, replacing the need for extensive set changes by projecting really high quality realistic video images instead when a scene changes. But any show still relies on what is happening in front of those backdrops and the cast do a tremendous job of bringing the story to life in front of your very eyes with even a massive puppeteered Dragon in one sequence. No doubt everyone will have their favourite character but, as in the film, a standout one for many is definitely the energetic and loveable Donkey.
At the end, it was time for everyone to be up on their feet to clap and sing along to the Monkees' classic, I'm A Believer, the climax to a show which, if you want to take away any message from it, is that love is more than skin deep and don't judge people by their appearances.
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8th - 13th April 2024
Malvern Theatres
Sleuth
⭐⭐⭐⭐ Prepare to be taken for a ride!
If there is one thing to be taken away from this show, it is No Spoilers, please!
And if you have never seen the film version from 1972 which starred Laurence Olivier and Michael Caine, don't be tempted to look up the plot. For there are mind games going on here that will certainly both fool and surprise you…
Anthony Shaffer was one of a pair of Liverpudlian playwriting twins (his brother Peter most famously wrote Equus) and this is perhaps his most well-known work. Starring Todd Boyce (Stephen Reid in Coronation Street) and Neil McDermott (Ryan Malloy in Eastenders), the first half is a two-hander between Andrew Wyke, an author who lives a charmed life in a well-appointed mansion with some strange memorabilia dotted around and Milo Tindle, son of an Italian immigrant who has moved in nearby and who wishes to marry Wyke's (presumably ex-) wife.
In order for the somewhat impoverished Tindle to keep the wife in the manner to which she has become accustomed, Wyke arranges a scenario in which some jewellery can be stolen for insurance purposes and sold on abroad thus giving Tindle the income he will need and Wyke the returns from his deceit. Of course, the police will become involved (more of that in the second half…)
It is a case of always questioning what you see as things are not quite as simple as they appear…
Both Boyce and McDermott play their roles well (though on a technical note, Boyce's concealed microphone gave him a muffled echoey sound in stark contrast to McDermott's which was nice and clear) and the set certainly provided a few surprises. And there is a trigger warning if you don't like clowns (or loud bangs for that matter).
This is definitely a show that will keep you guessing…
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2nd - 6th April 2024
Malvern Theatres
A Midsummer Night's Dream
⭐⭐⭐⭐⭐ An absolute joy!
If you ever thought Shakespeare wasn't your cup of tea, be prepared to have those preconceptions challenged. The Everyman Theatre's joyous version of A Midsummer Night's Dream will blow any trepidation out of the water. Whilst the play is a comedy, here the humour and fun are taken to new heights and this is in no small part due to the fact that they have a professional clown in their midst... And that is obvious from the start when Tweedy barges in through the foyer's door with a long wooden plank and proceeds to perform the first of the slapstick sequences (you can guess what happens there!). Tweedy is a very accomplished clown in Gifford's Circus, a regular in Everyman's pantomimes and here is also the production's "comedy advisor" which accounts for the leaning towards fun in the show.
Tweedy takes the role of Bottom (with and without a donkey head!) and definitely makes the most of his skills in entertaining the audience as Shakespeare's fool and even if you have not seen him perform before, you very quickly warm to his seemingly effortless slapstick, especially knowing just how much work goes into making it look effortless. Every so often, he would come on stage exclaiming "Rehearse, Rehearse, Rehearse!"and do a little routine - the deckchair and horse routines were brilliant and, in the finest panto tradition, the front row gets very unexpectedly wet...
Puck is another character key to the humour in the show (played here by Jeremy Stockwell) and there is more fun from the "rude mechanicals", a group of skilled artisans wanting to put on a play for Royalty. The same actors are also involved in some wonderful fairy scenes, colourful and musical, especially the final scenes which had the audience clapping along. The somewhat convoluted story involving star-crossed lovers and a good amount of fairy dust is wonderfully brought to life.
The company has managed to deliver something quite unique - a show which is understandable, really clever and funny and all this without compromising the plot, the characters or the language of Shakespeare. There is no attempt to "update" the story or location and with just 10 actors and 22 characters, they are kept busy changing characters and costumes. No mean feat given that just reading the synopsis of Shakespeare's play can give you a headache! It is definitely a show which will appeal to a younger audience as a great introduction to the works of the Bard, though other shows are unlikely to be as well done as this one!
Shakespeare - stuffy and incomprehensible? Certainly not here! This is a real joy to watch and a game-changer in how Shakespeare can be very accessible to all ages, even to hard-core Shakespeare fans.
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27th - 30th March 2024
Swan Studio Theatre
Quartet
⭐⭐⭐⭐ A lovely stage version of the film
Ronald Harwood's Quartet is possibly best known for the 2012 film version starring Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins and Michael Gambon. It is a gentle and at times very perceptive comedy particularly suited to amateur companies such as the Swan Theatre Amateur Company having, rather obviously just 4 characters and easily compacted staging.
These characters live in a home for retired musicians though most would clearly rather be anywhere but there. The first three who appear have all been there less than a year, old folks forced to live together by circumstance but who, so as to keep some kind of amicable existence, endeavour to get on with other. Wilf (Martin Bourne) is a gentle widowed soul who nonetheless has more than just a twinkle in his eye when it comes to the ladies (and delivers some of the funniest lines as a result), Reggie (Nigel Hales) a rather uptight chap who on more than one occasion displays his fiery temper and Cissy (Susan Hawkins) is often in a world of her own listening to music through her headphones and believing that the others have just returned from Karachi. But the relative peace of this trio comes crashing down with the arrival of new "inmate" Jean (Sue Smith) who just happen to have been married, albeit briefly, to Reggie and who left him for a string of other husbands. Which at least goes some way to explain his distress when she arrives unannounced. The thought of them working together to celebrate Verdi's birthday becomes ever more distant. Given that none of them have sung for decades, a plan is needed to achieve that aim, in spite of Jean's avowed intention of not participating.
The humour runs through the play until the final, more serious scene where there is frantic action to get dressed in suitable garb (in front of the audience!) and secrets are revealed before the stage is set for their performance of Verdi's Quartet from Rigoletto…
Another successful outing for the company who, after this run at the Swan Studio, will be taking it to Malvern Coach House from 11th to 13th April.
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26th - 30th March 2024
Malvern Theatres
The Glass Menagerie
⭐⭐⭐⭐ A modern take on a classic story
Although first premiered in 1944, Tennessee Williams' The Glass Menagerie has been given a complete modern facelift for the current production by presenting it on a huge glossy circle with collections of small glass animals on its outer edge and, later, a mass of jonquils (daffodils) and candles. But the stand-out item on the stage is a huge neon sign indicating PARADISE which, for most of the play is revolving at different speeds. The scene is just about as far from actual Tennessee that you could imagine.
There are 4 characters in this play. The mother Amanda Wingfield (Geraldine Somerville), son Tom (Kasper Hilton-Hille), daughter Laura (Natalie Kimmerling) and "gentleman caller" Jim O’Connor (Zacchaeus Kayode). The husband, whilst mentioned, has long since departed.
The mother regrets her position in life, having married a man who did not give her the Southern Belle lifestyle she might have expected since her husband just worked for a telephone company. Her son works in a local warehouse whilst her daughter, who is disabled, stays at home and is painfully shy and pretty much a recluse. Jim, on the other hand, is a fellow worker in the warehouse, known to both son and daughter, and it is he who brings some happiness, albeit temporary and fleeting, to the house.
The characters wander on, off and around the stage with a natural fluidity, unencumbered by anything on the set (there are just a few chairs and that is it - everything else is imagined). The Paradise sign refers to a nearby dance hall and it is dance that brings together Jim and Laura who finally loses her shyness and gets involved in a most beautifully-choreographed sequence, danced to Whitney Houston's One Moment In Time.
This is one of the author's most personal stories, written a year after his sister had an ill-fated lobotomy which left her incapacitated for life. It is an example of a "memory play" (a term created by Williams) in which a lead character narrates the events of the play, which are drawn from the character's memory. And memories can, of course, be accurate or deceiving but always real to the person reflecting on past events.
The excellent acting and staging work together to bring a modern feel to a tale told through memories.
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25th March 2024
Malvern Cinema
Seize Them!
⭐⭐⭐⭐⭐ A well-scripted comedy about a royal downfall…
Seize Them! is shortly to be released in cinemas but, thanks to the lovely people at Escapes in conjunction with the BFI and the National Lottery, it has been made available in local cinemas before the official release date.
It is a very British comedy with a host of well-known faces from the comedy circuit.
Aimee Lou Wood plays Queen Dagan who sees her reign crumble along with her followers as the country decides that Humble Joan (Nicola Coughlan) best represents their future. Even her nearest companion Leofwine (Jessica Hynes) decides to jump ship and leave them.
Somewhat annoyed at this lack of respect which has turned her into a fugitive in her own country, Queen Dagan sets off with erstwhile companion Shulmay (Ghosts' Lolly Adefope) to find a couple of hilarious Scandinavian rulers, King Ivarr (Paul Kaye) and King Guthrum (John Macmillan) somewhere on the coast, bumping into a naïve character called Bobik (wonderfully played by Nick Frost and whose "profession" leads to umpteen poo jokes!) who tags along with them. On the way, they meet a pots and pans seller, Felix (James Acaster). When Shulmay reveals the secret she has been hiding, this changes her relationship with the Queen dramatically. So will she ever regain her crown from the increasingly despotic Humble Joan…?
It is a pretty stellar cast of comics and a script to match - together they have turned out a really funny and well-made film, directed by Curtis Vowell.
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19th - 23rd March 2024
Malvern Theatres
The boy at the back of the class
⭐⭐⭐⭐ ⭐⭐⭐⭐⭐ A truly thought-provoking tale for our times presenting a different perspective
It is, it has to be said, quite unusual to have a play written and performed from the viewpoint of a a group of children but that is exactly what happens in Nick Ahad's adaptation of Onjali Q. Rauf's The Boy At The Back Of The Class. The story plays out on a simple but multi-functional set which represents, amongst other things, the sea, the classroom, a gymnasium and the gates of Buckingham Palace (!).
The class in question is a bunch of 9 year-olds who suddenly find themselves with an empty seat at the back of the class. This is to be where newly-arrived Ahmet, a "filthy refugee boy" according to the class bully Brendan (Joe McNamara), is to sit when their teacher introduces him. Ahmet is indeed a refugee, from Syria and speaks no English, only Kurdish. So it is down to the rest of the class to attempt to welcome him into this new world, always curious about his back story.
Fortunately, he has little Alexa (Sasha Desouza-Willock) on his side as she finds that she has some things in common with him, in spite of the language barrier. Along with her small group of friends, football is key to them all forming a bond and their decision to try and help him find his missing parents. To do this, they need a project and amusingly, when the exuberant American Tom (Gordon Millar) proposes the name "The A-Team", the rest complain, wanting something they at least have heard of as they are "only nine"! The name sticks, however, but the backing track to their activities is then Mission Impossible, leading to some very well-choreographed moves on stage. The football game with the invisible ball is equally as entertaining.
One surprising element is that whilst within the confines of the school, Ahmet's language remains impenetrable to the others, at the end of the first act, he comes to the front of the stage, breaking the fourth wall and declares to the audience "you understand me", cleverly making the audience part of the journey. From then on, his broken English allows his tale to be told to the class and at the start of the second act, half a dozen big drawings on stage tell his sad story.
Whilst the outcome of the story, involving none other than Queen Elizabeth II (voiced by Dame Vanessa Redgrave) may be somewhat unlikely, the route there is full of humour, pathos and kids-being-kids, making the audience genuinely care for his plight. Ahmet (superbly played by Farshid Rokey who himself hails from Afghanistan) presents a totally believable shy, fish out of water 9 year old whilst the rest of the kids have to unsurprisingly deal with adults who are not always sympathetic to their cause (but who ultimately get their comeuppance). In some cases, the same actors play both the children and the adults.
It is a story which resonates today perhaps even more strongly that when it was first written. It is a story which unashamedly presents a political issue directly to its young target audience and, whilst it make be criticised by some for doing that, it is only through their young, more innocent eyes, that the true horror of what innocent refugee children go through can be challenged and changed. A child is a child whatever his circumstances. Giving adults the opportunity to see what kids see may change their minds too.
http://www.facebook.com/TheViewFromTheStalls/posts/447247707642555
18th - 23rd Mar 2024
Alexandra Theatre
Peter Pan Goes Wrong
⭐⭐⭐⭐ ⭐ A brilliantly inventive comedy and a triumphant amateur production (!)
The Cornley Polytechnic Drama Company is proud to bring their new show "Peter Pan" to the Alexandra Theatre, promising a ride to Neverland like never before!
Which is exactly what the audience gets as the show, even before it starts, is a catalogue of mishaps of catastrophic proportions.
Fortunately this is the exact intention as if you caught Mischief Theatre's previous show "The Play That Goes Wrong" or their tv series "The Goes Wrong Show", now is the time to see them in action again as the favourite seasonal offering Peter Pan comes to town and, well, Goes Wrong!
Be warned though - the performance starts long before the show actually starts as the cast - mostly the "stage crew" - are out in the audience welcoming them, looking for a hammer and trying to get the stage lighting to work by passing a very, very long extension cable through the audience from the stage to a socket on the auditorium's back wall... You know immediately that this is not going to be a "normal" comedy. But then the clue is in the name. Oh, and it might just be your birthday…
The Cornley company depicted here is a mixed bunch of amateurs, from one (specifically Max) who only gets a part because of the family money which is funding it to Robert, who obviously aspires to far greater things than AmDram, from Dennis who relies on getting his cues and lines through a pair of large headphones (which inadvertently keep picking up radio stations and taxi calls) to Lucy who unfortunately suffers from stage fright and cannot say a word. And director Chris definitely does not see this as pantomime, even though the entire audience keeps on insisting that it is! And then there is Trevor, the Stage Manager, who really shouldn't be allowed to touch anything on stage… Every character has a strong back story to work with but of course they also need reliable and tough stage scenery, something which is definitely lacking here!
The set itself is a three-scene revolving one which inevitably does not always perform as expected and the finale is a brilliantly-choreographed piece of absolute bedlam where it is truly surprising that no-one got injured. But then that is exactly what this very talented company do best - producing some very dodgy-looking and potentially dangerous scenery breakdowns with consummate ease and flying sequences which even experienced aerial acrobats would be proud of.
Kudos too to the cast as the show had to be halted temporarily due to a (real) medical emergency in the circle and they had to pick up exactly where they had left off, in the middle of a particularly funny piece of pandemonium.
This is two hours of continuous laughter with so many things going on that it's amazing that they can keep up! And at the end, there was a standing ovation firstly for the amateur cast of the show, then the actors who played them and then the real stage crew who made it all possible.
Amateur theatre done as only the professionals can - brilliantly.
And everybody just loves Max!
Better still, Mischief will be back with more comedic capers from May 27th to 29th with their new show Mind Mangler.
http://www.facebook.com/TheViewFromTheStalls/posts/4467058776967384523261248333
14th - 16th Mar 2024
Regal Theatre Tenbury
Dad's Army
⭐⭐⭐⭐ ⭐A fun and accurate recreation of the TV series
Jimmy Perry and David Croft's Dad's Army is a much-loved long-running BBC series which started in the good old days of black and white telly in 1968, ran for 9 years and is still repeated and getting good viewing figures in prime time. Sadly none of the main cast or the writers are with us any longer but their legacy lives on.
So if you are going to attempt a stage version and present it to a modern audience, it had better be good or it will be embarrassingly bad.
Fortunately, in the hands of the Regal Community Theatre, it is most definitely the former which, given the obviously smaller pool of local talent to choose from, is no mean feat.
Amazingly, when you first see the main cast on stage, you immediately know which character is which, even before a word is spoken. And once the show starts, the mannerisms, catchphrases, body language, etc are all perfectly replicated by the actors as they present Captain Mainwaring, Sergeant Wilson, Lance Corporal Jones and Privates Godfrey, Pike, Walker and Frazer across 3 different episodes from the TV series:
The Deadly Attachment (or, in Friends-speak, The One With The "Don't tell him, Pike!")
Mum's Army (The One With The New Recruits With Big Thighs)
The Godiva Affair (The One With Bells On Their Legs And The Naked Body)
The most fun of these for the cast, and a big surprise for the audience, was the one where the actors burst onto the stage as a motley bunch of Morris Dancers leading up to a big shock for Captain Mainwaring... Hilarious!
By the time they take their curtain call, you suddenly realise just how many people were in the cast covering all the remaining characters, with plenty of others in essential background roles too. Tenbury Wells must be teeming with thespians and creatives!
So, 3 episodes under their belt which leaves another 77 to do. Based on this outing, they have a talented cast who must surely be up to the challenge!
http://www.facebook.com/TheViewFromTheStalls/posts/445353531165306
14th - 17th Mar 2024
Alexandra Theatre
Madagascar The Musical
⭐⭐⭐⭐ ⭐ The perfect colourful and funny show for the whole family
From a parallel universe where a zebra is a lion's best friend comes Alex, Marty, Melman and Gloria (lion, zebra, giraffe and hippo respectively) and an assortment of other creatures in the crowd-pleasing Madagascar The Musical. The first creature to appear is a monkey who threatens to throw poo at anyone in the audience using a mobile phone - you have been warned!
Based on the popular film from 2005, the show which is produced by the Theatre Royal Plymouth is back at the Alex for a short 4-day run.
It revolves around a reluctantly-located lion as the animals from the Central Park Zoo (most of the first half of the show) find themselves "going wild" on the island of Madagascar (second half) where they meet a pack of lemurs, led by King Julien XIII along with his adviser, Maurice the aye-aye. Add a bunch of pesky penguins trying to head back to their native Antarctica into the mix and you have a cast of creatures guaranteed to amuse and entertain both kids and adults alike.
Starting in the zoo to the theme of Born Free (something for the older members of the audience there!), these are animals who do not want to be where they are and it is Marty the zebra's 10th birthday wish to be freed. He gets his wish and the whole troupe find themselves boxed in on a boat going who knows where. San Diego Zoo is one suggested destination, but when Alex the meat-eater finds to his disgust that the food on offer consists of seaweed, things are not quite what he was hoping for…
Using a combination of full-suited characters and puppetry, the audience soon warmed to the characters on stage, clapping along to the music and forgetting the humans which are working the characters. One song in particular had them up and dancing - I Like To Move It, initiated by King Julien (brilliantly played by Connor Keetley) who himself had the audience in stitches when he spoke to the other animals and especially the lemurs, and a song which was equally as popular in the rousing finale.
The film (along with its sequels) is recent enough to still be in the memory of most people and this lively and colourful production brings it alive on stage.
One for the kids? Definitely!
One for the adults? Definitely!
http://www.facebook.com/TheViewFromTheStalls/posts/444523261248333
12th - 16th March 2024
Malvern Theatres
Oh What A Lovely War
⭐⭐⭐⭐ Oh what a lovely show!
"Oh what a lovely war" must be the most ironic title of any show. Developed by Joan Littlewood from a radio musical entitled "The Long Long Trail", it was first staged in 1963 and is anything but a straightforward look at the events leading up to and during the First World War. Indeed, such was Littlewood's reputation (already banned by the BBC and, as a Communist, was being tracked by MI5) that attempts were made to undermine the show. Using the antiquated 1943 Theatres Act, she was twice prosecuted and fined because the said Act did not permit "improvisation" simply because all scripts had to be vetted in advance by the Lord Chamberlain's Office. Littlewood's show used not only improvisation but also "pierrots" (a stock pantomime character) to represent the real people whom she despised in all sorts of costumes rather than depicting the actual people themselves in their military regalia (mocking in particular Lord Haig).
A 1969 film version featured a truly stellar cast which included Maggie Smith, Dirk Bogarde, John Gielgud, John Mills, Kenneth More, Laurence Olivier, Michael Redgrave, Vanessa Redgrave and Ralph Richardson).
Blackeyed Theatre's show starts as a somewhat immersive experience, with the cast (all musicians and actors) playing around on stage and in the auditorium (something always guaranteed to get the audience on board). Like a troupe of travelling troubadours, they proceed, through each taking many different roles, to retell the sorry and shocking story of "the war to end all wars", along with the futility of the enormous death toll and the arrogance and incompetence of the officers in charge.
All the music is played live on stage and covers many of the songs which will be familiar from that era (often standards with their lyrics changed to reflect the war) and the progress of more than 5 years of conflict is effectively displayed by projecting images and text on the back of the set, not only of the men and key locations such as the Somme, Ypres and Passchendaele, but the shocking statistics of the death toll (usually very high at each encounter with the British Expeditionary Force being completely wiped out) and the advance made by the British each time (often none at all).
And yet, at the same time as all this horror, the jollity (or naivety) of the British remained unabashed with the audience at one point actively encouraged to sing along panto-style (yes, the song's lyrics were projected onto the stage!) to the near-impossibly difficult version of "Sister Susie's Sewing Shirts…"
The show incorporated a wide variety of skills and effects, usually in fairly short bursts as the actors moved from scenario to scenario (the "dance" routine being one of the funniest), though you had to concentrate on the script which was sometimes hard to follow (not helped when, for around 15 minutes, a really loud humming noise inexplicably came through the speakers) and some of the speech was, necessarily in German and French but overall, Blackeyed Theatre pulled off a very enjoyable (if that is the right word!) and inventive version of Joan Littlewood's "musical entertainment", a show which, in the words of director Nicky Allpress, was unsurprisingly (having seen the end result) "a beast to rehearse" and which stayed just the right side of being over the top.
http://www.facebook.com/TheViewFromTheStalls/posts/443483858018940
8th March 2024
Malvern Theatres
BANFF
⭐⭐⭐⭐ ⭐ It's exhausting just watching them!
Back for another evening of "extreme" sports film, the Banff Mountain Film Festival World Tour this time has two separate programmes a couple of months apart.
The "red" list was made up of 6 films ranging in length from 12 to 41 minutes and covering a wide range of topics.
"Soundscape" gave a real insight into how you can pursue a love of adventure even after becoming blind as, with his companion helping him along, Erik Weihenmayer took on climbing The Incredible Hulk in California's Sierra Madre. It becomes clear just how much sound is important to him in understanding and enjoying this environment and challenge. Having said that, he has form given that he was the first blind person to reach the summit of Mount Everest in 2001…
The longest of the films was entitled Chronoception, where a group of French skiers and snowboarders decided to take on the Tien Shan Mountains in Kyrgyzstan on the old Silk Road. Not an area that the audience will be familiar with, its stunning beauty (the landscape, people and music) hides difficult terrain to traverse whether on foot, horseback or in vehicles. The result though is a spectacular descent from the top of one of the highest untouched peaks though pure pristine snow and across hard ice shelves. They are not called the 'celestial mountains' for nothing.
Crosscountry featured Kilian Bron cycling ridiculously fast through some amazing scenery across North America, from Hawaii to Canadian forests via New York City, searching for thrills that only solo racing can give.
A change of pace with Sheri, which displays the talents of Sheri Tingey whose passion for design and innovation got her, at the age of 50, creating paddle boats, in conjunction with her son, which effectively changed the way the sport was viewed. She used to make all his school clothes, something which did not impress him at all!
Reel Rock: DNA was again a French film, this time with Seb Bouin attempting to climb what appears to be the impossible, the vertical walls of Verdon Gorge in the Provence-Alpes-Côte d'Azur region of Southeastern France. He does have an ace up his sleeve however - his mother, clearly sharing the same DNA and desire to climb and happy to spend weeks together to achieve their aims.
The final film was a very funny one. Pioneers: Tandem XC skiing. After an unfortunate "incident" which resulted in Joe Dubay being stripped of his first place in the US Birkbeiner race (because he wore his mate Chris's bib instead of his own - a bit harsh!), they both decide 10 years later to "bend the rules" and re-enter, this time as a couple on a single set of skis. Having checked first, of course, that it didn’t break the regulations - in fact, no-one had even tried it before. And the result was both hilarious and, ultimately, successful and no doubt has brought tandem skiing to the fore.
6 films best seen from the comfort of a cinema seat. Unless you are particularly adventurous, of course…
The "blue" programme will be at the Malvern Forum on Saturday 18th May at 7:30pm whilst the Ocean Film Festival World Tour will be in Malvern on Thursday, 24th October at 7:30pm
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5th - 9th Mar 2024
Alexandra Theatre
And then there were none
⭐⭐⭐⭐ ⭐ Classic Christie done in a clever and inventive way. Thoroughly engrossing throughout.
One isolated island. Eight "guests". Two waiting staff. No host present. So that's the "ten". But how to get to "none"…
These are the elements which are the basis of Agatha' Christie's best-selling novel "And then there were none". It is also her most parodied story which is in itself an indication of how much it is held in high esteem across the world. It is a little-concealed fact that the location of the story is one of her favourite places, Burgh Island off the Devon coast (renamed here Soldier Island and pushed rather further out to sea), a haunt where she also took advantage of this Art Deco modernist retreat to write Evil Under The Sun. The book itself has various other names before Christie settled on this one - based around ten little soldier statues representing the ten characters, it was previously "Ten Little Indians" and before that something which we cannot mention these days…
A book where the characters can be developed over time is one thing but a stage play of just over two hours is something completely different, needing to convey the claustrophobic and threatening atmosphere quickly and successfully to win over the audience. And as each of these apparently randomly-selected guests has a back story, this needs to be conveyed as well. The clever stage design allows both aspects to be enacted and whilst it takes a while for the guests (unlike the audience) to realise their killer probably walks amongst them, this just adds to the intensity as their numbers reduce. The deaths are pretty varied - poison (one of Christie's favourite methods of demise, having a great knowledge of the propensity of various poisons to cause death), stabbing, a bee sting - all following the pattern determined by an old rhyme of which they are all aware. For example, this rather strange one (which at least explains what we first see on stage on entering the auditorium): "Three little Soldier Boys walking in the zoo; A big bear hugged one and then there were two". So they know what the next fate will be but not who will succumb to it.
The characters cover a wide range of professions: Mr Justice Wargrave, a retired criminal judge (David Yelland), William Blore, a former police inspector (Andrew Lancel, who gives us most of the humour in the play) , General Mackenzie (Jeffery Kissoon), Philip Lombard, a soldier of fortune (Joseph Beattie), Emily Brent, an elderly pious spinster (Katy Stephens), Vera Claythorne, a secretary for the absent hosts (Sophie Walter), Doctor Armstrong (Bob Barrett), Anthony Marston (Oliver Clayton), the caretakers Georgina Rogers and Jane Pinchbeck (Lucy Tregear and Nicola May-Taylor). Then there is Fred Narracott, the delivery man (Matt Weyland).
Behind a gauze curtain, the reason for them being there is also revealed as we learn about their history as diverse as operating on a patient whilst drunk or the result of becoming pregnant out of wedlock. And the culmination of this killing spree is done in an incredibly dynamic and unsettling way. Definitely an ending which will haunt you for years to come…
Take your pick as to who might be the culprit. Only to find that your choice of killer is the next one to meet their maker! So who's left after all this carnage? Without giving too much away, the clue is in the title…
http://www.facebook.com/TheViewFromTheStalls/posts/439806825053310
4th - 9th March 2024
Malvern Theatres
Twelve Angry Men
⭐⭐⭐⭐⭐ Totally riveting and compelling to watch
The concept is simple. Twelve men sitting around a table discussing the fate of a young suspected killer. This may not sound particularly exciting. But wait. These are twelve angry men and over the course of the show, their anger proves to be absolutely riveting.
Twelve Angry Men starts out with what appears to be a clear-cut case of familial homicide. According to the trial, the boy was seen and heard stabbing his father. So the Twelve, from different walks of life like any jury, could potentially come to a quick unanimous decision and send the boy to the electric chair. But one Juror (none of them have names) has his doubts - not saying the boy is either guilty or innocent but questioning everything - and this definitely puts the cat amongst the pigeons as slowly but surely the absolute conviction of the other jurors begins to be questioned. There are, in particular, three jurors who are especially angry and heavily prejudiced - Juror 3 (played by Tristan Gemmill), 7 (Michael Greco) and 10 (Gray O'Brien) who are all in stark contrast to the always calm, never ruffled Juror 8 (Jason Merrells). Ben Nealon and Gary Webster are amongst the others whose attitudes begin to be questioned, the others being played by Paul Beech, Samarge Hamilton, Mark Heenehan, Kenneth Jay, Paul Lavers and Owen Oldroyd with Jeffery Harmer as the Guard.
The play, which was originally created for television in 1954 before being rapidly adapted for stage and film, was written by Reginald Rose and it is cleverly situated in a hot stuffy room with no ventilation, guaranteed to create frayed tempers and bring out the worst in people. Casual racism, bullying and a desire to be anywhere but there are all present. And as the temperature rises, the insults and physical abuse get worse. The audience is left wondering if under these circumstances, a unanimous verdict can ever be achieved, so strong are the convictions of those who see the electric chair as the only outcome.
The acting is powerful and believable (with all having to portray Americans) with the individual characteristics ranging from quiet and questioning to bombastic and abusive, all perfectly portrayed.
The activities of a typical jury, necessarily secretive, are more or less unknown to the public, except through plays like this. Coincidentally, Channel 4's recent series The Jury: Murder Trial brought the jury system into close focus with a reconstructed murder trial deliberated over by not one but two separate juries. Many of the characteristics and attitudes shown in Twelve Angry Men are obviously still present in today's society…
http://www.facebook.com/TheViewFromTheStalls/posts/439263718440954
23rd Feb - 2nd Mar 2024
Alexandra Theatre
An Officer and a Gentleman
⭐⭐⭐⭐⭐ A great 1980s soundtrack telling the well-loved story of Zack and Paula
Very often, when a show is a "jukebox" type presentation, it revolves around a range of songs with a story concocted to link them together. In the case of "An Officer and a Gentleman", it is the other way round. We already know the story from the 1982 film starring Richard Gere, Debra Winger and Louis Gossett Jr. And it had its own soundtrack - most famously including "Up where we belong". That soundtrack has, apart from that particular song, been jettisoned for a more extensive range of music from the 1980's and so starts with the appropriately-retitled hit from Status Quo, "In the army now" - with "navy" replacing "army".
The locations do, however, remain the same. Pensacola, Florida and its Naval Aviation Training Facility and a nearby paper factory, full of girls looking to find a way out by way of meeting sailors. Into the former comes Zack Mayo (Luke Baker) wanting to be a navy jet fighter who, on a night out off base, meets Paula Pokrifki (Georgia Lennon). Another pairing involves Sid Worley (Paul French) and Lynette Pomeroy (Sinead Long). These two couples form the love interest of the show whilst the hand of Zack's father Byron (Tim Rogers), an alcoholic womaniser - and US Navy petty officer - is never far away nor is the guy charged with booting out those who will not make the grade, Gunnery Sergeant Emil Foley (Jamal Crawford). The one female hopeful is Casey Seegar (Olivia Foster-Browne) who, petite and feisty as she is, has a real battle on her hands.
And so to the music in this version. Luckily, there is a rich seam of well-known tracks to take advantage of (thankfully consigning "Tie a yellow ribbon" which was in the film to the bin!), ranging from "This is a Man's Man's Man's world", "Working for the weekend", "Girls Just wanna have fun", "Material Girl", "St Elmo's fire", "When the going gets tough", "The Final Countdown"… As the show progresses, it becomes clear that the song list has been carefully curated to reflect and tell the story itself, most surprisingly perhaps with the inclusion of the Mike Oldfield-penned "Family Man" (a hit for Hall & Oates) which perfectly explained the situation in the scene where Sid is desperate and can take no more… The singing throughout was strong and clear.
There is no big star name carrying the show - instead it is down to the talents of the two dozen actors and live band (sadly hidden under the stage!) and they certainly do a superb and convincing job (American accents maintained through and, as this is the navy, some extensive exercises on stage too). Judging by the rapturous reaction at the end, the cast and producers need not fear that the show is missing a star attraction to pull in the audiences as when word gets around, they are pretty much guaranteed a successful and enjoyable run in 2024, one which kicked off in Birmingham.
http://www.facebook.com/TheViewFromTheStalls/posts/435575485476444
21st - 24th Feb 2024
Cobham Theatre Bromsgrove
Rent
⭐⭐⭐⭐⭐ Beautifully staged, sung and acted version of a show with a real message
Rent is a musical written by Jonathan Larson and set firmly in the late 1980's but based loosely on the much older La Bohème by Giacomo Puccini. In Rent, it involves a group of impoverished young artists and miscreants who are struggling to survive in a rundown building in Lower Manhattan's East Village. Paying the rent is, to some extent, the least of their worries as they are also living in the spectre of a city hit by HIV/AIDS with the show enacting exactly one year in the lives, hopes and dreams from Christmas Eve to Christmas Eve.
Very much an ensemble piece, the show lends itself equally to some strong duets as the inhabitants live out their fractured lives and this production, by Dynamik Theatre at the Cobham Theatre in Bromsgrove, certainly makes the most of that aspect, given that the stage itself is necessarily a fairly bleak construction of scaffolding. The main protagonists are Mark (Aaron Gibson), a buddy cinematographer and the storyteller here and his pal Roger (Jack Higgins), a struggling musician. There is also Angel (Jaii Andrew), a drag artist who befriends an injured Tom (Ed Blann) as well as Maureen (Steph Westwood), Mimi (Yasmeen Shaaban) and Joanne (Ellie Creedon). The villain of the piece is Benny (Robbie Love) who owns the building. All get to sing either individually, in pairs or as an ensemble. Two songs really stand out in this, either side of the interval. Closing Act 1 is La Vie Bohème and opening Act 2 (and used as a refrain elsewhere in the act) is the beautiful (and beautifully sung) Seasons Of Love (525,600 minutes…)
The show is quite unusual in that there is virtually no spoken dialogue (other than a few telephone calls and Mark's telling of events). Everything is set to music, even conversations between two people and it is to the company's credit that they have got together a superb 6-piece band (somewhat hidden away unfortunately) as they have to play almost continuously for the 2 hours+ of the show and do so brilliantly. A live band can inevitably transform a musical into something spectacular.
No programme or cast bios were available so it is not clear how the actors were chosen or what their previous experience is. That said, it is a very talented group who gelled well on stage with strong singing whether solo or as a group, which bring the story (which does inevitably contain some adult themes) to life.
http://www.facebook.com/TheViewFromTheStalls/posts/432721839095142
19th - 24th Feb 2024
Malvern Theatres
Murder In The Dark
⭐⭐⭐⭐⭐ A clever script and a rich vein of humour make for one fun show
A good thriller/chiller/ghost story needs a rich seam of humour running through it as well and that is certainly the case for Murder In The Dark by Torben Betts. It also needs a great cast to carry it off, of course and in this production, it is down to the ever popular Tom Chambers and Susie Blake. Whilst Tom Chambers can successfully flit between straight acting and musicals (Top Hat, for example), Susie Blake has a CV in drama and comedy as long as your arm, perhaps best known as the sweet but acid-tongued continuity announcer in Victoria Wood's TV shows. And it is exactly that type of persona which is present here - a quiet, unassuming overly religious widowed farmer(!) who clearly, with a twinkle in her eye, has the hots for the unexpected visitor who, as in all the best stories, is a washed-up pop star, has crashed his car, been stranded in a snowdrift 20 miles from the nearest village and ends up on the widow's farm in an outhouse with a faulty electrical system which suddenly turns on the TV to play 3 Blind Mice…
To say much more would be to give away the plot (the audience is sworn to secrecy…) and that would be unfair as there is plenty to be revealed during the show until the surprising climax. Other characters appear in the show - family members mostly, including Rebecca Charles as the ex-wife, Jonny Green as the abandoned son, Owen Oakeshott as the big brother and Laura White as his current girlfriend. Is all as it seems though?
Director Philip Franks has taken a great script and, with Simon Kenny and Max Pappenheim (designers) created a creepy set and weaved in some effective special effects to produce a show which manages to keep the right balance of scary and humour.
Dark, twisted and very funny - totally enjoyable and best experienced in person…
http://www.facebook.com/TheViewFromTheStalls/posts/ 431924155841577
16th Feb 2024
Swan Theatre
Beauty and the Big Beast
⭐⭐⭐⭐⭐ Another very naughty "big" show, pulled off with ease - exactly what the audience expects!
It hardly seems a few weeks since the last "traditional" panto but it is already time for an increasingly popular "adult" version. This time from Hitchin's Market Theatre who now have a good track record of such pantos, having visited Worcester a number of times. Indeed, the fact that the show is now getting capacity audiences at the Swan speaks volumes about how enjoyable this evening has become.
Adult panto is a phenomenon that even normal pantos are latching onto, seeing the opportunity to dedicate at least one of their performances to an adult-only show by stripping out the child-friendly gags. However, this one is written from the start to be for adult audiences but based, of course, on a traditional panto storyline, in this case "Beauty and the Beast" in doing so becoming "Beauty and the Big Beast". No prizes for guessing that the "big" refers to!
As anyone who has seen their previous shows (and apparently for many in the audience, this was their first time), there is an initial check on the audience to see how low the bar is in Worcester. Pretty low as expected as Nick Hooton pounces on the front row with Trish and Sue (just "good friends") are chosen to represent the city's level of depravity along with a couple of other victims. They take it all in their stride which is lucky as their names will be mentioned dozens of times in all sorts of contexts throughout the show!
Nick is one of three cast members, ably assisted by regulars Jemma Carlisle and Eleanor Pead, and their characters range from Prince Cockalot and Countess Cumming to Gagon Bellend and the oh-so-innocent sounding (but absolutely not!) John Thomas… and those are just the ones that can be mentioned in print! In charge of all the special effects, sound and lighting is tour director and general good guy, Glyn.
With the usual minimalist set (mainly just doors to be used for entrances and exits - when they can find the key), there are nonetheless plenty of costume changes, one of these being the funniest part of the show where they all appear as male country bumpkins, all a bit thick, leading to an extended session of very funny wordplay (and if that all went wrong, the audience would probably not notice anyway!).
The audience loved the show (even if we only had to shout Get Off! at various intervals) and those for whom it was the first time, will no doubt be leaving their adult panto virgin status behind them and joining in next year's show, which is… well, you will have wait and see but it just might apparently involve a big green plant!
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14th - 15th Feb 2024
Malvern Theatres
Death(s) At Sea
⭐⭐⭐⭐⭐ Your classic "play goes wrong" show written and performed by local actors
It was unfortunately one of the early casualties of Covid but now, finally, the Good Ship with no name finally sets sail into choppy waters which enable us to enjoy Death(s) At Sea. Coming from the local Our Star Theatre Company, this is billed as Sea, Sailors & Seriously Bad Acting! but before you get the wrong idea, the five actors from the company are playing the characters in a (decidedly!) amateur company which is putting on the play where one character is already dead before the show starts. This amateur company's name may give a clue as to their level of competence. They are the Chadburn Repertory Amateur Players…
There are some familiar faces in the show. Daniel Davis plays Michael who plays Professor Brooks, Ava Weetman plays Amy who plays Irene Throrn and Eleanor Catherine Smart who wrote the comedy also plays Hannah who plays Audrey Kettle (and who, in spite of scripting the show, ends up reading her character's lines from just about every prop and surface imaginable). New to the company for this show are Ricardo Alexander who plays Steve who plays Captain Carnaby (and an increasing number of other hilarious characters as the death toll mounts…) and George Cooper who plays Adam who plays Lord Dindigul and who, I am sure, will be auditioning for a certain part in the upcoming summer production of Fiddler on the Roof.
So the scene is set for a comedy where things go wrong. Microphones are left live, giving us an insight into what the actors really think of each other when talking backstage, animosity which also spills out on the stage. A sound and lighting director who fails to keep to his cues (ironically Our Star's own director Ben Mowbray!). Props that fail to perform on demand. And characters who cannot tell the difference between a bottle of gin and a bottle of poison. The animosity between the actors also spills out on the stage so we know what they really think of each other… But who out of these varied maniacal characters stuck on board a rudderless ship has the cause to be a murderer? All will be revealed…
This was the premiere of the show and, as far as can be ascertained from the viewpoint of an audience member, everything went as planned and things that should have gone wrong did go wrong. There is one more performance in Malvern before the show sets off around the country, including a stop at this year's Edinburgh Fringe.
And the joint production of Fiddler on the Roof as a Community Musical runs from 24th to 27th July
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13th - 17th Feb 2024
Malvern Theatres
The Circle
⭐⭐⭐⭐ A century old and still a classy play
From the pen of William Somerset Maugham comes The Circle, a play which was both written in 1921 and, in this production from Orange Tree Theatre, is set in the same year. It therefore remains, very deliberately, a period piece, with characters and a set to match and mentions of things such as the "Federated Malay States". Elegantly-dressed men and woman on a stage which is, to be honest, made up of plenty of chairs and a few tables plus a couple of doors to enter and exit from.
So far, so simple, so classical. Add the talented cast and you have a play which, whilst a century old, still amuses and comes up with some surprises centred around attitudes of the time. Heading the cast is Jane Asher, resplendent in her gowns and bright copper red hair as Lady Catherine "Kitty" Champion-Cheney with Clive Francis as her estranged husband, Clive. The result of this marriage was Arnold, an MP, played by Pete Ashmore but sadly he drew the short straw when it came to relationships with his parents who he has not seen for decades whilst appearing to have followed them in the wedding stakes by marrying Elizabeth (Olivia Vinall) who now wants out.
She has fallen for the charms of Teddie Luton (Daniel Burke) in much the same way that Kitty fell for Lord Hughie Porteous (superbly played by Nicholas Le Prevost making the most of a character who has the best and funniest lines in the show, especially regarding dentures(!) and has some tender moments with Kitty). But whereas Kitty and Clive are "on a break" so to speak, divorce being out of the question, especially since her conversion to Catholicism, divorce is exactly what Elizabeth wants from Arnold. Arnold, on the other hand, seeing his status as an MP being irreparably damaged by such an action, is rather more reticent…
The cast is completed by a few appearances from Robert Maskell as a butler who, in saying little, speaks volumes.
Marriage must have been a curious beast to Somerset Maugham - despite marrying twice and fathering a daughter, he was gay and led a double life with a younger man Gerald Haxton which began before and ended after his period of marriage, a risky approach at the time. Creating a play of which the main thrust was dealing with two heterosexual couples who would obviously benefit from divorce themselves was probably a therapeutic experience for the writer as well as allowing him to continue a "respectable" life as a married man himself.
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6th - 10th February 2024
Alexandra Theatre
The Woman In Black
⭐⭐⭐⭐⭐ A shockingly good edge-of-your-seat ghost story!
With its roots very much anchored in the North East (written by Scarborough-born Susan (now Dame Susan) Hill and premiering at Alan Ayckbourne's Stephen Joseph Theatre in the town back in 1987), The Woman In Black has been a remarkable and deservedly successful chilling piece of theatre. Once the idea had come about of adapting the original book as an inexpensive end-of-year filler, the late Stephen Mallatratt took the novel's dozen or so characters and cleverly created a script which could be played by just two actors (quite the opposite of the film version which expanded the characters to suit a much larger cast - and budget).
Director Robin Herford - who has led the play's development ever since that first showing in Scarborough, through its permanent residency in London and across various tours over the decades - regularly has the task of not just choosing two talented actors but also keeping the show fresh for audiences who return for another frightening evening. This time, the job falls to Malcolm James who plays Arthur Kipps, a solicitor who needs his story to be told, and Mark Hawkins who plays "the actor" approached by Kipps to help him tell his tale. Kipps is no actor himself, nor does he profess to be nor does not wish his tale to be a "performance". "The actor" on the other hand has a different view, rightly pointing out that his tale would take over 5 hours to tell and would send his audience to sleep…
The play begins with him reading his story in the most unimaginably boring way possible (deliberately so - that is not a comment on the actor's skill!). As the story unfolds and looks back 30 years or so, the two actors switch parts. Hawkins plays the younger Kipps and James takes on all of the other characters. Not that this is ever confusing, even though it is done with minimal stage scenery and just a couple of different costumes. Kipps (the elder) cannot for instance imagine how a pony and trap could ever be convincing on stage if there wasn't actually a pony and trap on stage. In fact, the "pony and trap" is a large wicker basket, the same wicker basket which is also a solicitor's desk, a railway carriage, an altar, a bed... And that lies at the very heart of this scary production because, unlike in the film, the audience is drawn into the story by means of that most terrifyingly human possession - the imagination. You don't have to see a pony and trap to believe there is a pony and trap. You don't have to see a ghost to believe there is a ghost...
Throughout the play, there are sound and visual effects designed to shock (all thankfully "harmless" according to the programme!) - and they certainly did with the audience responding appropriately! There are equally moments of humour, for example the dog called Spider (invisible, of course, but still enjoying a tummy rub and having his ears tickled). But these moments are designed to lull you into a false sense of security for there is always another unexpected scare just around the corner. Kudos, then, to the team behind these clever, unexpected and perfectly-timed moments of horror. What was very encouraging was that a large part of the audience were clearly on school trips to the theatre. And you suspect that they were genuinely taken aback by the shocking moments presented to them, to which they all responded enthusiastically (and gave the two actors a standing ovation). If all they had seen in the theatre before then was panto, this would indeed have opened their eyes to the many different experiences that the theatre can offer them.
Both actors are excellent in their roles (particularly when at the very beginning you wonder why this boring rambling actor ever got the part!) and very capably and believably get you to believe the unbelievable. A perfectly shocking night out!
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23rd - 27th Jan 2024
Malvern Theatres
Blood Brothers
⭐⭐⭐⭐⭐ Simply brilliant
It's back again! One of the most enduring and eagerly-awaited musicals has returned to Malvern, a mere two years after it last played to capacity audiences.
And it is proof that some things just don't need to be re-invented or re-imagined or changed for a different generation as this is Willy Russell's stunning Blood Brothers sixth appearances in Malvern in the past few years. The key roles of Mrs Johnstone and son Mickey are also played by the same actors as last time - Niki Colwell Evans and Sean Jones respectively both of whom have now been in the show for many years. Sean Jones in particular has been playing the role of the 7 year old and upwards since 2016, ironically playing a character far younger than his own daughter.
Any show that returns to a theatre again and again and is still a sell-out has to have something going for it. Audiences, many of whom will have seen the show before, genuinely never tire of the show and there was a good number of younger members of the public in the audience seeing this pact with the devil for the first time.
The show unusually starts at the end with two bodies on stage before nipping back to happier if more financially difficult times when Eddie (Joe Sleight), one of the twins, was given away to a childless family on the basis that the secret must never be told. The other twin is Mickey, the shy childish son who remains with his mother, whilst Eddie goes on to live a pampered and privileged life. These must be two of the best roles in show business – who wouldn’t want a part where you can act like 7 year-olds and both of them do it brilliantly and believably (in spite of them being as tall as their mum!) with perfectly contrived mannerisms and the well-observed knockabout behaviour that kids have. Sarah Jane Buckley is Eddie’s new mother and the ever-present harbinger of doom (or at least the truth) is Scott Anson (another actor returning to the role, having done it some 20 years ago). All the singing and the live orchestration is, as you would expect, superb.
The standing ovation and four curtain calls in Malvern no doubt reflect what happens at every venue and deservedly so – Sean Jones in particular looked physically shattered, but happy, when taking the bow - he has the most physically demanding role as 7 year olds have boundless energy!
So why does a musical about a family break-up with absolutely devastating consequences prove to be so popular? Other than the fact that, however many times you have seen it and know exactly how it is going to end, it genuinely pulls at the heart strings and shocks in the final moments, the show’s author Willy Russell describes it perfectly:
"People do see it more than once and one of the reasons is that it is a musical with a strong book, it has got a tale to tell. This might indict it as not being a real musical but if all the electricity fails in the theatre and you can’t light the show or amplify it, you can still do the show with a piano and even if the piano blows, you can still do the show a capella and it will work. It simply relies on the primal, ageless, universal thing of “I’m going to tell you a story”. Your ears prick up and you stay with it and there’s no better experience”
And that is storytelling and theatre at its very best.
Remember. Make a pact with the Devil and the Devil will have your number. Always.
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20th January 2024
Regal Tenbury Wells
Frankenstein
⭐⭐⭐⭐ Sometimes frantic, sometimes serious, the story of the misunderstood monster…
Not just" Frankenstein" but "Frankenstein or a play about a man wot built another man".
That, plus the fact that there are only two actors involved, tells you upfront that there is going to be a level of inventiveness here to bring Mary Shelley's gothic tale to the stage. Written by Tom Jordan and produced by Jayne Meekings, Gloucester-based Rain or Shine Theatre Company has enlisted the talents of Anthony Young to play the "Veteran" and Aidan Mosby to be the "Young Actor". The two will clearly not always see eye to eye with the Veteran no doubt feeling this is a serious representation of the story and the Young Actor wanting to introduce some a little difference, like stand-up comedy and making animal shapes out of balloons.
And so it is that this mis-matched couple of Veteran and Young actors bring to life - literally - Victor Frankenstein's creation, a monster who is both disfigured and intelligent and articulate. The show has many more characters though, requiring some fast-paced costume changes and accents and plenty of hats.
There is an element of panto to the show, including audience participation in the sound effects - the budget apparently not extending to providing sufficiently loud crowd scene noises in a pub - and the opportunity for the audience to partake in a little bit of country dancing do-si-do, something which the kids (and one dad) did very well.
Billed as being suitable for ages 6 and upwards, there are some longer, more serious sequences which may struggle to hold the attention of younger audience members, though having said that, all the youngsters in the audience behaved impeccably throughout. And they were queueing up at the end for the own balloon animal creation!
"2 actors, 1 monster, no clue" - between them giving the audience a fast and funny insight in Mary Shelley's spooky classic whilst on a different level, portraying the superficial nature of judgement by others, which is just as relevant today.
Look out for their next production, which is The Importance of being Earnest, coming this summer.
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18th - 28th Jan 2024
Market Theatre Ledbury
Robinson Crusoe & The Pirates
⭐⭐⭐⭐⭐ A new take on an old story, panto-style
Ledbury's Regal Theatre has taken a less-frequently performed play as their panto this year which takes the audience across the oceans to Brazil!
Ledbury Amateur Dramatic Society (LADS) is putting on Robinson Crusoe & The Pirates as the seasonal show, written by Alan Frayn who says that the swashbuckling storyline and exotic locations give it a different flavour from other pantomimes.
And it certainly does that, as it more or less ensures from the start a range of very colourful settings in which the action can take place and the relatively large Regal stage takes full advantage of this. The size of the stage also allows the full cast to play out their roles and this amounts to more than 2 dozen people on stage at the same time.
The story revolves around some famous characters from Daniel Defoe's 300 year-old novel. The title role is played by Sophie Watkins (already in her 7th LADS panto and fresh from touring Our Star Theatre Company's The Invisible Man) who becomes the love interest of Juanita (Erin Hayter), daughter of the ship's handsome Captain Seasalt (Aqueal Blandford). As in any panto, there are two vital characters - the Dame and the Baddie. In this show, the Dame - Margarita Jucilita - is played by Jon Gill (Graham Norton and Peter Kay were apparently not available) and gets not just the most exotic costumes but also some of the best lines too (puns and asides abound when the Dame is on stage) and we get not one but two baddies. The first is Daisy Jones (Jackie Barratt) with her Locker (see what they did there?!), a menacing piece of work who entices the sailors to her underground lair and then there is the archetypal villain, Cut-Throat, a role which Trevor Young, in his first LADS panto, is obviously relishing, abusing the audience as much as the other characters!
Skull-Duggery (Viv Evans) and Cross-Bones (Eddie Kittner) are other candidates for villains but in reality they are no more than softies. Well, one has one leg and the other has one eye so how could they be anything but! And when the action moves to a desert island after the shipwreck, it is Mumbo Jumbo (Deb West) and Hocus Pocus (Nicola Garrity, who is also the show's producer, with Hettie Guilding directing) that they have to deal with as the island has a bewitched side to it…
Regularly on and off stage is the Dame's daughter Nutty Nick (Katisha Harris), interacting with the audience and making sure no-one pinches her nuts, as well as leading the crowd into a couple of singalongs.
The fairy godmother character this time is Coral (Ryan Eames) who is there to ensure the goodies come to no harm and the baddies get what they deserve, having the ability to freeze the action and with the other characters of Friday (Ripley Sheppard, so not Man Friday!) and Polly (Ruby Phillips, who is hilarious at "speaking" parrot), the main cast is complete.
But let's not forget the junior ensemble which form the dance troupe, 13 young local dancers, all smiles and delighting the audience with their moves, choreographed by Ellie Smart.
The music for the show comes courtesy of Chris Corcoran (a busy man at this time of year!) and his small band and most of the songs, ranging from Dean Martin to Abba and plenty in between, were all well-known crowd pleasers.
Usually a couple of kids will get invited onto the stage but not here. This time, there were so many mentions that there were more than 20 audience members, of all ages, up on stage for a repeat performance of one of the songs. It certainly seems like Ledbury loves to get involved in its panto!
Local theatres thrive on these well-supported community shows (it was a sell-out) and with all of the behind the scenes people who did everything from set building and painting to sound and lighting , it seems most of the town will have got involved in one way or another!
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16th - 20th Jan 2024
Malvern Theatres
Noises Off
⭐⭐⭐⭐⭐ A hilarious account of what it takes to put on a play
Have you ever seen the same play three times in a single evening?
If not, then now's your chance as Michael Frayn's unique comedy Noises Off comes to Malvern with a great cast of Liza Goddard (who was here less than a year ago in Alan Ayckbourn's Relatively Speaking) , Simon Shepherd (who was also here less than a year ago in Mrs Warren's Profession) and Paul Bradley in the main roles.
The structure of the evening is quite simple. A play called Nothing On is being performed at various venues around the country and is directed by a man who, by his own admission, would rather be elsewhere directing Richard III.
Firstly we see the cast doing the "technical" or "dress" rehearsal - time restraints means having to combine the two or even considering the first performance as the last rehearsal. This catastrophic introduction to the play gives the idea that the show is not quite ready…
After the interval, we return to the play but with one impressive and crucial difference. The entire set has revolved so we are now looking at the back of the stage as the play is re-enacted from the start for a matinée performance (of mainly old-age pensioners!) and we watch as chaos ensues behind the scenes. Due to the fact that the "other" audience is listening to the play, everything that we see going on backstage - and a lot does - is done in complete silence with plenty of miming and exaggerated frantic actions.
The curtain falls again and this time we see the revolving set returning to the position we normally expect for a final performance where things go frankly from bad to worse…
The play cleverly contains just about every element essential to a farce and in spite of the fact that the play is now 40 years old, it is basically timeless with only the old-fashioned TV set and telephone harking back to an earlier time. There are 6 doors - some that won't open and some that won't close, of course - vital for the cast to appear from and disappear into at appropriate moments, various pairs of trousers that won't stay up, an inebriated cast member, plates of sardines(!) and a line you would never expect in a play: "I thought I'd never see Basingstoke again!"
The play must be a challenge for the cast, having to perform the same lines three times in different circumstances without ever getting confused as to which calamity they are portraying and they pull it off superbly. It is a challenge that pays of brilliantly as far as the "real" audience is concerned who were kept in stiches throughout the whole show and certainly showed their appreciation when the curtain finally fell for the last time (and yes, in keeping with the calamitous show, there were various unsuccessful attempts to even do that!)
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16th - 20th Jan 2024
Alexandra Theatre
2:22 A Ghost Story
⭐⭐⭐⭐⭐ A slick blend of shocks and laugh-out-loud comedy with a real twist…
2:22 A Ghost Story comes from the pen of Danny Robins. It also comes with a warning to the audience: "No spoilers!"
If ever the phrase "time is of the essence" was true, then this is definitely it. Suffice to say that the time 2:22 is crucial to the plot and to the events which take place as we, and the cast, count down to the next one. Indeed, such is the suspense of this intriguing comedy ghostly escapade that it would be wrong to give too much away.
Consisting of just 4 actors at a dinner party - a married couple Sam (George Rainsford) and Jenny (Fiona Wade), an old friend of Sam, Lauren (Vera Chok) and her current beau - or rather a bathroom fitter who came and never left - Ben (Jay McGuiness), together they attempt to explain the strange goings on at the couple's property, a house bought from an old widow and then drastically renovated. There is also a baby, which the cause of most of the concern from the couple who clearly differ in their parenting techniques. Much of the humour comes from the class divide and alcohol consumption with even Alexa getting a good look in.
The play is superbly staged right from the very beginning, with a digital clock seemingly endlessly counting down to that fateful hour and minute. Until it does finally get there. There are enough dramatic sound and lighting effects to keep even the most special-effect-weary audience member jumping out of his/her seat and they are expertly done, creating just the right amount of shock, tension and anticipation. The final twist had the audience gasping - didn’t see that one coming!
Not unsurprisingly, this has been a major award-winning success in London (where it has starred, amongst others, Lily Allen and Cheryl) and at the Alex, it has deservedly drawn big audiences for the week.
And in the ""Shhhh. Don’t tell anyone" stakes as displayed at the end of the show, this is a worthy successor the "The Mousetrap" in keeping things to yourself.
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12th - 30th December 2023
Ludlow Assembly Rooms
Snow White and the Seven Dwarfs
⭐⭐⭐⭐⭐ Superb traditional entertainment for the entire family
Across the border into Shropshire and it's time for another impressive locally-produced panto, this time Snow White and the Seven Dwarfs presented by Ludwig Theatre Arts at the lovely Ludlow Assembly Rooms and directed by Jack Ludwig.
The large cast (44 in total including the different teams of dwarfs and dancers who perform on different shows) perform this magical tale with skill and humour and it contains all the elements we expect from a traditional pantomime. Right from the start, music (under Musical Director Ian Room) forms an integral part of the show, giving the dancers (choreographed by Leianne Bates) - and the rest of the cast - plenty to get their teeth into and thankfully, the songs are well-known, including such hits as Material Girl, Hot Stuff, Our House (as the dwarfs and Snow White get down to cleaning their hut in the forest) and the very popular singalong finale of the show, Walking on Sunshine.
Fern Duffy is perfectly cast as Snow White, dejected and having to work in the kitchen of the nasty wicked Queen (Breanne-Shaye Burton) who is the real boo-hiss villain of the piece along with her Lord Chamberlain, Morgan-Rees Davies (who at least does attempt to redeem himself even if he received his fair share of boos too for colluding with the Queen!). Snow White's way out of the situation is Prince Rudolph who, if she marries him, will give her freedom from the Queen. A handsome Prince is needed and that comes in the shape of Frenchman Alexandre Blin (though not much is made of the fact that he is French…) and such an outcome would not be what Muddles (Luke Race) is looking for, as he is also in love with the Princess but fat chance of that as his main job is to entertain the kids in the audience. From a French element to a Welsh one when it comes to the dame, or Nanny Edna Bucket as she is here, played by Benjamin Vivian-Jones without losing his accent and wearing some of the most elaborate costumes (and getting some of the best jokes, as always!). Hollie Weaver as the Magic Mirror and Oliver Handley as the Town Crier (Oyez, Oyez, Oh No!) complete the principal cast but the stage would not be complete without the seven short men of the title. These were very funny to watch and (no spoilers!) given the way that they had to represent Pops, Choosey, Clumsey, Snoozey, Dozey, Woozy and Nosey, they all did this remarkably well.
In addition to all that, there were the usual local references (Leominster bearing the brunt), an audience member chosen to "participate", sweets thrown into the auditorium and water guns splattering at least half of the audience. No complaints there!
Of course, the Prince manages to awaken the Sleeping Beauty with a kiss (thankfully no prior permission requested or apology given!) and it all ends happily with a colourful musical finale. As it should - this is panto after all!
This season of pantos has shown how professional and well-made these end-of-year shows are, even when in small county towns like Ludlow with smaller but adequately-sized venues. Each panto has its own theme whilst some elements remain constant throughout so that regardless of which panto it is, audiences know what to expect. Long may that continue, as indeed it will with the show for 2024 already announced and on sale - Beauty and the Beast.
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All reviews are available on the website:
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15th - 31st December 2023
Regal Tenbury Wells
Aladdin
⭐⭐⭐⭐⭐ A small town with another impressive production!
Yo! The small town of Tenbury Wells certainly has Christmas at its heart - not only the lights adorning the streets at this time of year but also in bringing to the small town's beautiful Regal Theatre a professional pantomime. This year, its 9th, it's time for Aladdin to take to the stage but maybe with elements that you are not quite expecting.
Andrew Pollard's script starts with a rather surprising villain in the shape of a Norwegian character who goes by the name of Bjorn Nastee (Daniel Hawthorne) dressed as if he had just been ejected from a 1974 audition for Abba (more about that later!). He proclaims himself to the be the uncle of poor Aladdin (played by a charismatic Welsh actor Kieren Kinsey in his first professional job since leaving drama school), son of course of laundry owner Dame Betty Bagwash (Alan French, who gets to wear the usual outlandish costumes and to tell some of the naughtier jokes). As with all pantos, the humour suits all ages and Yo! is how Aladdin greets his audience and how they greet him back…
Queen of Tenburyania is Nadia Shash who not only has a wayward daughter in Princess Holly (Hollie Smith-Nelson) to contend with but also one who falls in love with Aladdin, even though the Queen believes he has little to offer. Then there is the totally witless and inept police team of Sgt Seizem and Constables Coppem and Nabbem (Sean MacGregor, Lily Sitzia and Amelia Jones. In fact, all they are good at is getting the audience to sing along! When not failing the justice system, Lily Sitzia is also the Genie of the Lamp (or lurrmp in Norwegian!), a key figure in performing whatever the lamp's owner demands.
Whereas last year's Robin Hood took the audience out into the streets for a sword fight, this year we were treated to a drone's eye view of the town as the magic carpet sped Aladdin towards the Norwegian fjords home of Bjorn Nastee (although everyone was convinced he was from Sweden, much to his perpetual annoyance). And what is Norway famous for, other than fjords? Trolls! There were plenty of them, especially one large one who was involved in the "he's behind you" scene, replacing the more usual ghost. Meanwhile it really was back to the 70s of Abba when Aladdin, Dame and Queen come on all dressed in suitably white flared pants who, when joined by Nastee, together spell out "BABBA" with letters on their backsides!
Not forgetting the live band and the teams of young dancers (there are three teams who have rehearsed to take part during the run) and Director Chris Garner, who is back after directing last year's show and who has amassed a completely different cast, this is a panto which, like last year, exceeds expectations for a small rural theatre. Being close to the borders of Herefordshire and with the River Teme running through the town and separating it from Shropshire, it can boast a wide and diverse area to deliver theatre to, not just for panto but for all of its presentations throughout the year.
The panto runs right through to December 31st. And next year? It has already been announced that it will be Cinderella, starting earlier on December 10th. Tickets on sale now!
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12th - 13th December 2023
Malvern Theatres
Whistle and I'll come to you
⭐⭐⭐⭐⭐ A cleverly-adapted Ghost story for Christmas
Christmas. A time for joy, family fun and, of course, panto.
But also the perfect time for the odd Ghost Story or two. And so it is that, just prior to the official start of the panto Cinderella on Thursday, we get the extra treat of Whistle and I'll Come to You.
Based on the story by M. R. James (originally entitled "Oh, Whistle, and I'll Come to You, My Lad" from his "Ghost Stories of an Antiquary" collection), this is very much a one-man project.
Toby Burchill has created the 55-minute performance from the book, stars in it taking all the parts, designed the set and staging - and his reward? A satisfyingly full house for the first of three performances using Malvern Theatre's Studio One's flexibility to create a 3-sided auditorium which only increases the attention the actor must pay to those watching...
The story itself revolves around a young professor who is headed for a golfing holiday but is side-tracked by a colleague to investigate an archaeological site where he discovers an ancient bronze whistle which becomes the basis of the supernatural happenings which follow, involving spectres, unexplained noises, a strange figure on the beach and apparitions in his hotel room's empty bed. Creepy stuff, convincingly relayed to the audience by Toby who makes subtle but noticeable changes for each character he portrayed.
There have been a couple of BBC adaptations of the story - a version from 1968 directed by Jonathan Miller and starring Michael Horden and Ambrose Coghill and a further version from 2010 with John Hurt, Gemma Jones and Lesley Sharp (the latter will be screened as a Christmas night treat on Talking Pictures TV).
Neither of these, however, were brave enough to attempt it as a one-person performance (in the way it was originally narrated by James himself as a Christmas entertainment for friends), so well done Toby for giving us this early Christmas short-but-sweet scary treat!
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4th Dec 2023 - 7th Jan 2024
Swan Theatre
Jack and the Beanstalk
⭐⭐⭐⭐⭐ A fun, family panto, locally-made!
The Swan Theatre has a long tradition of enjoyable professional pantomimes and this year's is certainly no exception. Jack and the Beanstalk is, according to its tagline, "the pantomime you've BEAN waiting for!" and judging by the reception to its first evening outing (the first four days are mainly for school trips), it was something which was enjoyed by both the kids and the adults (parents, grandparents and the odd reviewer!) who pretty much filled the auditorium.
The panto itself has all the elements you would expect - the hero Jack (James Hastings), wanting to better himself, preferably with his love interest, Jill (Aimée Cupper). A fairy (Fairy Stringbean - Terrelle Kay) who makes all the magic happen. The Silly Billy character (here it actually is Silly Billy played by Nathan Blyth). And the two essential elements - the baddy who here goes by the wonderfully evocative name of Fleshcreep (Darryn Watkins) and the Grand Dame (Dotty, or Ian Good who also directs the show as well as getting into all sorts of wonderful costumes).
And so the scene is set for a battle of good vs. a very large evil, involving a booming giant, a huge beanstalk, a cow called buttercup and "a sexy hunk of a woman" (that's Dame Dotty, if you hadn't guessed!). Oh, and in this performance, Bradley, the chosen one in the audience and recipient of Dame Dotty's affection (and sweets). There were plenty of songs to go with the plot, along with funny set pieces such as the "If I wasn't in panto, what would I do" scenario with 4 members of the cast becoming increasingly frantic, as well as a singalong for the audience (luckily with words displayed for everyone to see!).
The scenes ranged from the village where they lived and where the enormous beanstalk grew in front of our very eyes to, after the interval, the giant's lair, all of which gave plenty of space for the group of dancers to faultlessly perform their various routines, all done to music played by the live band. In terms of the characters, the baddie Fleshcreep probably got more time on stage than the traditional baddie but it was worth it for he expertly milked the audience continuously for the jeers that the despicable character deserved. Silly Billy also engaged well with the young audience, encouraging them to call out each time he appeared or when the plant needed watering. No children up on stage in this show but various kids and groups got their mentions.
All good things come to an end - typically in panto culminating in a wedding, as was the case here, with the entire cast kitted out for just a few minutes in glorious costumes. And as the curtain came down on performance number 10, there's just 53 more to go (sometimes, amazingly, three shows a day!) before thoughts inevitably turn to next year's show Aladdin, which run from Dec 2nd.
http://www.facebook.com/TheViewFromTheStalls/posts/390615826639077
4th - 30th Dec 2023
Alexandra Theatre
The Bodyguard
⭐⭐⭐⭐⭐ A superb end-of-year spectacular!
Rachel Marron is a big star - that is clear from the start of "The Bodyguard - The Musical" as it is emblazoned impressively across the height of the curtains as the show starts. Then there is the sound of a gunshot so even without knowing the story, the audience knows something sinister is going to happen…
In spite of the imminent threat of a stalker, Rachel does not feel she needs nor does she want a bodyguard but she is going to get one nonetheless in the shape of Frank, albeit on her terms. Let battle commence!
Multi-platinum Australian recording artist Emily Williams returns to the role of Rachel Marron, having previously starred in the 2017 Australian production which marked her theatrical debut, having risen to fame in Australian Idol. Joining her as her protector is Emmerdale and Hollyoaks star Ayden Callaghan, playing the cool as a cucumber (but non-singing) Frank Farmer. Equally prominent in the singing stakes is Emily-Mae as Nicki Marron, Rachel's sister, whose career has not led to the same heights, playing instead to a motley crowd in a downtown dive. And then there is the young son Fletcher (a role shared by Ryo Appadu, Kaylen Luke, Manasseh Mapira and Sam Stephens during the show's run).
The original 1992 film featured, of course, Whitney Houston and Kevin Costner . This being the musical version (having been seen worldwide by more than 3.6 million people), the emphasis is most definitely on the music, with the story interwoven between the hit songs. So Emily and Emily-Mae between them, along with the live band, belt out many classics - Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest hit songs of all time – a quiet version of I Will Always Love You. Emily-Mae is also understudy for Emily and proves that her voice is just as powerful when required.
The sound quality of the show was perfect and that, along with the dancing, impressive lighting and projected images, make it a real feast for the eyes and ears.
The show ends with a triumphant encore, one the best choreographed show endings for quite a while, designed to get everyone up on their feet and singing along, which is exactly what it achieved, leaving one very happy audience to go back to reality on a cold wet December Birmingham evening.
http://www.facebook.com/TheViewFromTheStalls/posts/388756496825010
30th Nov - 3rd Dec 2023
Conquest Theatre
Mother Goose
⭐⭐⭐⭐⭐ Superb family entertainment, locally-made!
Ben Mowbray is a busy guy. Not only has he just completed an exhausting time taking his shows Sherlock's Excellent Adventure and The Invisible Man to venues across the country (including sellout shows in Edinburgh), he is now back in panto land with his theatre company's Our Star production of Mother Goose which he directs, produces, designs the sound for and also appears in, as the baddie! That probably explains why he is now sporting some fancy facial hair - no time to shave!
Not that this is a solo effort - in addition to his family's welcome involvement (mum Angie designed and made most of the costumes and Dad Keith helped with the set construction as usual), he has been able to cast some regular Our Star talent as well as bringing in a host of new people, as this is a large production with two dozen actors and dancers plus the undoubted talent of musical director and keyboardist Chris Corcoran, accompanied by Derrick Brown on bass and Joshua Crivelli on drums.
Choosing to do Mother Goose as their panto for the Conquest Theatre could be seen as a gamble as it is not as well-known as, say, Cinderella, Aladdin or Jack and the Beanstalk which are also playing locally. But this played to their advantage as the cast could bring something new to the stage and it was clear from the start that there was real enthusiasm to bring it off. All the essential elements were there, from the baddie (Mr Mowbray himself, excelling in the role of the nasty Demon Discontent, encouraging the necessary boos and hisses from the audience), Silly Billy (OSTC regular Ava Weetman, again building a great rapport with the audience), the boy-meets-girl will-they-won't-they duo of Colin and Jill (Rebecca Cook and Emily Chambers) and a couple of frankly hilarious bailiffs, or rather country bumpkins, Bogtrotter(!) and Bumpkin, played superbly for laughs by Anne Churchill and Katie Balson. That was some inspired casting which added hugely to the comedy of the show. Danielle Worlock provided the show's narrative as the Fairy Godmother in her first outing with the company and Priscilla the Goose's guardians King Proper-Gander and Queen Goosegog (where do they get these names?!) complemented the acting side of the company, dressed in some exquisite goosey costumes.
And then, ahem, there was Mother Goose… Toby Edwards who, to be honest, is rapidly becoming synonymous with the role of the dame in OSTC pantos, strutted on wearing the most outlandish costumes imaginable with a plethora of jokes throughout the show about which bra to wear. Local references abound in panto, of course, but Hereford United football club seemed to get in the neck most with Mother Goose's reference to one of her bras resembling the club - "no cups, no support!". As in every panto, there was humour for the kids and humour for the adults, never smutty, always funny - it is a fine line but it worked wonderfully.
No panto is complete with music and dance and with the musicians on stage providing a number of well-known songs, it was choreographer Destiny Dawe's job to get the 12-strong young dance team working together and provide a colourful set of dance routines. As always, watching this all working in harmony was a treat and this, possibly more than anything, showed how much work had gone into the show to get it all pitch-perfect.
So that is all the cast given their dues then? Not quite. Spare a thought for George Chambers. In past productions, George has been a tramp, a gardener and the master of a Victorian workhouse. In this show, he has the privilege of spending well over two hours inside the massive Priscilla the Goose costume, never to be seen or heard. Even the curtain call did not reveal the man inside the costume. Maybe the goose was real after all?
If you are looking for a December treat for the whole family, you can hardly do better. The theatre itself is very welcoming (with free parking in the evenings!) and over the next few days, will be the place where families can forget all the other things going on in the world and sit down and enjoy a few hours of perfect entertainment whilst supporting this hard working theatre company and its associated musicians and dancers. And Bromyard looks pretty good too with its lovely Christmas lights now on.
The company has a busy 2024 planned with Sherlock's Excellent Adventure touring nationwide and a further show, postponed because of Covid, finally getting to the stage - Death(s) at Sea. For more details and tickets, go to:
https://www.ourstartheatrecompany.com
http://www.facebook.com/TheViewFromTheStalls/posts/386677927032867
22nd - 25th Nov 2023
Alexandra Theatre
Peter Pan
⭐⭐⭐⭐⭐ The perfect pre-Christmas family treat
Everyone knows the story of J. M. Barrie's Peter Pan, the Darling family, The Lost Boys and Captain Hook and his sidekick Smee.
BMOS, being a musical theatre company, are able to put an extra spin on the tale by presenting it as a musical adventure. Whilst retaining all the essential elements of the story, including of course the flying scenes, the 40-strong cast bring to life the story of the boy who never wants to grow old through song and dance (Pan's People maybe?!), taking full advantage of some amazing sets. Newbie Martin Foley takes the lead role in his first BMOS appearance with Annabel Pilcher, Riley Manning and Edward Jones thoroughly believable as the Darling family kids who take off with Peter and Tinkerbell to experience life in Never Land (parents Patrick Pryce and Jo Smith can also been seen as pirates). A suitably menacing Captain Hook (Alistair Jolliffe) has his wing man Smee (Dave Shaw who, judging by the cheers at the curtain call, is very popular!) and let's not forget the animal kingdom too with the super big pooch Nana and the impressively long crocodile Tick Tock both ably manoeuvred by Nathanael Fittro. Storyteller Michele Worthington keeps the story flowing throughout, with a surprise at the end…
Notwithstanding the number of audience members who must have known at least one of the cast, this amateur production thoroughly deserved the applause when the curtain came down and there will be plenty more coming to enjoy it over the remaining performances, suitable as it is for young and old.
You know the story, but what you may not know is the legacy that this near 120-year old story has, with the copyright handed to Great Ormond Street Hospital in perpetuity, a unique achievement for a copyright as they normally expire after 50 years. So every staging of the show is also helping benefitting children needing life-saving treatment and care. Win-win!
http://www.facebook.com/TheViewFromTheStalls/posts/383106490723344
21st - 25th Nov 2023
Malvern Theatres
A Midsummer Night's Dream
⭐⭐⭐⭐ Another very imaginative re-interpretation of classic Shakespeare
Flabbergast Theatre definitely have form when it comes to interpreting Shakespeare. It is only a few weeks ago that they appeared on the Malvern stage to present their somewhat unique version of Macbeth. And now they are back with something rather more comedic in the guise of A Midsummer Night's Dream. Full of goblins, fairies and sprites, comedy, dance and folk songs, this is an interpretation as remote from any standard presentation of Shakespeare's classic that you could imagine.
Welcomed (as with Macbeth) by the cast already on stage and roaming around the auditorium as the small but appreciative first-night audience take their seats, the impression you get is that this is exactly how Shakespeare's contemporary audience may have seen the play, travelling from place to place with minimal sets to contend with. Here, there is basically just a large farm cart and some bales of hay - the rest is down to the cast, donning various masks as they switch between the characters (though in truth, the masks sometimes made the dialogue hard to follow). In fact, the only trace of modernity was the very up to date looking pair of stilts, which looked great fun!
The interaction between the actors is key to the success of the show, particularly in this case Helena, Hermia, Demetrius and Lysander and there was some very funny slow-motion fighting - as well as some other action - taking place on the farm cart. Puck was in his/her element throughout, mischievous as always, even sitting down with the audience at one point with a bag of popcorn. If that doesn’t tell you that this is a very different type of show, nothing will!
In essence, you probably do need to be already acquainted with the play to appreciate this interpretation, such is it complexity masked as comedy. Go with an open mind, however, and you will enjoy its fripperies and comedy in much the same way as the audience for whom it was originally intended.
http://www.facebook.com/TheViewFromTheStalls/posts/382124737488186
17th Nov 2023
Malvern Theatres
BANFF Mountain Film Festival
⭐⭐⭐⭐⭐ A superb selection of high-energy films to be amazed at!
The BANFF Mountain Film Festival World tour dropped in on the Malvern Forum bringing with them 6 films in their Red Programme. Ranging in length from 5 to 45 minutes, these are examples of people who take their fun - or indeed everyday life - to the extreme.
Fancy a vacation? Maybe Baffin Island is the place for you with its massive frozen fjords, stunning cliffs to climb and plenty of very cold white water rafting. Eric Boomer and Sarah McNair-Landry saw this amazing remote landscape as a 45-day romantic getaway…
Or perhaps do what Rafael Brini did and attach a tightrope between 2 hot air balloons and go for a stroll - 6,000 feet above the ground, high above the clouds.
French kayaker Nouria Newman saw a real challenge - to be the first female to run (or plummet down) a 100 foot waterfall. Three seconds of sheer exhilaration - apparently!
Skier Sam Favret showed us just what it was like to scale the slopes on foot behind Chamonix during lockdown when the whole area was deserted, the snow reverted to its wildest and most natural and his descent was the most enjoyable.
When catastrophe strikes the Swiss Schneeberger family, the mother falling foul of the debilitating neurological condition Ataxia, they decide that adding one extra wheel to the mum's cycle allows the entire family to continue living as travellers, visiting as many cycling courses as possible with their 10 and 13 year-old lads expertly showing up many of the more experienced cyclists.
But it was the final film in the set which stood out. What happens when lockdown prevented Pete Whittaker and Tom Randall from seeking out the best mountains on which to do their "crack climbing)? Well, the answer was obvious - seek out the longest motorway bridge on home soil and spend 4 days suspended underneath, crawling along the slim crack between the 2 busy carriageways. The police did not seem to mind, pizza deliveries were hauled up a rope by a fellow climber and sleeping platforms were built every night and removed. After 4 days hanging under the M5 in Somerset, they reached their destination with some relief and a claim to never do that again!
Entertaining, stimulating and somehow terribly British!
The next shows will be on March 8th (Red Programme) and May 15th (Blue Programme)
Details at www.banff-uk.com
http://www.facebook.com/TheViewFromTheStalls/posts/380294124337914
14th - 15th Nov 2023
Malvern Theatres
Tess of the D'Urbervilles
⭐⭐⭐⭐⭐ An amazing and exhausting telling of Hardy's classic tale.
You quickly get the impression that this not going to be a straightforward rendition of Hardy's Tess of the d'Urbervilles: A Pure Woman the moment you see the set or see the word "circus" mentioned in the publicity. This is a very different approach to the book, brought to the stage by contemporary circus company Ockham's Razor.
All the elements of the story are there, told in seven phases. Tess Durbeyfield's father is told he is part of a wealthier family, the d'Urbervilles. He gets drunk, Tess drives his horse to market and accidentally kills it. The d'Urberville family's son Alec meets and rapes Tess. The baby is born but is sick and dies. Tess falls in love with Angel, a gentleman farmer, but she decides to hide her past from him until after they are married. Angel does not like this and leaves, with Tess eventually being found by Alec who she then murders.
So far, so Hardy. But whilst the story, narrated by Tess on the side watching her life story unfold in front of her eyes, is pretty straightforward, the scenario in which it is presented is anything but.
The cast of seven performers carry out some amazingly complex acrobatics and stunts using mainly long planks of wood to balance on, walk on and manoeuvre themselves around the stage. At one point they actually build a huge structure and use it extensively. They also create the horse which Tess fatally rides and, using large pillow cases, manage to effectively create a herd of milking cows(!). Sometimes there is so much going on either individually, in pairs or in groups, it is hard to fully appreciate the amount of effort that has gone into making it look, well, effortless. The whole thing is beautifully choreographed and co-ordinated with a massive amount of trust between them to ensure nothing goes wrong.
There is music to accompany the action on stage but the only words are spoken by the character Tess watching herself. Everything else relies on their skills as circus performers, including an amazing section involving a massive heavy hoop.
Ockham's Razor implies trimming everything to its simplest basic level. In this case, at least as far as the choreography is concerned, they have managed anything but by presenting a complex ever-flowing piece of artistry which is just stunning to watch.
Sadly, the show is only in Malvern for two nights but hopefully, as they played to a good size crowd who gave them a well-deserved standing ovation, they will be back with another production in the future.
http://www.facebook.com/TheViewFromTheStalls/posts/378833654483961
14th - 18th Nov 2023
Malvern Theatres
Frankenstein
⭐⭐⭐⭐ A new take on a classic story
Tilted Wig continue their aim of presenting classic tales in a unique way, having previously performed their version of Around the World in 80 Days earlier this year in Malvern.
This time they have turned their attention to Frankenstein, adapted for he company by Séan Aydon. This is the classic tale from the pen of Mary Shelley, one of the New Romantics, a group which included Lord Byron and her husband Percy Shelley, with whom she had a secret affair when she was just 16. Had it not been for a volcanic eruption in 1815, which meant that the group were effectively marooned on the shores of Lake Geneva, this "ghost story" might never have been written as it was Byron's own suggestion to create a story to pass the time.
Here, that story begins with the aftermath in a cabin belonging to "Captain" where "Victoria" unexpectedly arrives, cold and hungry. The reason why she is there is then uncovered, as she is indeed Victoria Frankenstein and as the cabin is removed from the stage, the clinical location of her experiment is revealed. With dramatic use of lighting to awaken the body she has created and a few shocks for the audience along the way, the experiment is initially deemed a failure. Until, whilst left alone on stage, the creature eventually does awaken only to disappear before the doctor and her assistant return… It is some years later when it comes back to question its creation and to wreak its inevitable revenge.
The six-strong cast perform this interpretation with the company's usual panache, leaving you to decide on the "scientific" nature of the process of creation. Left alone, the monster becomes destructive so would his ultimate request for the doctor to create another creature be beneficial to him - and society in general - or make the situation worse? In spite of being written 200 years ago, this situation becomes all the more realistic - and worrying - with the current obsession with Artificial Intelligence.
Frankenstein has become synonymous with experiments gone wrong. Though it should, of course, be Frankenstein's un-named creation. As Mary Shelley declared in the wonderful Horrible Histories homage to the New Romantics: "My story will blow you away… People still think Frankenstein was the monster's name". And it will forever be the case, no doubt.
Tilted Wig are back next year with a new production of Sheridan's The School For Scandal which runs from 16th April.
http://www.facebook.com/TheViewFromTheStalls/posts/378568107843849
31st Oct - 4th Nov 2023
Malvern Theatres
A Voyage Around My Father
⭐⭐⭐⭐ From the man who brought you Rumpole of the Bailey…
It is more than half a century since A Voyage Round My Father was first staged and this touring version stars Rupert Everett in the part of "father" and Jack Bardoe as "son", with Everett stepping into the shoes of luminaries such as Alec Guinness, Laurence Olivier and Derek Jacobi. So clearly this is a role which attracts big hitters. This is John Mortimer's autobiographical tale of his relationship with his father who, as depicted in a shocking scene on stage, was suddenly blinded and spent the rest of his life having his adored garden described to him by others, including his wife and daughter-in-law.
His love is his garden is key and is conveyed perfectly by the set which, though fairly minimalistic, contains huge arches which are a mass of greenery. Occasionally, other props are brought in to represent other settings but the garden aspect is always present.
His father is clearly a brilliant man and even blindness does not stop that. Ultimately though, he is a man who his son typically finds it difficult to connect with. The play effectively covers an entire life span for the son - starting with him playing at school (he was, of course, sent away) with his friend Reigate, then as a teenager, until finally taking on the mantle which his father wanted for him, a career in law (though initially this was not to prove particularly lucrative and he and his wife Iris (Allegra Marland) struggled to fund the necessities of life, which apparently include Vim!
Indeed Iris is the one who occasionally puts the cat amongst the pigeons, challenging the father's authority and on one occasion asking why he bothers about the garden given that he is blind (a condition which was never apparently mentioned within the family unit). There was a noticeable gasp from the audience when she asked that! Throughout his life, it is the father's wife (Eleanor David) who remains his constant companion, feeding him and describing the flowers to him.
Like life itself, the show drifts towards its inevitable conclusion, with Everett quietly giving up on life, his transformation from young father to old man complete and very effectively achieved. It is not, however, a story which is designed to elicit any sympathy for either father or son - it is simply a portrayal of a complex relationship between the two (and on others) and the effects that is has on both.
http://www.facebook.com/TheViewFromTheStalls/posts/371692668531393
30th Oct - 4th Nov 2023
Alexandra Theatre
Twelve Angry Men
⭐⭐⭐⭐⭐ Totally riveting and compelling to watch
The concept is simple. Twelve men sitting around a table discussing the fate of a young suspected killer. Doesn't sound particularly exciting. But wait. These are twelve angry men and over the course of the show, their anger proves to be absolutely riveting.
Twelve Angry Men starts out with what appears to be a clear-cut case of familial homicide. According to the trial, the boy was seen and heard stabbing his father. So the Twelve, from different walks of life like any jury, should be able to come to a quick unanimous decision and send the boy to the electric chair. But Juror 8 has his doubts - not saying the boy is either guilty or innocent but questioning everything - and slowly but surely the absolute conviction of the other jurors begins to crumble. There are, in particular, three jurors who are especially angry -Juror 3 (played by Tristan Gemmill), 7 (Michael Greco) and 10 (Gray O'Brien) who are all in stark contrast to the always calm, never ruffled Juror 8 (Patrick Duffy).Ben Nealon and Gary Webster are amongst the others whose attitudes begin to be questioned.
The play, which was originally created for television in 1954 before being rapidly adapted for stage and film, was written by Reginald Rose and it is cleverly situated in a hot stuffy room with no ventilation, guaranteed to create frayed tempers and bring out the worst in people. Casual racism, bullying and a desire to be anywhere but there are all present. And as the temperature rises, the insults and physical abuse get worse. The audience is left wondering if under these circumstances, a unanimous verdict can ever be achieved, so strong are the convictions of those who see the electric chair as the only outcome.
The acting is powerful and believable (with all having to portray Americans in front of a true American…) with the individual characteristics ranging from quiet and questioning to bombastic and abusive all perfectly portrayed.
The fact that the cast received a long standing ovation is proof indeed that they did their job remarkably well.
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27th - 28th October 2023
Swan Studio Theatre
An Improvised Murder
⭐⭐⭐⭐⭐ A hugely enjoyable audience-driven evening of entertainment
Last November staged their show An Improvised Murder at the Swan Studio theatre.
This November, they are again staging An Improvised Murder at the Swan Studio theatre.
Same show? Not a bit of it!
The beauty of Foghorn Unscripted is that every show they put on (and it is here for two nights) is completely different, with the action and words improvised on the spot.
Before the show starts, the audience is invited to anonymously decide on a location, a person and his/her characteristics and the contents of a text message.
It is rather strange when the location chosen was my own, leading to a whole show based around the very specific location of "a sauerkraut stand in Berlin" (if such a thing actually exists)! And so various other characters were introduced by the 5-strong team such as an Irish priest who set up a church there, the stand's owner and wife (the latter also owning a gym), a couple who had started in a sea-life emporium before becoming painters and decorators plus the varied customers of the stand itself, all of them having to use comments written on the slips of paper which they had never seen before.
And, given the title of the show, there is a murder to enact and not only do we decide who the murderer is but, based on some deep and serious questioning from the audience, who done it too. Who would have thought that chess could be so deadly? Probably not even the actors before the show had actually started…
The cast (and their musical accompaniment) were obviously enjoying themselves as were the audience, who played a big part in the structure and content of the show - the enjoyment is therefore mutual. By comparison, last year's show took place in a chocolate factory-cum-museum and involved Detective Henry VIII (another name chosen by the audience). Tomorrow in Worcester - and every future performance - will feature a scenario and characters which are totally different and will keep the team very definitely on their toes.
Hopefully next year we will get another chance to see and participate!
https://foghornunscripted.com/
http://www.facebook.com/TheViewFromTheStalls/posts/369397255427601
24th - 28th Oct 2023
Malvern Theatres
And Then There Were None
⭐⭐⭐⭐ Classic Christie done in an inventive way
One isolated island. Eight "guests". Two waiting staff. No host present.
These are the elements which are the basis of Agatha' Christie's best-selling novel "And then there were none". It is also her most parodied story which is in itself an indication of how much it is held in high esteem across the world. It is a little-concealed fact that the location of the story is one of her favourite places, Burgh Island off the Devon coast (renamed here Soldier Island and pushed rather further out to sea), a haunt where she also took advantage of this Art Deco modernist retreat to write Evil Under The Sun. The book itself has various other names before Christie settled on this one - based around ten little soldier statues representing the ten characters, it was previously "Ten Little Indians" and before that something which we cannot mention these days…
A book where the characters can be developed over time is one thing but a stage play of just over two hours is something completely different, needing to convey the claustrophobic and threatening atmosphere quickly and successfully to win over the audience. And as each of these apparently randomly-selected guests has a back story, this needs to be conveyed as well. The clever stage design allows both aspects to be enacted and whilst it takes a while for the guests (unlike probably the audience) to realise their killer probably walks amongst them, this just adds to the intensity as their numbers reduce. The deaths are pretty varied - poison (one of Christie's favourite methods of demise, having a great knowledge of the propensity of various poisons to cause death), stabbing, a bee sting - all following the pattern determined by an old rhyme of which they are all aware. For example, this rather strange one (which at least explains what we first see on stage on entering the auditorium): "Three little Soldier Boys walking in the zoo; A big bear hugged one and then there were two". So they know what the next fate will be but not who will succumb to it.
The characters cover a wide range of professions: Mr Justice Wargrave, a retired criminal judge (David Yelland), William Blore, a former police inspector (Andrew Lancel) , General Mackenzie (Jeffery Kissoon), Philip Lombard, a soldier of fortune (Joseph Beattie), Emily Brent, an elderly pious spinster (Katy Stephens), Vera Claythorne, a secretary for the absent hosts (Sophie Walter), Doctor Armstrong (Bob Barrett), Anthony Marston (Oliver Clayton), the caretakers Georgina Rogers and Jane Pinchbeck (Lucy Tregear and Nicola May-Taylor). Behind a gauze curtain, the reason for them being there is also revealed as we learn about their history as diverse as operating on a patient whilst drunk or the result of becoming pregnant out of wedlock. And the culmination of this killing spree is done in an incredibly dynamic and unsettling way.
Take your pick as to who might be the culprit. Only to find that your choice of killer is the next one to meet their maker! So who's left after all this carnage? Without giving too much away, the clue is in the title…
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18th - 21st October 2023
Swan Studio Theatre
Bazaar and Rummage
⭐⭐⭐⭐ Sad and funny in equal measure in a setting which any charity volunteer will recognise
Sue Townsend is obviously best known for creating the character of Adrian Mole (aged 13¾ when he kicked of a two-decade long series of books in the early 80s and around the same time, she also wrote the play which is on stage at the Swan Studio theatre courtesy of STAC, the Swan Theatre Amateur Company.
Anyone who has ever had to deal with fund raising for a charity will instantly recognise the setting for "Bazaar and Rummage" - frantic preparations to get the oddball selection of goods on display and ready for the punters to haggle with about the prices charged. Equally, they will recognise the mix of people tasked with this unenviable job and so it is that we meet Gwenda (Sue Hawkins), Fliss (Poppy Savage), Katrina (Jane Lush), Margaret (Louise Carter) and Bell-Bell (Janet Bright), all of whom suffer from agoraphobia to a greater or lesser extent, except apparently Fliss who is a student there solely to watch how such a disparate group can work together - or not, as the case may be.
As the ladies come together, it is clear that there is a degree of dislike between them, with Gwenda, a keen hands-on Christian and do-gooder, needing to be in charge, Margaret putting the cat amongst the pigeons with her liking for bad language (“Come on you bleeders, move!” she exclaims when her legs refuse to do as required after being wheeled in), Katrina harking back to her past as a singer and her concealed love for Barry Manilow (she is only able to wear the t-shirt for a couple of hours on a Saturday morning when her husband is out doing the shopping) and Bell-Bell, really not appreciating Gwenda's nickname for her which replaced her actual name of Isabel. What all have in common is the fact that they have spent years of rarely if ever leaving the house on their own and usually relying on medication to keep them going.
But there is an unexpected twist to this play - all the actors have to sing! And there are many songs throughout the show involving solos and harmonies, all of which are performed beautifully (as well as playing the part of Fliss, Poppy Savage is also Musical Director). All the actors are long-standing members of STAC and can therefore be relied upon to give great individual and ensemble performances and that is the case here. The script contains lines which place it firmly in its time, such as the fact that one family member is left watching "Tiswas. In colour!". Ah, those were the days!
This is both a sad and very funny play where you actually care for the plight of the ladies, including the young Fliss who reveals her own past, in their struggle to have what the audience would consider a "normal life", and as they leave the stage together, there is a feeling of optimism that things may be about to change.
Continuing the comedic theme is STAC's next production, Quartet by Ronald Harwood, which was made into a film starring Maggie Smith, Tom Courtenay, Pauline Collins and Billy Connolly - big shoes to fill there! The play runs from March 27th to 30th 2024.
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17th - 21st Oct 2023
Malvern Theatres
The Merchant Of Venice 1936
⭐⭐⭐⭐ Successfully relocated in time and place to make it a contemporary classic
There are two things which ensure that this version of The Merchant of Venice will stand out - the title, where the year 1936 has been added, and the fact that the main character of Shylock is a woman. Not that the latter is particularly surprising as records show that Jewish women in medieval England were frequently in the habit of making loans, both to other Jews and also to Christians. It is a family of Jews who both start and end the play - with the original text having been substantially edited as well as the location, being set predominantly around the East End of London during a period where many Britons were backing Oswald Moseley's British Union of Fascists, an openly anti-Semitic organisation which later added National Socialists to its name. It is the fight against them in the Battle of Cable Street that forms the historical background to this adaptation. The images displayed on the backdrop effectively display the extreme sentiments and hatred of the time and were probably quite shocking to members of the audience unaware the Britain had ever been so blatantly like that.
The Shylock in question here is convincingly played by Tracy-Ann Oberman as a woman absolutely determined to get her "pound of flesh" whatever it takes until that determination finally becomes her downfall, due to the clever manipulation of the situation by a lawyer, a case of mistaken identity of which Shakespeare was so fond. The play was, in fact, adapted by Oberman, along with director Brigid Larmour, drawing on her own family where her great grandmother was a working-class matriarch in the East End. Antonio is played by Raymond Coulthard, who also doubles up in the role of Arragon, one of the unlucky suitors of Portia (Hannah Morrish) and here he adds a bit of light relief to the play with a very funny representation of the Prince. In order to woo Portia, Bassiano (Gavin Fowler) needed money. Antonio provided it and then became penniless himself when his shipping empire collapsed, requiring him to ask Shylock for the ill-fated loan.
Moving the play to a specific period and more recognisable setting in more recent history, albeit still before most people's memory but represented by actual film footage of the time, is certainly effective, especially given that, as evidenced by current events, the same tensions are present today. It is not so much the dim and distant past of 400 years ago which is under the microscope, but the much more recent, indeed contemporary, history of Jewish life both in Britain and beyond. This is an adaptation which will certainly strike a chord with its audience.
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4th - 7th October 2023
Swan Theatre
Romeo & Juliet
⭐⭐⭐⭐ An impressive collaboration and a timely adaptation of a Shakespeare classic
Shakespeare's story of love and death in Verona has long been subject to different versions and adaptations and the production at the Swan Theatre continues that trend as Romeo & Juliet's director Owen Harper has placed the action firmly in the 1960s, coincidentally the decade in which the Swan was created. But more than that, he has been able to take advantage of a massively increased pool of talent as in addition to the 4 professional Worcester Repertory Company actors (Matt Lockett as Romeo, Livvi Parsons as Juliet, Corrina McDermott as Nurse and Rob Holman as Friar Laurence), a range of acting talent from the Young Rep and the People's Rep are also involved, bringing the cast count to well over 30.
The music which greets the audience on entering is definitely from that particular era - Beach Boys, Cream, Creedence Clearwater Revival, Beatles Elvis, The Rolling Stones - and this continues throughout the production. The stage itself is quite simple but effective - a raised area and some upright wooden struts and the obligatory balcony. Regarding the music selected for the show, its most impressive use is the opportunity which is taken when the future lovers first meet - a full-blown 60's disco with flashing lights where Juliet plays hide-and-seek as Romeo tries to find her. The trouble is, of course, is that Romeo should not even be there, coming from the "wrong" house - the source of all the future angst and ultimate demise of the doomed couple.
A 60s setting requires more than just an appropriate soundtrack - in addition to that, many of the cast are dressed appropriately too in typical flower-power costumes of that decade. And it somehow doesn't seem jarring given that the language spoken remains Shakespeare's own, rather than a modern adaptation.
The cast acquit themselves well in their roles - Matt Lockett's Romeo perfectly matches Livvi Parson's Juliet, making a believable couple right to the very end (and they get to do plenty of coupling too to prove it!). Corrina McDermott is hilarious as the Nurse, particularly when she displays that she has a thing for the Friar whilst the Friar himself (Rob Holman) is well-depicted as a kind soul but with a devious side too. Also of note were Olga Hloušková's Mercutio, full of sexual innuendo (killed off too soon!) and Ben Farquharson's funny depiction of the servant Peter.
This is a long show for the cast, with a running time of a little under 3 hours (plus interval) but it remains enthralling throughout. Bringing together not just a large cast but also a very disparate one is always a risk but in this case it definitely pays off and allows the main Rep to do shows which otherwise would not be feasible.
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3rd - 7th October 2023
Alexandra Theatre
Calendar Girls
⭐⭐⭐⭐⭐ A glorious musical celebration of determination against the odds!
The story of Calendar Girls is, of course well known.
A true tale of Yorkshire grit and determination and a lesson in how to take a tragedy (Rylstone WI member Angela Baker losing her husband John to cancer) and turn it into something beautiful and meaningful. So what better than to get Gary Barlow on board and turn Tim Firth's play from 2003 and film, which starred Helen Mirren and Julie Walters, of this anything-but-ordinary WI group into an Olivier-nominated musical?
The production just needed a great cast to pull it off and they certainly have that here in this touring version. Marti Webb, Maureen Nolan, Lyn Paul, Amy Robbins, Tanya Franks, Paula Tappenden, and Honeysuckle Weeks are the WI folk involved in celebrating, some of them albeit reluctantly, the life of John (Colin R Campbell) by showing more of themselves than would normally be expected in a WI calendar, photographed by Rod (Graham Macduff). The aim being nothing more than to buy a new sofa for the relatives room of the Skipton General hospital ("why not just a tombola?" asks one of the members, horrified at the through of baring herself). But Chris (Amy Robbins) is having none of it, until she realises the impact that her actions may have on her own family…
It's a show where the outcome is known from the start but it is the journey there that makes it enjoyable. Where normally jam and Jerusalem would be key elements to the standard WI calendar, here the jam is supplemented by flowers, teapots, pianos, song sheets and sewing to become its main features, displayed in an entirely different way. And in this part of the show, the ladies do indeed disrobe in an appropriate manner before coming together for the final December cracker photo!
The impressive set is initially of a massive sunflower displayed on the curtain and then it opens up to the village hall where the ladies have their regular meetings and by some simple additions, this becomes the relatives room in the hospital and the WI conference where their intentions are first made public.
You could say that this one small group of women dragged the WI kicking and screaming into the 21st century through this one simple act. The real calendar itself raised money beyond all expectations (more than £5 million for the Bloodwise charity) and inevitably spawned a whole series of lookalikes, including a rather saucy one from our local Upton-on-Severn's WI though Facebook crassly abhors any type of displays of flesh and has banned such displays regardless of the cause behind it!
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29th - 30th Sept 2023
Malvern Theatres
Crimes on Centre Court
⭐⭐⭐⭐ A fast and funny murder mystery
Crimes on Centre Court is a murder mystery which takes place in that most quintessentially of British locations, a tennis clubhouse and court with, of course, strawberries and cream. In fact, the Whombledun International Invitational Tennis Tournament, whose Chair is Lord Knows, is just about to take place when disaster strikes and the Private Investigation team of Perry and Penny Pink are drafted in.
Just four actors (no information available on who they are unfortunately) play a multitude of roles, quickly changing from one to another as the death toll mounts... But it's not just the human characters who take centre stage - key to relaying the story of mayhem are four A cappella-singing hedges - yes, it's that kind of show!
Of course, any comedy about tennis needs some actual tennis action but how to do that on stage? Very imaginatively, especially when it came to slow-motion action replays and the final match was very cleverly done and hilarious to watch.
The cast certainly work their socks off throughout the show with an ever-changing set, cleverly thought out to represent the different locations, loads of characters and accents to handle, an unrequited love affair and a masterclass in how to go down to the basement via stairs, an escalator and a lift! There is some clever word-play but sometimes this was unfortunately delivered too fast to catch all of the words.
This is the sort of comedy which the British do so well and it does take a lot of skill to get it right every time. This one comes from New Old Friends who have plenty of other shows in their repertoire ("The Falcon's Malteser" sounds like another gem!) so hopefully they will be back with another treat soon.
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26th - 30th Sept 2023
Malvern Theatres
Bridesmaids (of Britain)
⭐⭐⭐
Bridesmaids (of Britain) is the UK adaptation of Bridesmaids of Northern Ireland, a play by comedian Diona Doherty and is a "comedy parody" (loosely based on the American film of the same name) surrounding the preparations for the wedding of Sarah (Kathryn Rutherford) and her choice of bridesmaids, her oldest friend and Liverpudlian Becky (Rebecca Tebbett) and her newest, Chelsea girl Tiffany (Rebecca Jayne-Davies). Old friend and new friend compete for attention as northern values and southern equivalents are tested to breaking point as they vie for providing the best pre-wedding party - in the Bahamas or a caravan up north?
The show, which usually runs for a single night at each venue and was originally scheduled for one night in Malvern gets an extended 5 night run this week, is very much in your face as is the language used throughout. It is also extremely loud, far more so than is necessary in the venue of the size of Malvern and indeed would have been far better without microphones as the amplification inevitably changes their voices.
At the end of the first half, something very strange happened. The scene ended, the stage lights went off and then… nothing. No applause and the audience filed out to the bar. The second half, whilst continuing in the same crude vein comedy-wise, was more enjoyable as reconciliation between the friends became achievable and a gentler and more understanding side came to the fore.
On the plus side, there was some good acting on the part of the three ladies and some well-choreographed dance moves which also brought the comedy, which won't be everyone's cup of tea or glass of Prosecco, to a close. Ultimately though it suffered from having vocals and music which were excessively loud, something which could be easily resolved.
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19th - 23rd Sept 2023
Malvern Theatres
Faith Healer
⭐⭐⭐⭐ A fascinating look at a 1950s travelling Faith Healer
From the company which recently brought Abigail's Party and Boeing Boeing to the Malvern stage, the latest production from London Classic Theatre is Faith Healer by Brian Friel. Set in the 1950s across 3 countries, Wales, Scotland and Ireland (which gives them each plenty of local place names to get to grips with!) , it recounts the story of Frank - a Faith Healer - or con artist, you decide - who travels to small villages with his "manager" Teddy and wife Grace - or is that his mistress? - and they are the lookout for the sick, the suffering and the desperate. Easy prey, in other words.
This is a story told by three actors (Paul Carroll, Jonathan Ashley and Gina Costigan) independently of each other, with each one providing a monologue to describe events and in doing so presenting different versions of the same thing which are often completely contradictory. Did Grace have a baby in the back of their van as Teddy recalls or was she barren as Frank informs us? Did Teddy really have a whippet which played the bagpipes and a girl on his roster who could speak to 120 pigeons? Does Frank actually have the gift to enable him to "cure" more than half a dozen people of their ailments in a single sitting? Probably not is the answer to that but 20 years after the events took place, each character seems convinced by their recollections and their version of how things happened.
Both Grace and Teddy have a monologue each detailing their memories whilst Faith Healer Frank (Francis Hardy or FH) has two, starting and ending the show and never is there any interaction between them. Individually, they remain focussed on talking directly to the audience as story tellers, walking around a stage which appears to be made up of the various countries they have travelled to and backed by a massive mirror wall. Apart from that, there are just some chairs and tables for drinks (Frank was a voracious drinker but curiously had none available to him on stage) and the cheap-looking "One night only" poster which would announce the show at each event.
All three give strong performances, given that all eyes are exclusively on each of them as they deliver their monologue, and they are following the likes of Ken Stott, Geraldine James, Ian McDiarmid, Michael Sheen and David Threlfall who have all acted in the play. This production continues LCT's tradition of bringing high quality shows to Malvern.
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14th - 16th Sept 2023
Malvern Theatres
The Tragedy of Macbeth
⭐⭐⭐⭐ Macbeth as you have never seen it before!
The name of the company gives you an advance clue that this is likely to be an altogether different version of a classic sombre play. And so when you enter the auditorium to see Flabbergast Theatre's production of Macbeth, the cast are already on stage doing what appears to be warm up exercises and vocalisations whilst covered in what appears to be mud… It is certainly one way to make your mark on a play which has been performed so many times before.
This is, in fact, the company's first narrative show (they are currently working on a version of A Midsummer Night's Dream) and the cast of eight work their socks off to bring an innovative rendition to the stage. Using minimal props, there are drums, a puppet, songs, wine, blood plus the usual Shakespeare text which you would expect, delivered in often suitably dramatic tones. And whilst not exactly one of the Bard's comedies, there are regular elements of laugh out loud humour, mostly delivered by the clown or fool character brilliantly played by Dale Wylde. Totally and utterly bonkers, he is often seen replicating the knife scene in Pyscho whilst talking directly to the audience and involving them in, amongst other things, an apple!
The way the show in constructed and staged gives you an impression of how this may well have been done by a strolling theatre company back in Shakespeare's day, with a small troupe of actors needing little in the way of accompaniments to portray the tragedy that is Macbeth. Done here with a touch of unexpected but welcome comedy, the talented company can bring the show to an audience which may not be so taken by a traditional approach.
So if it is an evening of Shakespeare done in a very different way that you are after, The Tragedy of Macbeth should be on your list of must-see shows.
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17th - 19th August 2023
Alexandra Theatre
Bring It On
⭐⭐⭐⭐⭐ Easily as good as any professional show!
Bring It On is a relatively new musical but one which comes with an excellent pedigree – its music and lyrics are by Hamilton's Lin-Manuel Miranda with the book it is based on was written by Jeff Whitty, whose first ever musical was the naughty-but-nice (and surely time for a new tour) Avenue Q.
This is, however, no ordinary production – this is Stage Experience's summer show. For those unfortunate enough not to have seen any of the 17 previous shows (last year’s being Fame with others ranging from West Side Story to Boogie Nights), Stage Experience brings together dozens of 9 to 24 year olds (count them – 72 in total on stage with a further 8 in the Technical team!) and gives them just 11 days to learn, rehearse and finally perform the chosen musical. From scratch. And that includes the set design.
They do, fortunately, benefit from the undoubted skills of Director and Choreographer Pollyann Tanner who has been at the forefront of Stage Experience since it started in 2003 and who must question if the show can be as good as, if not better than the previous year’s production (the answer – yes!). On the music side, Chris Newton is another old hand, having been Musical Director since 2013.
Bring It On features an activity which has never really caught on in the UK, particularly at the levels it goes to in the States – cheerleaders. But it is also far more than a celebration of pompoms. For it takes into account elements such as insecurity, colour prejudice, intense rivalry, cheating, lying and young love. Oh, and it quite possibly has the most extensive dance routines seen in any Stage Experience show. It also goes off in a direction you certainly would not expect – hip hop! This is all down to the fact the leading cheerleader Campbell (played by Laura Bryan) gets moved to a school on the other side of the tracks and so the battle lines form between the Truman and Jackson schools... Can she even begin to form a team in her new school, creating a “squad” out of a “crew” and befriend their leader Danielle (Brittany Jarman-Watson).
As you might expect, the cast is female-heavy with only around a dozen male roles. Without exception, they form an ensemble which easily fills the Alexandra stage with an exuberance and energy which only this age group have, right down to the very youngest.
Considering the time available to create the show, the sheer numbers involved and the requirement to combine dancing, singing, acting and acrobatics, this is an “amateur” production which puts many professional shows to shame.
You may not ultimately agree with who wins the final dance-off, but what you will definitely agree with is this is a spectacular show which will give its young cast an exceptional opportunity to perform not only in front of family and friends but also the paying public, all of whom, after the standing ovation, will have left the theatre in a very happy mood.
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5th August 2023
Dragon Orchard Putley
The Invisible Man
⭐⭐⭐⭐⭐ Fun in the orchard - and the naked truth!
Ah, the joys of the Great British Summer...
Sitting in a lush Herefordshire apple orchard
Maybe enjoying a picnic and a chilled glass of wine
Watching an outdoor theatre performance
Oh, and of course Storm Antoni threatening 'injuries and danger to life' from 'flying debris'!
Just another day then for Our Star Theatre Company which this year has again set up home at Dragon Orchard in Putley for three performances of the latest production. Premiered recently as the opening show of Malvern Theatre’s new performance space Stage One, this is the show's only outdoor presentation and the setting of Dragon Orchard is perfect for this very funny version of the H G Wells classic, The Invisible Man.
The plot itself has a whole host of characters, including three different (but lookalike!) policemen, each with their own different characteristics, all played by the main (and sometimes invisible) man Daniel Davis, who was obviously relishing the roles he had been given - even if one of them meant no-one could see him! Griffin is the invisible man in question and he is a scientist who manages to make himself invisible but unfortunately fails in his attempt to reverse the effect...
The other characters - and there are many of them - are split between two other Our Star stalwarts, Eleanor Catherine Smart and Sophie Watkins. With an impressive range of accents, styles and costume changes, these two expertly depict both men and women such as a very flirty pub landlady, a vicar and a down and out tramp. Generally, Griffin wears outer clothing to hide his “invisibility” but there are times when the clothing is discarded to reveal... Well thankfully, that is left to your imagination!
The set takes in various locations with props being moved around as required or even imagined (non-existent doors are opened, for example) though sadly the inn's bar doesn’t serve real drinks but the interval allowed the audience the opportunity to sample Dragon Orchard's own tasty produce.
In spite of the weather warnings, the rain did stay away, at least for the afternoon performance, though it remained cold and breezy and whilst the audience could dress appropriately, you felt for the actors on stage whose dress was more suited to a balmy summer afternoon. They did manage to give the audience a very funny show and one which should go down well at their upcoming shows at the Edinburgh Fringe Festival from 14th to 19th August - this time, indoors. They will also be hitting local theatres with the show - Droitwich, Tenbury, Gloucester, Ross, Bromyard, Ledbury and their home base, Bosbury village hall amongst others are all lined up over the coming months, before the company returns to Bromyard for their seasonal offering, Mother Goose
www.ourstartheatrecompany.com/what-s-on
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2nd August 2023
Greyfriars House Worcester
Doctor Dolittle & The Great Gatsby
⭐⭐⭐⭐⭐Great fun in the garden for fans of Doctor Dolittle!
⭐⭐⭐⭐⭐Great fun in the garden for fans of The Great Gatsby!
One outdoor location.
One theatre company.
Two contrasting shows.
And the hope that the great British summer weather will be nice…
Tethered Wits is a small theatre company created in 2019 by Gabriella Sills and Amy Backshall with the aim of producing high quality open-air theatre. Last year, they premiered Blithe Spirit at the National Trust's Greyfriars House in Worcester and this year they have expanded their repertoire to present two entirely different shows over a 6-week summer run with Greyfriars again hosting one of the days. The two shows could hardly have been more different - Doctor Dolittle and The Great Gatsby - with the same actors appearing in both.
Written in 1920, Doctor Dolittle was based on Hugh Lofting's series of letters to his children sent from the trenches - a sharp contrast between the suffering he must have witnessed and the unconditional love of animals towards humans. Among the animals featured in the show are Jip the dog, Chee-Chee the monkey, Gub-Gub the pig and Polynesia the parrot. Not real animals obviously - they are cleverly-crafted puppets brought to life by their "handlers" Deakin Van Leeuwen, Amelia Stanimeros, Oliver Stockley and Olivia Willis, with Rory Dulku playing the Doctor. The "real" animals came in the form of the unscripted seagulls which were regularly flying overhead squawking loudly as they did so! In addition to the animals, the cast also play human characters as well as providing the musical accompaniment. The actors have a great interaction with the audience - especially the youngsters - who are encouraged to get up and dance and, after the show, meet these animals with the actors staying totally in character. The kids' interaction with Jip the dog was a delight to see with Deakin making his puppet do everything naughty dogs do and keeping the kids entranced.
The evening show was completely different, with the same five actors portraying the characters in Scott Fitzgerald's tale of life in the Roaring Twenties, a hedonistic period (if you had the money or the ability to be particularly deceitful) where each is chasing the elusive American Dream. Quite a contrast from Doctor Dolittle which was written only five years earlier. Again, this involved the actors playing different characters with musical interludes (Cole Porter's Let's Misbehave, for example). The depiction of Long Island in Prohibition-era America (and the obvious lack of respect for it) was convincingly done with minimal props and only the somewhat naïve character of Nick Carraway and poor George Wilson (a garage owner) deserving any sympathy whilst the rest of the characters were conniving money-led people which ultimately led to two deaths…
This evening show attracted a capacity audience for the outdoor venue and the weather? In spite of rain before and between the shows, it managed to behave itself impeccably and both shows went off without a hitch!
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Coming on December 1st/2nd 2023
Malvern Coach House Theatre
Enid Blyton - Noddy, Big-Ears and Lashings of Controversy
⭐⭐⭐⭐⭐ A fascination insight into the author of everyone's childhood
It is curious to think that the current fad for "cancelling" anyone who holds different views is, in fact, nothing new. As we discovered in "Enid Blyton - Noddy, Big-Ears and Lashings of Controversy", the author fell foul of similar actions well over half a century ago. Which might come as something of a surprise given that Blyton is one of our most popular writers of all time.
Written by Kit Hunter and directed by Chris Jaeger , the show's subject is played by Liz Grand, already well-versed in portraying strong independent women, appearing in other solo productions Where is Mrs Christie?, Mrs Churchill - My Life With Winston and The Second Best Bed (as Anne Hathaway). Here, in a show currently in its final stages of "getting it just right" before opening to the general public and touring, we find an initially sad-looking Blyton surrounded by much of the imagery we associate her with. So we have a set filled with Noddy, the Famous Five, toys, books and other paraphernalia which will instantly transport the audience back to a more innocent age. Innocent for the audience maybe but not necessarily for Blyton as Liz reverts to an earlier self to give us the full story.
In spite of a somewhat disturbed childhood (her mother was never even remotely close emotionally and her much-loved father walked away from their marriage), she vowed to follow her dream of becoming a writer and not the pianist that her parents wanted her to be. With Liz guiding us through these difficult years, it is clear that even when success came (in terms of book sales at least) it was sometimes down to chance (her book sales during the war happened mainly because she was married to the commissioning editor!) and in spite of an aggressive attitude from various groups of people such as educationalists. And yet throughout this time, Blyton remained solid in her belief that she was writing (in the main) for children and it was their parents who were the principal purchasers of her output, not schools and libraries. Very well read herself, she neither understood nor agreed with such selective criticism of her stories or characters, never believing her work to be particularly sexist, racist, unadventurous, "unfit for children to read" or deserving to banned by the BBC and various publishers. Nor did she consider Noddy to be an "unnaturally priggish, sanctimonious, witless, spiritless, snivelling, sneaking doll". Blimey, calm down - it's only a children's character!! Perhaps the most damning rebuttal in recent years was the Royal Mail's refusal in 2016 to produce a commemorative stamp because she was "racist, sexist and homophobic".Fortunately, as was pointed out during the show, none of this stopped the flow of over 700 books which have sold over 600 million copies, with Noddy alone accounting for 10% of those and putting her in the Guinness Book of Records. And this has continued with even Dreamworks producing a TV series and, since the Blyton family no longer have the rights, there have been more recent "spoof" editions such as Five Give Up The Booze"...
As with the other one-woman shows from the On A Role Theatre Company, the play works really well because it is a simple conversation with the audience - no-one else is involved - and this somehow makes it all the more believable. This does, however, make it all the harder for the actor, particularly as over the next few months, Liz and Chris will be taking a number of these shows on the road, back to back. They certainly don't make it easy for themselves!
Oh, and she never wrote "lashings of ginger beer" - you can blame The Comic Strip Presents from Channel 4's opening night for that bit of delicious mischievous mockery...!
The performances in Malvern are:
Fri 01/12/2023 7.30
Sat 02/12/2023 3.00
Sat 02/12/2023 7.30
Also appearing at these venues:
Tue 26/09/2023 Chelmsford Theatre Studio
Sat 30/09/2023 Stamford Arts Centre
Fri 06/10/2023 Waterside, Sale
Sat 14/10/2023 Pavilions Teignmouth
Thu 19/10/2023 Hangar Farm, Totton
Tue 24/10/2023 Canterbury Festival
Thu. 26/10/2023 Queen's Hall Arts, Hexham
Fri. 27/10/2023 Heron Theatre Beetham
Thu 02/11/2023 Selby Town Hall
Thu 09/11/2023 The Witham, Barnard Castle
Sat. 11/11/2023 Otley Court House
Tue 14/11/2023 Abbey Theatre, Nuneaton
Fri 24/11/2023 Alnwick Play House
Wed 29/11/2023 Quay Theatre Sudbury
Fri 08/03/2024 Middlesbrough Theatre
Thu 14/03/2024 Washington Arts Centre
Thu 21/03/2024 Dugdale Theatre, Enfield
Sat 06/04/2024 Old Laundry Theatre
Tue 09/04/2024 Henley Arts4all Festival
Tue 09/07/2024 Lichfield Festival
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25th - 29th July 2023
Malvern Theatres
Heathers The Musical
⭐⭐⭐⭐⭐ Colourful, lively and loud - all you need from a musical
Heathers, a black comedy teen drama starring Winona Ryder and Christian Slater was released back in 1989. Although considered a box office flop, it has become something of a cult movie over the years.
The stage version turns that story into a musical and adds an extra twist whilst retaining themes which, if anything, are more appropriate and poignant in this era than they were decades ago. There are some references which are specifically of that time ("Hands across America" anyone?), a great musical score and a very funny slow-motion fight sequence involving a number cast members.
Heathers is a group of three teenagers who share that first name - Chandler, Duke and McNamara, dressed in red, green and yellow - though the one to be feared is Heather Chandler, given the hold she has over the other two. The arrival of Veronica Sawyer to Westerberg High risks changing that dynamic as, in order to be accepted, Veronica feels that she needs the Heathers on her side, eventually becoming the "blue" member of that little gang. Supporting her is the somewhat mysterious J.D., a man in a black cloak who seems to have the ability to ensure that Veronica gets what she wants or at least what she thinks she wants. And he has the means and the history to do some rather nasty things, whilst maintaining his mystique by quoting Baudelaire at her. This somewhat unlikely scenario does not end well for some of the cast - there are multiple deaths - with the plot touching heavily on school bullying, rampant gun use, teenage suicide and, something not in the film, a gay relationship between the two male bullies, Kurt and Ram (Alex Woodward and Morgan Jackson) - who then spend most of the time in their underpants and socks and obviously enjoying it!.
Turning the film into a musical definitely lightens the more serious elements and the audience clearly loved the songs, giving each one a tremendous reception. Of particular note are the songs "Beautiful", "Freeze your brain" and "My dead gay son" (the latter being a bit of a giveaway, but even then there is a surprise in store at the end!). The three main leads - Jenna Innes, Jacob Fowler and Verity Thompson) all have excellent voices which carry the songs well (Fowler getting most of the quieter songs), as indeed does Kingsley Morton as the put-upon Martha Dunnstock when she sings a quiet lament. Amusingly, other cast members are simply billed as "Preppy stud", "Beleaguered geek", "Hipster dork" and "Stoner chick" but whether performing singly or together, the ensemble cast are obviously enjoying bringing this all-American story to the British audience. And the audience responded in kind.
The songs are great, the music is played by a live band (under the stage), the set and costumes are very colourful, the plot is fast moving and as well as giving the audience a great night out, also leaves them to ponder some of the more serious issues raised in this version of the cult movie.
Just as impressive was the fact that the show invoked something not seen for a while at the theatre - the entire Malvern audience up on their feet applauding at the end in an extended standing ovation, something which must have really gratifying for this largely young cast.
http://www.facebook.com/TheViewFromTheStalls/posts/319882720379055
18th - 22nd July 2023
Malvern Theatres
Tony!
⭐⭐⭐⭐⭐ Timely and very funny, regardless of your political persuasion!
The Tony! which was on stage last night could have been a very different animal indeed. Harry Hill had originally envisaged a juke box musical of cheesy 1970's hits based around Tony Blair's rise and fall. Thankfully co-creator Steve Brown was having none of it, instead determining that any show would feature new songs and lyrics. And so this "rock opera" was born, featuring a cast who take on all of the big names of the Labour Government during the Blair years and before. Indeed, the story starts, rather alarmingly, with Blair's actual birth (!) but then, this is Harry Hill at his inventive-best…
The song titles themselves are an indication of the developments during those Labour years - New Messiah, The People's Princess, Kill The Infidel, Bombs Away, He's a liar and The Whole Wide World (full title to be revealed later!)
Jack Whittle plays Blair with tremendous accuracy, encapsulating all of his somewhat robotic movements and insincere smile and voice right from the moment that he popped into this world with a beaming smile, through his boyhood and teens until finally he became an Oxford student and a peace-loving, long-haired hippy . How things then changed, much of it down the somewhat slimy creature that is Peter Mandelson (brilliantly played by Howard Samuels who always had the audience on his side, especially during the balloon trick.) We had Cherie Blair, of course (Tori Burgess), lynchpin to his success and born in the northern heartland of Bury (Blair himself being born even further north but in Scotland so that doesn't count!), Gordon Brown (Phil Sealey), another Scot and in competition with Blair for the PM post and the upper bunk in college, Neil Kinnock (Martin Johnston), all ginger hair and Welsh accent, John "2 jags" Prescott, another Welshie (Rosie Strobel), a bizarrely-accurate Robin Scott, serial womaniser played here by a woman, Sally Cheng, and Princess Diana (Emma Jay Thomas) bemoaning the dreadful tribute to her in Hyde Park. The actors doubled up for many of the other characters of the era, which included a (very) brief appearance by John Smith, David Blunkett (with pooch), various world figures including George Bush, Saddam Hussein and Osama bin Laden and also an appearance by Mick Jaggers(!), all instantly recognisable.
It is, of course, useful though not essential to know who these politicians are and what they were (in)famous for (Blair, for example, puts more emphasis on the fact that foxes are safer due to his ban on hunting than the fact that he dragged the country into four wars, one which will always be defined by the spectre of imaginary Weapons of Mass Destruction). But a cynic would view this as the way it is with politicians. Replace these individuals by Boris Johnston, Dominic Cummings, Matt Hancock - same incompetence, same sleaze, different colour…
The show ends in a style which would have been equally at home in Mel Brooks' 1967 film The Producers. With each cast member parading a large placard of one of the world's "baddies" to the final song (full title - The Whole Wide World is run by Assholes), the reverse of each placard when put together form a massive image of today's worst asshole, Putin. A fitting and timely end to bring the show completely up to date and one which demonstrates that actions have consequences, even maybe decades later.
I'm sure somewhere "Boris! (The Boris Johnson Rock Opera)" is somewhere in the planning. Can't wait!
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13th - 17th June 2023
Alexandra Theatre
9 to 5
⭐⭐⭐⭐⭐ Superb - amateur shows don't get any better than this!
BMOS are back with a show which is pretty much guaranteed to please everyone, young and old. Memories of last year's successful Guys and Dolls musical - their first since Covid stopped everything in it tracks - will still be in the minds of both the cast and the audience as the story of Violet, Judy and Doralee takes over for 2023. 9 to 5 has these three strong women take on the might of their boss, an altogether sexist, lying, hypocritical bigot. Their fantasy is to boot him out and take control of the company. Can fantasy become reality? Can these fine and determined ladies really take control?
This is, of course, a very American show with the original film starring Jane Fonda, Lily Tomlin and Dolly Parton (who wrote both the music and lyrics) so believable accents are crucial to its success. The parts are played by Rachel Richards, Michelle Worthington and Jo Smith and they fortunately rid themselves of any trace of Midland accents, Jo Smith in particular replicating the very recognisable country voice of Dolly Parton. And then there's Mr Franklin Hart, the villain of the piece. James Gordanifar obviously had great fun playing this part, treating his staff with utter contempt and was the cause of many of the funny moments in the show. Beth Hunt too was excellent in the part of Roz, whose undying and unrequited love for Mr Hart was tested to the full. For an amateur show, there were quite a few set changes, which all happened seamlessly and the colourful costumes, especially of the leads, helped to demonstrate that this was no ordinary office. The imagined ways of killing off Mr Hart were very funny but the first laugh came within the first minute as the cast, as per the song, "tumbled out of bed", one man in particular showing his prowess…
Beneath the stage, the Midland Concert Orchestra provided the music which included a great range of songs but there is one which obviously stands out head and shoulders above the others. 9 to 5 both opened and closed the show.
Working 9 to 5 in the office may not be so common after Covid, but the timeless nature of this 1980s musical lives on and goes from strength to strength whether in the hands of professional touring companies or talented societies such as BMOS.
Having been founded in 1886, the company has plenty of experience behind then but that equally means that expectations are always high as the audience takes their seats, especially as each year will bring in some new members. And this year, they return with two productions so once this one has ended its run, they will be hard at work on Peter Pan which takes to the stage from Nov 22nd to 25th. And next year's shows? You'll have to wait a bit longer to hear about that!
If you fancy joining them, www.bmosmusicals.org gives you all the information you need. Or you can email Dolly - sorry Jo Smith - directly at bmosmusicals@gmail.com as Jo is also the company secretary.
And you can hear our interview with Lucy Homer who plays Candy Striper here:
https://1drv.ms/u/s!AhfUKQX-WLIygTBGseupDPAbv6Lw?e=rv4MML
BMOS is not the only amateur company providing entertainment at the Alex. Each year their Stage Experience takes place, performed by youngsters from across the region and this year's show is Bring It On which runs on August 17th, 18th and 19th.
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12th - 17th June 2023
Malvern Theatres
20th - 24th June 2023
Alexandra Birmingham
Wish You Were Dead
⭐⭐⭐⭐ Grace goes to France and immediately regrets it!
In the latest "Dead" play from Peter James to be staged, Wish You Were Dead has Roy Grace ditching his beloved Brighton for a holiday in the far more glamorous Chateau-sur-L'Eveque in France. At least that's what the property's website promised but then who believes Tripadvisor anyway? Certainly his wife Cleo did and booked it for their newborn baby and colleague Jack and his American girlfriend Kaitlynn. The main party turn up at the place rather later than anticipated to a welcome which could only be described as frosty, having missed out on a lunch which was supposedly prepared for them. Jack, travelling separately, does not appear to have arrived at all. Or even be contactable… Seemingly run solely by Madame L'Eveque and her elderly infirm father the Vicomte, the place has the air of a rundown hell-hole living in the past. No phone signal, no wifi, terrible road access and an electrical system which short circuits at the slightest opportunity. And a suit of armour likely to cut someone in half.
Brighton it ain't but it does serve as an intriguing alternative setting for a thriller which has plenty of twists and turns as Grace, instead of relaxing with his family, finds himself embroiled in a criminal family saga, his involvement in which goes back two decades and has just raised its ugly head again.
In this production, George Rainsford (from Casualty) plays Grace with Coronation Street's Katie McGlynn as his wife Cleo and the always-reliable Clive Mantle as Curtis, father figure of this English multi-generational clan. With Rebecca McKinnis as the Madame, Vince Mallet as the Vicomte (work that one out for yourself!) and Gemma Stroyan as girlfriend Kaitlynn, the main cast work well together as events unfold and the real culprits are revealed and banged to rights. Mantle in particular is excellent as the East End top dog, obviously thoroughly enjoying the chance to play the baddie here whilst also giving us quite a few laughs along the way. And the set gave the audience a few shocks too.
The location for the story is actually based on an overnight stay in France which Pater James endured with his family in 2018. Bienvenu en France? Not likely!
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6th - 10th June 2023
Malvern Theatres
The Verdict
⭐⭐⭐⭐⭐ A well-acted, tense courtroom drama
You may know the story of The Verdict from the 1982 film which starred Paul Newman, James Mason and Charlotte Rampling.
Or you may have seen the touring version when it came to Malvern in 2017 and starred Clive Mantle, Jack Shepherd and Cassie Bancroft.
Now the same production company - Middle Ground - is touring the show with a new cast with Jason Merrells and Richard Walsh at the helm, the former having been seen in shows such as Agatha Raisin (playing Sir Charles Frith) and Happy Valley and the latter perhaps best remembered for his character Sicknote in LWT's London Burning. Here they play the somewhat renegade attorney Frank Galvin and Judge Eldredge Sweeney/Bishop Brophy.
Set in the 1970’s, the play revolves around the one character we never actually see, as treatment in hospital whilst giving birth to her 3rd child has left her severely incapacitated - a “vegetable” in the words of the prosecution. No-one denies that there has been a catastrophic failure of care but who is to blame and how much compensation should be paid? More than the $300,000 first offered by the Church (for they run the St Catherine Laboure hospital where the incident happened) according to Frank Galvin, a somewhat down at heel, shambolic attorney who is first seen in a dishevelled state on stage as the audience takes their seats.
The first act switches between Galvin's legal office and the Irish bar where the married-but-separated lawyer seems to spend much of his time in the company of a bottle and his bar-owning buddy Eugene. This an impressive dual set in itself but during the interval, the backstage guys are hard at work sweeping away those cosy locations to transform the stage into the impressive courtroom where the case is brought before judge and jury. Other scenes are neatly created by lowering a backdrop in front of which the characters appear and most of these scene changes are done to the accompaniment of some lovely Irish music, fitting for the Irish-American location of Boston in the Commonwealth of Massachusetts.
Galvin is a rather maverick lawyer who is quite happy to take on the somewhat one-sided judge at his own game - leading to some amusing exchanges of words between the two - but there is betrayal in the midst which means that things don’t go quite as they should as the underhand nature of the legal profession attempts to win the case.
After the scene-setting in Act 1, the courtroom action in Act 2 was riveting as Galvin battles against the combined might of both legal and medical professions protecting themselves in order to get justice for one patient, her mother and children.
There is large cast of 15 involved in the production and if you like your courtroom dramas tense and where you will be fighting for the underdog, this is definitely a solid and well-acted show to see.
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30th May - 3rd June 2023
Malvern Theatres
Pride & Prejudice* (*sort of)
⭐⭐⭐⭐⭐ A story you know told in a way you've never seen before!
You "sort of" know that the production you are about to see is going to be somewhat different because not only does "Pride & Prejudice* (*sort of)" have those two words in the title but also, before the show starts, the cast of five are out and about in the auditorium in their white smocks dusting the place, fluffing the seat cushions and discussing their recycling habits. For these are indeed the servants of the household, at the very bottom of such a male class-led society (even Austen had to publish her novels anonymously) and it is they who will be taking us through the story of the Bennet family in a style which Jane Austen could never have imagined... And as servants, they make it clear that they are the backbone of any household, all-knowing all-seeing…
As the show's writer Isobel McArthur says, the book is "full of hilarious, witty and incisive satire". So not just starchy women in bonnets then, as we will discover…
There are, of course, menfolk in Austen's story of how to get your daughters married into the "right" family to avoid becoming destitute, notably Fitzwilliam Darcy, and these too are played by the all-female cast as they switch from servants to sisters to the men in their lives. Except for Mr Bennett who we get to "see" only from behind the chair where he is constantly reading his newspaper.
With a knowing nod to the famous TV adaptation, there is a comment about Darcy looking very dry when he appears at one point. After a confused look, the subsequent comment about him having just emerged from a lake had the audience roar with laughter. That was one of many comic moments which are scattered throughout this version of the classic romcom.
The other main novelty was that of music. Not the quiet chamber music you might expect in such a situation but classic pop and rock tunes which fitted the moment perfectly such as Carly Simon's You're So Vain whilst Lady Catherine de Bourgh’s entrance in glorious bright red attire is accompanied by a rendition of Chris de Burgh’s Lady in Red. All good, fun stuff bringing an unexpected taste of karaoke and even slapstick to Austen.
The show went though many rewrites before McArthur finally plumped for this Upstairs Downstairs version. Had this not been the case, we might conceivably have been viewing a production which was narrated entirely by a horse (which, incidentally, also provided one of the comedic sketches in the show) - now that would have been really weird!
http://www.facebook.com/TheViewFromTheStalls/posts/289025306798130
23rd - 27th May 2023
Alexandra Theatre
The Ocean at the End of the Line
⭐⭐⭐⭐⭐ A brilliantly-conceived and performed spectacular show
Ten years on from when it was first published, Neil Gaiman's The Ocean at the End of the Lane hits the stage in a show which is as dramatic as it is dark. The author is keen to point out that it is not autobiographical (thankfully!) but it is based on recollections of the environment in which he grew up as a young boy. The farmhouse where much of the action takes place is based on one down the road from where lived which was, according to his dad at least, mentioned in the Domesday Book and the characters within it, especially "Old" Mrs Hempstock, along with elements such as loss, family, pain and "letting go" (physically and figuratively) are all things that shape a child's development, especially one who prefers reading books to being with other people.
And so we have a man, attending a funeral, who comes across a figure from his past and is transported back to his 12 year old self and a set of circumstances brought about by a tragic loss of life - the death of the family's lodger who had stolen their car. Then there is Lettie, a girl on the farm who introduces him to the "ocean" (in reality, a much-loved duck pond) as well as to a scary alternative universe where terrifying creatures abound. And this is where the production scores so highly as the creative team, using puppetry, sounds and lighting, really went to town and created some of the most genuinely scary moments of theatre using tricks more commonly seen performed by the likes of Derren Brown. The skill and imagination with which the creatures are portrayed cannot be overstated. It is simply brilliantly conceived and performed and they fill the large stage in a most terrifying way.
Without giving too much away, the new lodger Ursula may not be all that she seems and the character (superbly played by Eastenders actress Charlie Brooks) gave us some "how did she do that???" moments of trickery as she faultlessly disappeared and reappeared in different parts of the stage. Also a great pairing were the two young actors playing the roles of Boy (Keir Ogilvy) and Lettie (Millie Hikasa) who worked well together to convince us that, as friends, they could save the day, indeed save themselves, and banish these creatures for good.
There are so many themes and emotions of childhood touched upon in the show, all brought together in a make-believe yet somehow believable world, at least from the viewpoint of a child. It is a world which, to some extent at least, we all live through and it therefore has universal appeal. This, no doubt, is why it attracted a large number of younger audience members and, as is the way with younger audiences, they did not hold back when showing their support and appreciation when it finally came to the curtain calls, something which must have delighted the actors.
You have been warned - it's a big scary world out there!
https://www.facebook.com/TheViewFromTheStalls/posts/285199027180758
9th - 13th May 2023
Malvern Theatres
Unexpected Twist
⭐⭐⭐⭐ A remix of the old into the new
It's not uncommon for the stories by some of our well-known playwrights to be "re-imagined" for the modern era - plenty of Shakespeare plays have undergone this - but they generally just use elements of the story almost invisibly in a more modern environment. Writer Michael Rosen's play uses its clever title to immediately indicate that it is something old and something new combined into something different. "Unexpected Twist" does exactly what it says, taking Charles Dickens's story written in the 1830's and effectively transposing it to modern day England which, despite the hundred or so years between the two, still has circumstances which in many ways are similar.
The first thing we are told is that all of the music and sound effects are played using the actors' own vocalisations directly into a microphone, which is done by most of the cast but especially Alex Hardie and Alexander Lobo Moreno, who lead the audience into the first musical number which leaves nothing to the imagination - "Welcome to School. We don’t want to be here". Fair enough, for this is a classroom of students who are disenfranchised, body-shamed, poor, caught up in a never-ending circle of theft and drug-dealing and the struggles of daily life - and forced to read Oliver Twist. And these issues affect not just the students but, as we find out later, their teacher Miss Cavani (Rosie Hilal) too, who at least tries to help.
There are not just parallels with the characters in Dickens's novel, they appear in the show as their "other selves" and dressed appropriately. Studying Oliver Twist, they are initially unaware of these parallels where crime has been updated to mobile phone thefts and drugs. Shona/Oliver (Drew Hylton) is living with her father (Thomas Vernal) who, as best he can, is trying to keep the family together after the loss of his wife and, with little or no money, is in debt to the landlord, having regularly to move from one property to another and basically surviving on chips. Shona's nan (Polly Lister) is working a scam down the market in conjunction with Pops/Sikes (James Meteyard) and it is here that we see, or rather hear, a stark contrast in language which probably delineates two different sections of the audience. For whilst everything for the youngsters is "whack" (unappealing in urban slang) and performed throughout in hip-hop language, for the nan, it is cockney rhyming slang which is prevalent (as she is suffering from "the old sunny dancer") - there is at least a glossary for the latter in the programme so get out your "bees and honey", buy one and be educated! This shows that each generation will effectively have its own "secret" language, known to some, unintelligible to others, something which applies equally to this show - you just go with the flow.
Using a cast of predominantly young actors of mixed race works well in this adaptation of Rosen's book by Roy Williams. Rosen admits that he wanted it to appeal to a young audience but could not get the language right until Williams's involvement (so from a 77 year old to a relative nipper who only started writing in the 1990's)! There is, of course, a large creative team behind this collaboration, from the songwriters to the set designers. It clearly reached its target audience in Malvern, getting a standing ovation as the cast took their curtain call. But this was not the end. The cast returned to perform an ad-hoc set with a member of the audience directing how things went - very enjoyable indeed!
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25th - 29th Apr 2023
Malvern Theatres
Of Mice and Men
⭐⭐⭐⭐ Impressive staging and casting of the classic Steinbeck story
It's a relatively short trip from their home base for the company putting on John Steinbeck's classic 1937 novella, Of Mice and Men. For this is a Birmingham Rep production (along with Leeds Playhouse) and is one which embraces an all-inclusive approach to casting.
On a stage which is made up of horizontal and vertical planks of wood representing the barns where the action takes place, this is a story about the Great American Depression in California. More specifically, it is about two people - migrant workers - looking out for each other in a poisonous dog-eat-dog environment of self-survival. George looks after Lennie whilst Lennie antagonises the hell out of George. George is erstwhile father and brother to Lennie. Lennie is big in stature but low in social skills. He has a gentle nature, always wanting to pet animals (mice, rabbits, puppies…), but this, allied to his physical strength is also his major weakness. As a result, he has a tendency to innocently kill things. Played by Wiliam Young, who himself suffers from agenesis of the corpus callosum and has complex learning difficulties, he comes across as a character the audience can sympathise with, much in the same way as his buddy George (Tom McCall) does, always on his side and, knowing his propensity for getting into scrapes, always protects him. Wiliam is one of three actors in the show with disabilities which enable them to bring a "lived experience" to their parts. The fact that they all appear in a show of this length is testament to their acting abilities.
Dogs feature largely in the story, one in particular. The scruffiest mutt you have ever seen, on his last legs, is brilliantly controlled by a puppeteer (Jake Benson) - indeed, whenever the dog was on stage, all eyes were on him and how his "handler" effectively becomes invisible, whilst replicating his movements and sounds.
Remembering that this is a play about a certain era in American history, the language and attitudes reflect that and have thankfully not been "updated" for a modern audience. Women and blacks are definitely in a minority (only one of each in the play) and are a downtrodden minority at that, with Maddy Hill playing the part of the wife of the boss's son Curley (no name, just "wife") being seen as some kind of Jezebel simply for wanting to have a conversation with different men and Crooks (Reese Pantry) reluctant to let anyone into his lodgings where he is forced, as a black man, to live on his own.
It is fair to say that you have to pay attention to be able to hear all of the script - Wiliam naturally is soft-spoken and Lee Ravitz, who plays old man (and dog owner) Candy - certainly hurls out his words at a pace, but none of the cast lose your attention. The relatively diminutive Tom McCall as George is an excellent foil to Lennie and his behaviour, always complaining that he would have a better life without him but never once considers leaving him behind as an option. Whatever happens, they would be inseparable forever. Wouldn't they?
At the curtain call, Tom helps Wiliam to his feet and hugs him - a lovely touch to show a job well done.
You can, of course, choose to view the play as having many parallels with modern life - social inequality, cost of living crisis, countries increasingly at war, poverty - but viewed solely as a portrayal of the desperate situation many people found themselves back in 1930's America, this show, directed by Iqbal Khan (Artistic Director of the 2022 Commonwealth Games Opening Ceremony no less!) does a very good job indeed.
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25th - 29th April 2023
Alexandra Theatre
Home, I'm Darling
⭐⭐⭐⭐⭐ Funny, clever and evocative of a different time
The set which greets audiences in Theatr Clwyd/National Theatre's production of Home, I'm Darling is certainly very impressive, covering virtually an entire 2-storey house, rather like a doll's house whose front has been opened up. Moreover, the property has a very distinct look - that of the 1950s (which I suspect many of the audience will remember vividly) which wouldn't look out of place in an episode of I Love Lucy (sorry kids, that was where domestic sitcoms really started!). And then arrives the lady of the house, Judy, dancing around to the sound of Mr Sandman in a pretty 50's dress as she sets about doing her daily chores, apparently with great relish. But then something odd happens. She sits down at the kitchen table - and opens her laptop…All is therefore very much not as it seems in this household. Judy (Jessica Ransom, most recently seen as Morwenna in Doc Martin) is, along with doting hubby Johnny (Neil McDermott) clearly not of the era being portrayed. It is, effectively, a lifestyle choice that she/they have made following her redundancy from a high-flying job. Her response - go back to an era where the woman was content playing the role of dutiful housewife, following a book which described how to plan her day and whose job was to clean, clean, clean, keep those shirts ironed, cook dinner and make sure drinks and her husband's slippers were ready for when he got home. The couple are, apparently, "awfully… sickeningly happy". She even gets her best friend Fran (Cassie Bradley) to sample the experience though it remains to be seen if her other half Marcus (Matthew Douglas) will approve.
Things do seem to be going swimmingly until… Well, until the sort of thing that happens in marriages across the decades. Financial problems (she earned more than her husband) and infidelity (at least, perceived). And this light frothy colourful comedy takes on a much darker, more contemporary mood as life emulating the idyllic 50's comes crashing down. This is no surprise to Judy's mother Sylvia (Diane Keen) - after all, she actually lived through that period, fought hard against sexual and social injustices and is therefore well placed to bring a few home truths to her daughter, including revelations about her late father. The other character in the show is Alex (Shanez Pattni) who plays Johnny's boss and who has passed him over for promotion and is therefore the cause of some of the friction.
The play, by Laura Wade, won an Olivier Award for Best New Comedy in 2019 and it's not hard to see why. The combination of replicating a post-war period of recovery with all of its hope and colour, the music of that era, the clash between that and modern day life and the desire to get away from it, is a heady one. Moving effortless between comedy and much more serious matters works very well indeed, leaving you to wonder whether the couple can continue "living the dream" or whether they will be grounded by their inevitable problems.
In addition to the wonderful set and costume design by Anna Fleischle, the choice of music is appropriate and indeed amplified by its use in some of the most imaginative scene changes (carried out by Bradley and Douglas) that you will ever see.
A funny, clever, evocative and moreover thought-provoking show with a great cast.
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19th - 22nd Apr 2023
Market Theatre Ledbury
Whistle Down The Wind
⭐⭐⭐⭐⭐ An impressive cast in an impressive show
It's been a while. This collaboration between Our Star Theatre Company and the Market Theatre Ledbury to stage Whistle Down The Wind was agreed back in 2019. Slated to be performed in 2020 (nope, for obvious reasons) then 2021 (nope again) then 2022 (nope, yet again) and finally in 2023 (Lord Be Praised, yes!). Originally a very British - and very successful - movie from 1961 starring Hayley Mills based on a book actually written by her mother, a musical version with an impeccable pedigree (music by Andrew Lloyd Webber and lyrics by Jim Steinman) has been doing the rounds since 1996 with the action moving from Lancashire to the American bible belt.
Our Star Theatre Company's Director, Ben Mowbray, scoured the area for local talent for this, his second community project (the first being Oliver!) and, given the scale required for this show with more than 30 performers (plus the backstage participants too), has got together an impressive cast of all ages, some of them under 10 years old. And the show, being now set in Deep South Louisiana, gave all the actors an extra complexity to deal with - accents. The cast were obviously not fazed by this at all with no-one slipping back into their home accent throughout the whole show.
The story begins by cleverly bringing all the performers onto the stage together, all immaculately dressed, which serves the dual purpose of giving the audience the pleasure of immediately hearing what the massed ensemble cast are capable of as well as giving some of the cast their first introduction to performing in front of a live theatre audience and reducing any first-night nerves. The first song, Keys To The Vaults Of Heaven set in a Baptist Church, was perfect for this and received a huge round of applause. From then on (without giving too much away!), the story unfolds of how one widower's children discover "the man" in their barn, only for their secret to be spread to other children in the town whilst all the time, the adults are looking for "the man" for reasons of which the children are unaware. Separately, there are themes of teenage love, rebellion and family issues being addressed.
As ever, it comes down to the principals to carry the story and whether they are representing child or adult characters, they do this magnificently. Particularly impressive is The Man (let's call him Jesus!) played by Gareth Wigg, obviously no stranger to booming out show songs which hold the audience's attention and the rather more diminutive Lucy Thurley who plays Swallow, his one "follower", and the two have some lovely songs both together and separately. For many, this is their first outing with Our Star Theatre Company - indeed their first outing in front of a live audience - whilst for others, such as Aqueal Blandford (the sheriff) and Gavin O'Mahoney (the father), this is a chance to consolidate their activities with the company.
The main song which everyone will know from the show is No Matter What but the other songs allow the individual members or the ensemble to stretch themselves to bring the story to life. Indeed, the finale is itself a kind of face-off between the children and the adults, all vying to put their points across, the children with their naivety and the adults with their naturally protective nature. The audience loved it!
None of this would have worked, of course, without many other elements being in place from the entire production team, including the band consisting of Steve Layton, Derrick Brown and Jack Campey, under the command of local favourite Chris Corcoran, the "scene-shifters" who had a really busy time moving around the set ensuring everything was in the correct place and the variety of dance moves, choreographed as usual with Ben's shows, by Destiny Dawe.
It is always great to see amateur shows as the dynamic is different from the professional versions. Here, it is clear the cast members are thoroughly enjoying themselves playing, as they inevitably are, in front of friends, family and local people. This an impressive production with a large amateur cast brought together specifically for the show as a true community prodution and it works a treat.
The show runs until Saturday and is well worth going to see to get maybe a glimpse of some of our future theatre and stage stars in the early years of their career.
For a further look at what Our Star Theatre Company have got lined up, here's where to find the details: www.ourstartheatrecompany.com
And for more on the Market Theatre:
http://www.themarkettheatre.com/
11th - 15th Apr 2023
Malvern Theatres
Mrs Warren's Profession
⭐⭐⭐⭐⭐ A wonderful cast in a show with relevance today
It is certainly not unheard of for mother and daughter to be in the same production though often using different surnames (think Vanessa Redgrave and daughter Natasha Richardson, Judy Garland and Liza Minnelli, Tippi Hedren and Melanie Griffith) - however, in this production of George Bernard Shaw's Mrs Warren's Profession, we have two Quentins, mother Caroline and daughter Rose playing mother Kitty Warren and daughter Vivie. Two members of a very strong cast of six which also features Simon Shepherd, Matthew Cottle Stephen Rahman-Hughes and Peter Losasso. The show also features an amazing set design with no less than 3 different locations - a quant country house and garden in Surrey complete with a thatched roof, the village's centuries-old church and a London office. The house in particular is impressive, looking more like a Wendy house until 4 of the cast actually do end up inside it!
Written in 1893 (and unsurprisingly immediately banned by the Lord Chamberlain for three decades for being “immoral and improper”), Shaw's play resonates even today. The "profession" in question (never actually stated but clearly the "oldest" one), comes about according to Shaw because of economic necessity whilst the play also touches on the possibility of incest as, after all, who is the real father of not just her daughter but also the vicar's son Frank? As a "madame" of a number of "hotels" across the continent, Kitty has proven a strong and financially successful partner in this lucrative business whilst keeping its activities largely hidden away for obvious reasons, especially from her daughter who she shipped off to boarding school and Cambridge with a monthly allowance, rarely seeing her. As a result, the daughter wants nothing to do with the life her mother has been leading which results in fractious conversations between the two. And it is the moments when the mother lets her gloss slip somewhat and speaking her true mind in her real accent that are often the most humorous.
There is a palpable contrast between the location in Haslemere - quant country cottage on a summer's day with its equally quant old church - and the backgrounds of the people who are meeting there, all somehow linked to the nefarious activities of Kitty. There must have been some interesting conversations between the real mother and daughter (the latter taking up the profession of the former in real life) and the characters they play, where the daughter totally distances herself initially from the mother's activities and ultimately from the mother herself. The interplay between them on stage is wonderful to see, as it is between the other actors too. With both Shepherd's character Sir George Crofts and Lossaso's lowly labourer Frank vying for her attention and love, Vivie shows herself not be a woman to be dallied with which, if nothing else, is a trait picked up from her mother.
A 100+ years old feminist drama written by a man with a stellar cast portraying "English hypocrisy and its “fashionable morality” which nowadays would be simply "woke" - that is definitely something worth seeing!
3rd - 15th Apr 2023
Alexandra Theatre
Annie
⭐⭐⭐⭐⭐ Revel-Horwood as you have never seen him before! And a fitting tribute to another star…
The role of Miss Hannigan in Annie is one of those iconic, no doubt highly-sought after parts which any actor would take on at the drop of a hat. And for this part of the tour, the mantle falls to everyone's favourite Strictly judge, Craig Revel-Horwood. No stranger to musicals himself, having performed in Miss Saigon, Crazy For You and a number of pantomimes, here he has to play the "extremely misunderstood woman" (his words) overseeing a group of orphans with the help of a fridge full of gin (for her, not for the kids!). Of course there are two other important elements - Annie herself (played by one of three young actors on rotation and on Press Night by Zoe Akinyosade) and, also on rotation, the stray dog Sandy played by Lily (it could also have been Darcy or Boris, all three gorgeous Golden Retrievers who have to work with the three different Annies - food treats being the key to that role!).
The set which greets the audience is an array of street maps of the city along with large pieces of an illuminated jigsaw with the first scene taking place in the room where the orphans sleep. With the two most famous songs from the show - It's a hard Knock Life and Tomorrow - giving the audience a good introduction to the talented young actors playing the orphans, it isa lively well-choreographed start to the evening. Hearts melt of course when the stray dog Sandy appears on stage, as she does regularly throughout the show, sometimes just wandering from one side to the other and disappearing into the wings. And when Miss Hannigan appears (to much cheering, it has to be said), the villain of the piece is revealed as Revel-Horwood embraces his inner nasty self and, in fact, is barely recognisable in his garb and makeup. As he wrote about his role in the show, expect a shock! Along with entertainment and some great singing, dancing and acting - that is what he says we can expect. And we do. But then something strange happens. There is a brief off-microphone conversation, the actress says "Please bear with me for a moment" and walks off the stage and, for a while the stage remains curiously empty until the curtain comes down. After a few minutes, a second announcement advises the audience that they are bringing forward the interval…
Somewhat bizarrely, the second act begins with the second act rather than picking up where the first act was abandoned so we remain none the wiser what we missed or what the problem was. The show continued happily without any further incidents and with Miss Hannigan arranging for her brother and partner to take ownership of Annie and thereby the reward money offered by Daddy Warbucks (David Burrows, replacing Alex Bourne - one of a number of understudies in this performance). The finale involves most of the cast on stage but not Miss Hannigan, who has to wait for the curtain call before the audience could rightly give the standing ovation he, and indeed the rest of the cast, deserved. A nice touch at almost the end was that Revel-Horwood dedicated the show's run to Paul O'Grady who, only a couple of weeks ago, was playing Miss Hannigan. But it was the very end which was the nicest touch (which many in the audience will have missed as they had already left) - the band who continued to play on for a few more minutes ended with the well -known refrain from… Blankety Blank! A really nice touch to honour a personality who will be sorely missed (and who must have had great fun with the dogs playing Sandy too!).
https://www.facebook.com/TheViewFromTheStalls/posts/258118643222130
28th Mar - 1st Apr 2023
Malvern Theatres
The Time Machine
⭐⭐⭐⭐ A cleverly-staged time travel comedy
Don't go to watch The Time Machine expecting a straightforward rendition of the H. G. Wells classic. Because that means that you have missed the show's vital tagline - "A comedy". For this is Original Theatre's version of the book using just three actors and a range of stage props in front of a large ever-present clock face. Original Theatre is the company which also recently brought The Mirror Crack'd to Malvern.
After an unexplained delay of 20 minutes at the start (maybe they were thrust into the future and didn't get back in time?!), the three actors in this show (Dave Hearn - a face known from the Goes Wrong plays - Amy Revelle and Michael Dylan, along with "delivery boy" Noah Marullo) attempt to explain the intricacies of Well's story of time travel, both forwards and backwards, flitting between the rehearsals for the play (which should in any case have been The Importance of being Earnest) and the time travelling itself. This is sometimes a little hit and miss as it does require various bits to be repeated as they return to the same timeslot but it does also give the script a chance for Megan to try and bump off Queen Victoria. There is also the classic "Goes Wrong" aspect of lines being performed in the wrong sequence, answers coming before the questions… And it does end in the accidental death of one of the characters. A death that is repeated many times in different ways. This "fourth dimension" of time travel can clearly be a risky thing…
The second half, starting in exactly the same way as the first half (we are all time travellers, you see, so it's back to the beginning!) ups the fun - and funny - aspect enormously. We are now back with the actors playing themselves - mostly - whilst getting the participation, either up on stage or remaining seated and helping out, of a number of members of the audience - a bonus as breaking this "fourth wall" is where the cast's strengths lie and they take full advantage of it. Standout moments here include a reference back to The Importance of being Earnest with a "handbag" hip-hop rap session and, seemingly at any available moment, Cher gets a look in too. And there is that impending death to contend with too...
A show which is obviously not to be taken seriously, the cast present a lively comedic version of the H. G. Wells classic, taking the book as a framework for a comedy rather than a meticulous representation of it.
https://www.facebook.com/TheViewFromTheStalls/posts/254486863585308
27th Mar - 1st Apr 2023
Alexandra Theatre
Rocky Horror Show
⭐⭐⭐⭐⭐ A hugely enjoyable night out with a superb narrator
You may wonder if a show which comes round on tour at regular intervals can still entertain the paying public.
Fear not, for whilst this is, amazingly, the 50th Anniversary Tour of Rocky Horror Show, there is absolutely no doubt that it continues to attract a solid body of admirers, dressed appropriately and knowing every word of the script, and newcomers and the uninitiated alike.
There are two elements in particular which account for its success - the ever-changing narrator of the show and, in the role of Riff Raff, Kristian Lavercombe who, with well over 2000 performances, has become synonymous with the part (even though, during a break from the show, he managed to take the role of Frankie Valli in Jersey Boys).
For this week's run in Birmingham, it's a pleasure to welcome back Philip Franks as the narrator (yes, he who was once a Darling Bud), expertly responding to the audience's prompts with ease and, seemingly managing to adlib at times too. So it is only a few minutes in when Boris gets a mention and later on, Lady "where are you really from" Hussey and local place names too. No Matt Hancock these days - he is just so last year! Funniest of all was his claim that once the run is over, a new show "Suella The Musical" beckons, even giving us a sample verse from it. And that is why the show remains successful - whilst the format remains more or less the same, this element is continually refreshed and updated with different narrators (perhaps most famously Nicholas Parson but also Steve Punt and future Bake Off host Alison Hammond), to the obvious delight of the audience.
pening in June 1973, Rocky Horror Show is Richard O'Brien's story of a pair of lovers who unexpectedly find themselves in a completely different world headed by Frank N Furter and his motley bunch of friends/workers/lovers/Phantoms.
In this show, the muscular Frank is played by Stephen Webb with Richard Meek as clean-cut Brad and alongside this pair is Haley Flaherty as Brad's other half Janet (dammit!). Kudos too for the very energetic and acrobatic Ben Westhead on his first professional UK tour outing, obviously much-loved in the title role of Rocky and expertly carrying out his aerobics perfectly on stage.
The whole cast worked brilliantly as, to be fair, did the audience! The musical accompaniment from the live band hidden away at the top of the stage was superb. The spectacular and colourful ending using smoke and lights was also beautifully done and had the audience on their feet doing the Timewarp along with the cast.
The show thrives on audience participation and indeed would not be the same without it. Such is its reputation, it can pretty much guarantee that involvement at any venue and Birmingham happily played its role perfectly. So if you fancy a night out in fishnet tights and high heels - and that's just the men - join those alien trans-sexuals from Transylvania at The Alex this week.
https://www.facebook.com/TheViewFromTheStalls/posts/253978810302780
21st - 25th Mar 2023
Malvern Theatres
Fisherman's Friends
⭐⭐⭐⭐⭐ Fresh yet traditional, a unique show and a deserved success!
Fisherman's Friends is a big show with a cast of around two dozen and encompasses basically three groups of people: the fishermen singers, the women who support them and the band who provide the music. All three sets of people work seamlessly together on stage making this a piece of theatre which really is all-embracing. And, from the men in particular, you get solos from actors who you may not consider to be singers as the cast includes James Gaddas (most recently seen in Hollyoaks), Robert Duncan (who was the full-of-nonsense jargon Gus Hedges in Drop The Dead Donkey) and Susan Penhaligon from Bouquet of Barbed Wire and A Fine Romance. In fact, without exception, all of the cast proved to have the strong voices necessary to accurately portray the Cornish fishermen and their years of singing traditional shanties which described their lives, hopes, trials and tribulations.
You don't need to have watched either of the 2 filmed versions of their rise to fame as this touring show can be judged as a standalone piece irrespective of the cinema releases. And as a theatre production, it has some definite advantages. The music, played by 7 very talented musicians, is live and integrates very neatly into the show, which by extension, allows the singers to perform at their best when an instrumental backing is required. But for much of the time, as in the real world of shanty singers, many of the songs are performed a' Capella, proudly and loudly.
The first half of the show takes place in Cornwall, in the village of Port Isaac which does not always welcome the intrusion of "emmets" (non-locals or "ants") - this was, after all the actual setting for Doc Martin too! The "intruder" in this case is washed up music plugger Danny (James Langley), a real fish out of water, who ends up at the harbour almost by mistake. He promises the world, expecting to take his cut, but promises do not always get realised. County rivalries are also present and one can only guess at the response of the Devon audience to the singers' activities around the Welcome to Devon signpost! As things develop, the action moves to London in an attempt to get these reluctant harmony singers a record contract and maybe an appearance at Glastonbury. Again, promises are broken but, accidentally ending up in a gay bar and performing In The Navy (well, it is a song about the sea!) provided one of the most hilarious moments of the show. Apart from that rather unconventional shanty, many of the songs are well known - from "What shall we do with the drunken sailor?" to "When the boat comes in", via "Sloop John B", the latter beautifully sung as a duet in a blossoming love scene. And "Haul Away, Joe" and "Keep Hauling" not only reflect the fishermen's trade but also life in general, especially when disaster strikes. For this is how they deal with life - family, companionship and tradition are at the very heart of this community. All the more so where tragedy occurs - something all fishermen must dread and be prepared for when they lose one of their own.
Aside from the community singing in the local pub and on the quayside, there are also two parallel plots which are that the pub where the singers meet is heavily in debt but can owner and new to fatherhood Rowan (Dan Buckley) find a way to extricate himself from the dilemma by approaching Danny or is he making a pact with the devil? And can Danny ever be accepted into the community and more especially into the heart of Alwyn (Parisa Shahmir)?
The show leans heavily on family, which is strong in these communities and is no bad thing, as the various generations have to work together even though their ideals and aspirations may well be different.
So given that the show gained a rapturous reception in Plymouth (by the sea), how did it fare in landlocked Malvern? Judging by the reaction (standing ovation and massive applause) the entire cast without exception can be very proud to have brought a little bit of Cornwall to Worcestershire. The only thing missing were those delicious pasties!
For a further insight into how the show was put together, have a listen to my interview with Dakota Starr who plays Ben, along with a couple of songs from the show:
https://1drv.ms/u/s!As__InsoO2XBjnJs6tCzFGYaOtI1?e=jG7jpI
https://www.facebook.com/TheViewFromTheStalls/posts/251263010574360
21st - 25th Mar 2023
Alexandra Theatre
Steel Magnolias
⭐⭐⭐⭐ Strength in numbers - with a soft touch
From a story by Robert Harling, based in part on the life of his sister who had died from complications of Type 1 diabetes, Steel Magnolias most famously became a film in 1985 with a stellar cast of, amongst others, Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis and Julia Roberts. A further TV version was made in 2012 with an all-black cast including Queen Latifah. And now it is back on tour in an all-female version, taking place entirely in the hair salon of Truvy Jones (Lucy Speed) in Chinquapi, Louisiana between 1983 and 1985, with posters and music on the radio indicating the passage of time.
The women regularly congregate in Truvy's salon, seeing it as a place of safety and gossip, away from the outside world but that world inevitably affects, in particular, Shelby Eatenton (Diana Vickers) who is about to be married and wants to have a baby, somewhat against the wishes of her mother M'Lynn (Laura Main) who knows the complications that might ensue due to her diabetic medical issue. New in town is Annelle Dupuy (Elizabeth Ayodele) who has just secured a job at the salon but whose home life, at the start at least, is very much a mystery. Ouiser Boudreaux (Harriet Thorpe, but on first night, Claire Carpenter) is the grumpy one who pops in and out and Clairee Belcher (Caroline Harker), is her best friend and confidante - and sparring partner.
As this is an all-female version, the script had to be adapted so that the men (and dog!) involved in the women's lives are mentioned but never seen. At some point, the decision must have been taken to have the part of Truvi played in a way which closely resembles Dolly Parton, the film's actress in that part, and is therefore easily recognisable as such though it is by no means essential to make the plot work. Taking place in America's Deep South, the cast all had to portray strong American accents, some more successfully than others.
The self-contained set, something very familiar to the females in the audience, is obviously designed to be used as-is in any size theatre so on the Alexandra's large stage, it sat right in the middle with areas to the side unused. And if you were observant, you will notice that the set flipped during the interval giving a different view of the salon… Being placed entirely in the salon meant that some of the film's scenes, such as the hospital, were briefly described rather than shown. Nonetheless, this is a very enjoyable version of a story which many will remember from the film and it includes all of its vital elements.
https://www.facebook.com/TheViewFromTheStalls/posts/250944167272911
14th - 18th Mar 2023
Alexandra Theatre
Death Drop - Back in the Habit
⭐⭐⭐⭐ High camp from RuPaul's finest
Death Drop has already had one outing at the Alexandra Theatre a couple of years ago, in a "murder mystery" which brought ultra high camp to a secluded mansion involving a collection of drag queens (a kind of Dragatha Christie if you will).
This time, in Death Drop - Back in the Habit - death is again on the menu but in the setting of the convent of St Babs, where Father Reginald Spanking has gone missing amid reports of suspicious circumstances involving sinister apparitions and unholy phenomena. Father Alfie Romeo is sent by Rome to sort things out and close down this convent, which is obviously a den of iniquity, and to extract any "treasure" which they may be concealing. Little does he know who exactly he is dealing with, however.
Like its predecessor, this is very much an ensemble piece and the writer of this show, Rob Evans, turns draws on clearly identifiable cinematic references, the most obvious being Sister Maria Julieandrews (Jujubee) who just wants to, well, sing (although for copyright reasons, her songs differ slightly from the originals). Then there is Sister Mary Berry (Cheryl Hole) and Sis Titis (Kitty Scott-Claus) whilst the Mother Superior of this beautifully-coiffured religious order is played by Victoria Scone. LoUis CYfer (his capitals) plays the unfortunate priest sent to suss them out and certainly gets more than he bargained for (but is given some of the best lines and facial expressions).
Anyone who saw the original Death Drop will know not to expect subtlety and the sisters do not hold back in either in their language (especially Sis Titis) or imagery. Indeed, if anything, this show is filthier than the last. But then that is exactly what the audience wanted, as from the very start when the Sisters came on stage, they were whooping and hollering, which pretty much lasted throughout the show. Given that they are all supposedly Sisters, their garb had to reflect that but it is still amazing how over the top even that can be when put in the hands of these queens of drag (having benefitted from the master of them all, RuPaul).
These ladies certainly know how to entertain their audience, who will be looking forward to the third instalment of this impressive Drag-fest.
Time spent on stage - 2 hours.
Time spent in make-up - unimaginable!
An added bonus was the presence in the bar area of Birmingham's Rainbow Voices who, before the show and in the interval, got the audience in a suitably joyous mood for the performance on stage.
https://www.facebook.com/TheViewFromTheStalls/posts/247124487654879
10th Mar 2023
Malvern Theatres
Lipstick on your Collar
Coming in at the latter end of the 1950's, Connie Francis's hit song Lipstick on your Collar is a fitting title for a show which covers a decade of rock 'n' roll music from 1955. This talented 6-piece band (5 musicians/vocalists plus female vocalist) have produced a show which encompasses the music of that era - the basis, of course, of all the music which we can enjoy today.
But this is not just a show about the music. It is also about the performers who gave us these unforgettable songs. And also about what was going on in society at the time. So, on the large screen behind the band, there is a continuous display of the actual artists as well as reminders of products and adverts from the time from cars to soap powders, from Certs mints to Butterick dress patterns - something there which the majority of the audience will recognise, even if it is from an age well before the performers on stage were born!
Cleverly passing through the years in chronological order, the music progresses from the raw force of the original rock 'n' rollers through to Beat combos with songs from both sides of the Atlantic. So we have the likes of Brenda Lee, Cliff, Marty Wilde, Beatles, Everly Brothers, Elvis, Neil Sedaka, Tommy Steele, Peggy Lee, Carole King… And that was just the first half!
Things continued in the same vein after the break with a segment devoted to the classy British female artists of the 60's - Cilla, Petula, Dusty, Shirley, Lulu (all identifiable by just a single name) and then more Beatles, Stones, Chuck Berry and the Beach Boys. And of course the rousing encore everyone was expecting.
All in all, a great night out which packed the Forum Theatre nicely on a cold, very wintry Friday evening with 2 hours plus of music from an era which will never be forgotten.
Just one niggle - in the All-American video and voiceover at the start of the show welcoming us in and enticing us to enjoy the food at the "Refreshment Center", "theatre" should really have been "theater"…. Ah well!
https://www.facebook.com/TheViewFromTheStalls/posts/245077814526213
7th - 11th Mar 2023
Malvern Theatres
Relatively Speaking
⭐⭐⭐⭐⭐ A really funny and well-acted comedy of confusion
Two Alan Ayckbourn plays within a couple of weeks is something of a treat for local audiences. Following fast on the heels of How The Other Half Loves at the Swan Theatre comes what is regarded by many as his finest - and earliest - work, Relatively Speaking.
1969 is a significant year for two reasons. It is the year the play was first published (though it was presented on stage two years earlier) and it is the year that the BBC produced their first drama in colour. That was a show called Take Three Girls and this week, those two elements are brought together in the form of Liza Goddard, who played Victoria in the BBC show and who is now returning to Relatively Speaking to play Sheila, a role she last played here in 2016.
This is a brilliantly-written comedy of misunderstandings where even the audience is not quite sure what is going on. Set in a somewhat scruffy flat in London to start with, Ginny and Greg (Olivia Le Andersen and Antony Eden) are an unmarried couple (pretty risqué for the London stage at the time) who don't seem to see eye to eye and there is something mysterious about an address written on the back of a fag packet which Greg has discovered. Believing it to be the address of her parents, whom she had set out to visit by train that day, he departs in hot pursuit.
A big and impressive scene change then occurs which brings us to the house where Sheila and her husband Philip (Steven Pacey) live in the country. It is here, on a sunny Summer Sunday, that the rest of the action plays out after their peace is disturbed, with the conversations usually taking place between any two of the characters, neither of which appears to know what the other is talking about.
Throughout the play, the look on the actors' faces, as they attempt to navigate the twists and turns of the narrative is a joy to watch, particularly Anthony Eden who spends much of the time looking totally discombobulated and at a loss to comprehend why something so simple as approaching her parents in order to marry her could be so utterly confusing and complicated.
Other than a couple of references (such as the price of a train ticket, Greg's wages of £16 per week and the fact that there appeared to be a postal delivery on a Sunday…), the play - and the comedy - are timeless and could equally take place in the present day. This may well account for its longevity, still pulling in audiences more than 5 decades after it was first put on stage (having gone through a number of different titles in its early days such as "Meet my mother", "Meet my father" and "Taken for granted").
And the Malvern audience loved it, making it a hilarious show well worth going along to.
https://www.facebook.com/TheViewFromTheStalls/posts/243388851361776
28th Feb - 4th Mar 2023
Alexandra Theatre
The King And I
⭐⭐⭐⭐⭐ Sumptuous and entertaining - straight from the golden age of musicals
Last on stage at the Alexandra in 2019 as their extended Christmas show, The King and I is back this week, starring Helen George as the Anna in question (although, being "indisposed" on Press Night, it was the more than capable Maria Coyne who took that role) and the very talented Darren Lee as the King.
A touring version it may be, but this production of Rogers & Hammerstein's show, based on Margaret Landon's 1944 semi-fictionalized biographical novel Anna and the King, is pure spectacle with the sort of sets which would be expected in the West End or Broadway, not just unloaded from the two huge pantechnicons parked outside the theatre.
Along with a host of other singers, including of course a group of utterly adorable children, we are quickly transported to another age and location as a huge ship moves across the stage, transporting Anna and her son Louis on the last part of a journey in the early 1860's from Singapore to Bangkok (in what was then the tiny nation of Siam) to take up an English teaching post.
Cultural differences abound as the English woman tries to stand her ground in a society where women are basically expected to serve, grovel and provide the King with his many heirs and must never stand taller than the King himself. She is having none of it, a position which the trying-hard-to-be-modernist King simply cannot comprehend until he slowly comes around - a little bit at least - to her way of thinking.
The distance between them provides much of the comedic content of the show - "You are difficult woman!" he protests in frustration at one point - and the women are also bemused by the billowing dress that Anna wears (and which they also subsequently have to create and wear themselves) which they think must reflect the shape of het body. In this respect, Lee is wonderful at portraying the King's anger but more so his obvious playfulness and cheekiness with his facial expressions and language as he is determined to show the wider world that he is not the barbarian he is thought to be by other rulers.
There is a side story in this too, as a gift from the King of Burma is a girl, Tuptim, who has been sent to serve him - effectively a slave - but who wants out and to leave with her boyfriend with disastrous results.
A significant part of Act Two is given over to the rest of the cast whilst the main actors watch as they present, under Tuptim's narration, "The Small House Of Uncle Thomas" (their version of the classic Uncle Tom's Cabin, which has certain parallels with what is happening in Siam... This set piece allows the large cast to present a beautifully choreographed and colourful story, involving imagery which we easily associate with Asian cultures as well as the gorgeous costumes - definitely one of the highlights of the entire show. Throughout the production, there are songs which we all know well too, like "I whistle a happy tune", "Hello, Young Lovers" and the one which finally gets the two disparate cultures together, albeit briefly, Anna and the King's showpiece "Shall We Dance?"
The ever-changing and well-designed sets - it was not just the ship which was massive but the golden Buddha too - and the accompaniment of a (hidden) 14 piece orchestra give the show a definite air of extravagance not often seen in touring shows which the audience certainly appreciated.
And on this particular mid-week show, we experienced a sign language version with the interpreter amazingly having learnt the entire script, including songs, and standing unobtrusively for the whole 2 hours 30 minutes of show on the side of the stage.
This is a wonderfully sumptuous and entertaining evening from the golden age of musicals celebrating two contrasting imperialist cultures. Etcetera, etcetera, etcetera!
https://www.facebook.com/TheViewFromTheStalls/posts/240093981691263
28th Feb - 4th Mar 2023
Malvern Theatres
Home, I'm Darling
⭐⭐⭐⭐⭐ Funny, clever and evocative of a different time
The set which greets audiences in Theatr Clwyd/National Theatre's production of Home, I'm Darling is certainly very impressive, covering virtually an entire 2-storey house, rather like a doll's house whose front has been opened up. Moreover, the property has a very distinct look - that of the 1950s (which I suspect many of the audience will remember vividly) which wouldn't look out of place in an episode of I Love Lucy (sorry kids, that was where domestic sitcoms really started!). And then arrives the lady of the house, Judy, dancing around to the sound of Mr Sandman in a pretty 50's dress as she sets about doing her daily chores, apparently with great relish. But then something odd happens. She sits down at the kitchen table - and opens her laptop…All is therefore very much not as it seems in this household. Judy (Jessica Ransom, most recently seen as Morwenna in Doc Martin) is, along with doting hubby Johnny (Neil McDermott) clearly not of the era being portrayed. It is, effectively, a lifestyle choice that she/they have made following her redundancy from a high-flying job. Her response - go back to an era where the woman was content playing the role of dutiful housewife, following a book which described how to plan her day and whose job was to clean, clean, clean, keep those shirts ironed, cook dinner and make sure drinks and her husband's slippers were ready for when he got home. The couple are, apparently, "awfully… sickeningly happy". She even gets her best friend Fran (Cassie Bradley) to sample the experience though it remains to be seen if her other half Marcus (Matthew Douglas) will approve.
Things do seem to be going swimmingly until… Well, until the sort of thing that happens in marriages across the decades. Financial problems (she earned more than her husband) and infidelity (at least, perceived). And this light frothy colourful comedy takes on a much darker, more contemporary mood as life emulating the idyllic 50's comes crashing down. This is no surprise to Judy's mother Sylvia (Diane Keen) - after all, she actually lived through that period, fought hard against sexual and social injustices and is therefore well placed to bring a few home truths to her daughter, including revelations about her late father. The other character in the show is Alex (Shanez Pattni) who plays Johnny's boss and who has passed him over for promotion and is therefore the cause of some of the friction.
The play, by Laura Wade, won an Olivier Award for Best New Comedy in 2019 and it's not hard to see why. The combination of replicating a post-war period of recovery with all of its hope and colour, the music of that era, the clash between that and modern day life and the desire to get away from it, is a heady one. Moving effortless between comedy and much more serious matters works very well indeed, leaving you to wonder whether the couple can continue "living the dream" or whether they will be grounded by their inevitable problems.
In addition to the wonderful set and costume design by Anna Fleischle, the choice of music is appropriate and indeed amplified by its use in some of the most imaginative scene changes (carried out by Bradley and Douglas) that you will ever see.
A funny, clever, evocative and moreover thought-provoking show with a great cast.
hhttps://www.facebook.com/TheViewFromTheStalls/posts/239554371745224
22nd - 25th Feb 2023
Swan Theatre
How the other half loves
⭐⭐⭐⭐ A comedy of time and place...
Sadly, Thursday's performance of How The Other Half Loves had to be abandoned after 20 minutes due to a serious medical incident, requiring the audience to vacate the auditorium and, later, the theatre where, impressively, no less than 4 ambulances had arrived on scene within 20 minutes.
Friday, however, the show was back on track and Alan Ayckbourn's comedy about infidelity was brought to life by six members of the Swan Theatre Amateur Company. The play itself is a curious one as it brings together 3 different couples - the Fosters, the Phillips and the Featherstones - who, most of the time, are sharing the same stage even though the events are taking place at different times. Difficult to explain but it works a treat, especially the part where the same dinner table is being used for two different dinner parties with the unfortunate Featherstones having to alternate between the 2 other couples.
As in this scene, the Featherstones really are stuck in the middle. On the one hand, there is Frank and Fiona Foster (Nigel Hales and Jane Lush) - both rather posh - and on the other, there is Bob and Teresa Phillips (Carl Paskin and Gemma Matthews) - middle-class but certainly with Bob, verging on being a bit common and obnoxious (especially well played by Carl). The Featherstones meanwhile (Andy Howie and Sue Hawkins) find themselves being scapegoats for the actions of the other couples until they themselves become embroiled in the situation.
The set (a realistic combination of the living rooms of the two couples and which took up the entire Swan stage) is designed in such a way that it is clear which part belongs to which couple (even the sofas is divided between them) with multiple doors for their entrances and exits of their respective houses with the action taking place over a 4 day period.
With an amazing total of nearly 90 plays in his repertoire, Alan Aycbourn (actually Sir Alan) can pretty much expect at least a few of his plays to be running at any one time, whether by professional or amateur companies and with all the intricacies and conceits that this one demands, it is another successful outing for S.T.A.C., who will be back on the Vesta Tilley Studio stage with Platform 2 from 19th to 22nd April and Mixed Doubles from 20th to 24th June.
21st - 25th Feb 2023
Alexandra Theatre
The Best Exotic Marigold Hotel
⭐⭐⭐⭐ A joyful, thoughtful celebration of later life
Having seen her book "These Foolish Things" become a major hit film (and sequel), author Deborah Moggach has taken the next logical step to create a stage version with another all-star cast portraying life for those seeking something more in their later years than a retirement home on the coast in Britain. The Best Exotic Marigold Hotel transplants a varied selection of pensioners into an about-to-be-bankrupt hotel in Bangalore where, in spite of appearances, secrets and lies abound. Hayley Mills, Paul Nicholas and Rula Lenska play 3 of the main characters (Evelyn, Douglas and Madge) who, without having to pretend they are in their 70's, are clearly enjoying this time of their acting careers as they queue up at the airport waiting for their flight with the other potential residents of the hotel.
The action (though action may be a bit too strong a word as the play meanders through the proceedings at a relaxed pace) then shifts to the hotel which, whilst looking good to start with begins to show up its many faults such as faulty plumbing and an erratic power supply - and a chef who clearly cannot cook. Run by a mother and son combination - Rekha John-Cheriyan and Nishad More - who face things alone with her husband dead and his siblings gone on to "better things" abroad. This turns into a battle to not only do something with the hotel (keep it, sell it to build a call centre on the land…) but also a battle for a mother to keep her son and, moreover, keep him away from Sahani, the girl who he loves (Shila Iqbal) but who works in the nearby call centre.
The show exploits cultural differences on many levels and manages to do so sympathetically and with good humour. Some of the Brits clearly wish they were back home as they can't stand the food or the heat or, like the rather obnoxious Norman (Andy De La Tour) who simply wants to listen to the cricket and eye up the girls. Muriel (Marlene Sidaway) is there only because it was the cheaper option for her local council and the mysterious Dorothy (Richenda Carey) appears to be on a mission. Douglas's wife Jean (Eileen Battye) is one half of the only couple there but are they happy? Others embrace it but struggle to come to terms with the way the mother is seen to be manipulating her son. Or the way the call centre staff pretend to be British with their learned accents and fake names. Or the way the deeply-embedded caste system keeps loveable cleaner Tikal (Anant Varman) at the very bottom of the pecking order. Equally, the Indians cannot understand why these pensioners all find themselves on their own in the first place rather than being looked after by their children. And across the divide, most if not all have a secret to hide. Even maybe "Jimmy", the reliable handyman (Kriss Dosanjh).
The play has been updated to stay fresh with mentions of things such as Zoom, Gogglebox and the fact that the BBC appears to no longer serve their age group, which got a cheer from some members of the audience as did Rula Lenska's character Madge when, whilst berating the call centre owner over his treatment of his long-suffering staff, declared that she "didn't give a F*ck" if he didn't like the way she spoke to him!
Whilst being a comedy, there are many serious issues addressed here too, which should leave the audience pondering about their own later lives. But, as it ended on a high with the entire cast participating in an Indian dance routine and the audience clapping along, those thoughts probably went out of the window!Adventure before dementia" as one of the character says. Absolutely!
https://www.facebook.com/TheViewFromTheStalls/posts/237263551974306
17th Feb 2023
Swan Theatre
Adult Panto
If you thought panto was just for kids, think again. Adult Panto is back in town! After previous forays at the Swan Theatre, the team returned this year with the appropriately-titled Cinderella and her Naughty Buttons (ages 16+, as if you needed to be told!).
"How disgusting!" - said no-one, ever!
Presented by Hitchin's Market Theatre, this touring part of the company allows them to play to much larger audiences than their home base with its 60-seat auditorium. And so it was at the Swan with a virtual sellout show, many of whom were, it seems, Adult Panto virgins.
Of course, it wasn't Cinderella - it was Senmeafella in this version of the story and with just the usual 3 actors playing all the roles, there were the expected rapid costume changes.
And so we have Nick Hooton playing Buttons Undone, Arsene Titts, Ivor Hardon, Hadda Hardon, Funny Gagmother, Prince Pokemee with Jemma Carlisle as the aforementioned Senmeafella, Loveta Havercock, Wanta Havercock and Eleanor Pead playing Eusta Havercock, Queen Vicspray, Fanny Nevardunit. Not much is left to the imagination there!
In order to gauge the level of depravity amongst the audience, Nick, as always, kicks off the show with a series of ever more depraved jokes by which to judge the crowd and the conclusion? Of course, the Worcester audience's minds are absolutely filthy! Just as well really as the ensuing 90 minutes take full advantage of their expectations particularly Janet and Tony, a couple in the front row who, along with others, are regularly woven into the story (who books front row tickets for Adult Panto without expecting this to happen anyway?!). All done in the best possible taste!
The gags come thick and fast as the story, such as it is, progresses to its, ahem, climax (one of many during the show!), even encompassing Strictly Come Dancing (of course…) and with Loveta and Wanta being twins (one being a red-dressed dominatrix, the other in a nurse's uniform) and Nick being two of the girls' clients, the quick costume changes certainly keep the actors on their toes.
A rollercoaster of filthy jokes and sexy scenarios and a worthy successor to the likes of Hansel & Gretel Go Down in the Woods and Peter Panties. And next year we can expect more debauchery with Beauty and the Big Beast… Or should that be Booty?! We await with bated breath.
https://www.markettheatre.co.uk/tourings/
https://www.facebook.com/TheViewFromTheStalls/posts/236316695402325
14th - 18th Feb 2023
Alexandra Theatre
The Mirror Crack'd
⭐⭐⭐⭐⭐ The perfect entertaining murder mystery
There are, of course, two characters created by Agatha Christie who stand out and who have been played by an illustrious series of actors over the years: Poirot (Albert Finney, Peter Ustinov and, of course, David Suchet) and Miss Jane Marple (Margaret Rutherford, Joan Hickson, Julia McKenzie…).
The latest actor to take on the coveted role of Miss Marple is Susie Blake in Rachel Wagstaff's new adaptation of The Mirror Crack'd. Director Philip Franks (Cedric "Charley" Charlton in The Darling Buds of May) says that theatre had become lazy, doing run-of-the-mill productions of her stories knowing that the audience would always turn up because they "love a mystery". And so with Wagstaff's adaptation, he set out to present something different and this starts with the set which is basically an enormous glass box which is rolled onto the stage and revolved as it is used for different locations.
There is a story to tell of multiple murders at Gossington Hall but Miss Marple is somewhat incapacitated by a foot injury. She does, however, get a visit from Chief Inspector Craddock (Oliver Boot) and her friend Dolly Bantree (Veronica Roberts) - the latter having sold her house to a sophisticated American couple - film star Marina Gregg (Sophie Ward) and her husband/director Jason Rudd (Joe McFadden). It also transpires that Miss Marple looked after Craddock when his parents died when he was young, which led to a gasp from the audience when his patience finally gave out after her "meddling" and he exclaimed "You're a spinster, not a detective!".
The story is cleverly told in seamlessly-performed flashbacks involving the rest of the cast as the murders take place and Miss Marple attempts to unravel the mystery. She does this, however, to the increasing despair of the Chief Inspector who should really be in charge and this lends to an undercurrent of unexpected humour throughout the show (and a couple of laugh-out loud moments too). As in any good mystery, it is not just the" who" but also the "how" which is important and red herrings play their part in distracting the audience from the real killer.
Susie Blake brings a light touch to the role as she quietly, imperceptibly and knowingly gets the information she needs to identify those responsible for the murders as well as helping to resolve some other longstanding issues too. Oliver Boot is great as the Chief Inspector who tries his hardest to take control but knowing that anything he tries to do will be overshadowed by actions of "Auntie Jane", the real sleuth in this case.
With Agatha Christie's novels currently being given a fresh new approach (as evidenced by Sarah Phelps's re-imagined stories for BBC TV), it seems that, in addition to the long-running The Mousetrap (recently here on its 70th Anniversary tour), theatre is also playing its part in keeping her stories alive for a new generation of theatre-goers.
Kudos too to the sign language interpreter for this performance - it's fascinating to watch her describe non-stop what is happening on stage.
https://www.facebook.com/TheViewFromTheStalls/posts/235883408778987
14th -18th Feb 2023
Malvern Theatres
Around The World in 80 Days
⭐⭐⭐⭐⭐ An imaginative re-telling of the classic story
When it comes to off-beat productions, Tilted Wig have an excellent track record, having already brought their versions of Lady Chatterley’s Lover, The Legend of Sleepy Hollow, The Picture of Dorian Gray, Murder, Margaret and Me and Great Expectations to the Malvern stage.
Their latest show, played out on what resembles a colourful circus arena, could be their most adventurous yet, bringing us all the fun of Jules Verne's Around The World In 80 Days, traversing the entire globe with just 5 actors.
Whilst this is pure fiction from the pen of the French author, alongside it runs the true story of American Nellie Bly who did actually complete the journey in less time than it took the imaginary Phileas Fogg (72 days) and, in this show, Bly serves as a useful competitive element as they both take on the challenge. This meeting of minds is obviously fictional too but Bly did actually meet Verne during her journey.
So with his trusty companion Passepartout (who gets given a number of other mickey-taking names during the show) at his side and a host of other characters, Phileas takes us on a trip across the continents and oceans, using a minimum of props such as ladders and hoola hoops in energetic performances, particularly during the stormy seas sections and circus clown sequences. Throughout the journey, there is the presence of Detective Fix, who firmly believes that Fogg is a criminal but who struggles to arrest him as the warrant to do so never arrives on British soil in time as they progress across the world. This was one of the most enjoyable characters to watch, played by Eddie Mann. Alex Phelps is Fogg, Wilson Benedito i s the very French Passepartout, Genevieve Sabherwal is Aouda and Katriona Brown is the acrobat and Nellie Bly, though with a small cast, each actor plays numerous roles during the show.
Whilst the performances were all excellent and played at times directly to the audience (including one ad-lib to an audience member and a mention of Malvern too), there was a definite issue affecting the sound on opening night. Two of the actors' microphones made them sound like they were talking into a bucket, so muffled was their speech. This was particularly noticeable during the "gin drinking on a seesaw" session (yes, really!) where the detective's voice was, as usual, clear as a bell yet it was hard to understand what Passepartout was saying (and not just because of the French accent!). This did not diminish the overall impact of the show, however, which demonstrates that with imagination and skill (and the lack of a hot air balloon!), even the most complicated stories can be brought to life on stage.
Another success for Tilted Wig, who will be bringing their take on Frankenstein to Malvern later this year.
7th - 11th Feb 2023
Alexandra Theatre
Girl from the North Country
⭐⭐⭐⭐⭐ A fascinating re-imagining of Dylan's music
If a musical based around the songs of Bob Dylan sounds unlikely, the Girl From the North Country will come as something of a surprise. Using the title of a song from Dylan's Freewheelin' album from 1963, Irish author Connor McPherson has concocted an all-American tale set in Duluth, Minnesota in the mid 1930's and, in doing so, has created a multi-award winning show both here, where it was first staged at the Old Vic in 2017 and then in the US and which is set to become a film with Olivia Colman and Woody Harrelson.
Dr Walker, the family physician, kicks off proceedings, being the narrator of the story at various points of the show. Introducing us to the Laine family, it is clear from the start that this is a family with issues. The matriarch Elizabeth is suffering from what we would now describe as dementia. Son Gene is a barfly who cannot hold down a job, preferring unsuccessfully to write poetry instead, whilst his girlfriend has decided to go off with someone with better prospects. Daughter Marianne brings a different dynamic to the family being a black child adopted by the family when she was abandoned and who now finds herself pregnant, father undeclared. Trying to hold the family together in increasingly difficult financial circumstances is the father, Nick, who is reduced to running a guesthouse which risks being closed down by the bank.
This small family unit is then complemented by a whole range of other characters creating an ensemble of nearly two dozen actors and musicians on stage. As the story develops, other themes are introduced. There is obvious racism in the town, and not just with poor Marianne who, with no doubt the best of intentions, is being (ill-)matched by her father with the much older widower Mr Perry. There are the two unexpected arrivals during a storm seeking refuge - boxer Joe Scott and the Reverend Marlowe - and widow Mrs. Neilsen, who is involved in a secret relationship with Nick. And there is also the Burke family, whose son Elias has a learning disability (who gets his own unexpected solo at one point). So a lot of characters to follow…
The list of songs is equally impressive, covering 20 of Dylan's compositions including the title track and, of course, Like a Rolling Stone, taken from more than a dozen of his albums across five decades, all interwoven into the story. The interpretation and rendition of these songs - spiritual. Gospel, blues - is superb whether sung by the entire cast or by individuals and with the music being played live on stage, it is always a treat for the ears.
Without exception, the cast members played their roles - acting singing and dancing - very well and very convincingly (with American accents obviously) but particularly Frances McNamee who played the mother Elizabeth, a character it would be hard not to sympathise with yet easy to make fun of. Here, you could tell she was more knowing than she made out to her family in spite of her condition.
The play's success can best be summed up by none other than Bob Dylan himself who saw the show just before Covid shut everything down. "The play had me crying at the end. I can't even say why.".
One mystery remains, however. Who exactly is this Girl from the North Country? Written after a stay in England in 1962, whilst rumours abound, Dylan has never revealed who it is…
30th Jan - 4th Feb 2023
Malvern Theatres
The Mousetrap
⭐⭐⭐⭐⭐ Great fun right up to the reveal of the culprit!
Rather like any Great British institution, Agatha Christie's The Mousetrap finds itself embedded in the psyche of the nation, as witnessed by the fact that it is now on its 70th Anniversary tour (and retaining its title of the longest running show in history). First staged at the Ambassadors Theatre in London, it opened with Richard Attenborough and his wife Sheila Sim but, curiously, Agatha Christie had no high hopes for the play. She reckoned on giving it a life of just eight months, so this is a pretty amazing achievement and Christie was as baffled as anyone at the show's enduring appeal.
As well as continuing its residency in London, the play is on a long-running tour around the UK - see www.mousetrapontour.co.uk for details. For this celebratory tour, we have Gwyneth Strong, Todd Carty, Kieran Brown, Joelle Dyson, Laurence Pears, Elliot Clay, Essie Barrow and Joseph Reed. And one of these doesn't even make it to the second half...
The red herrings come thick and fast whilst conceits, secrets and accusations abound as the visitors to and owners of a new snow-bound guest house just outside London try to come to terms with the fact that, to the tune of Three Blind Mice, two of them may be dead by the end and the killer, who has already struck once, is apparently already in their midst.
All the action takes place on a single set with various other rooms mentioned as locations where the characters happened to be when the murder(s) took place so no-one is in the clear and everyone is potentially the killer or the victim.
This is a good robust performance of the play, with a lot more laughs than you might expect in a murder mystery. Elliot Clay is hilarious as the "crazy" and somewhat unstable character Christopher Wren as is the unexpected guest Mr Paravicini, superbly played by Kieran Brown (last year, John Altman took this part but Brown is a far more convincing and funny Italian). An unusual sight was seeing Todd Carty impressively portraying a gruff Army Major and Joseph Reed was excellent as the Detective Sergeant Trotter, whose job it was to identify the killer… The audience is kept guessing until the end (unless you have seen it before, of course!) when the theme of Three Blind Mice comes to its natural conclusion with the killer revealed as...
So who did do it and why? Well, in the long-held tradition of the play, the audience is sworn to secrecy by the detective before the final curtain falls so there is only one way to find out...
Spare a thought for actress Nancy Seabrooke. On retiring from the show in 1994, she had been understudy for 6,240 performances but was called upon to take the role of Mrs Boyle just 72 times - an average of 5 per year over the 15 years she was involved in the show. Now that is dedication to the cause!
26th - 28th January 2023
Malvern Theatres
Wodehouse In Wonderland
⭐⭐⭐⭐⭐Humorous and sad - the story of the popular creator of Jeeves and Wooster
Drama in Malvern for 2023 gets off to an excellent start this week with not only a show about P G Wodehouse, but a world première, no less. "Wodehouse In Wonderland" stars the equally excellent Robert Daws in what is effectively a one man show about the author.
More commonly known by his initials than his name (P is for Pelham (shortened to Plum) and G is Grenville), Wodehouse's younger years were spent being looked after by his many aunts, seeing his parents who were working abroad just a couple of times over more than a decade. We know this because one of the people that Wodehouse speaks to on stage is the biographer, a certain Mr Phillips, who is more interested in the salacious parts of his life (of which there are few, if any). Mr Phillips is one of a few unseen characters, the others being his wife Bunny (actually Ethel) and his daughter Snorkles (actually Leonora).
It is Leonora who is referred to first, by way of a letter which he is writing to her, after doing his dozen morning exercises, watching American soap operas and being exasperated at his wife's grandiose plans for their current house. His wife, who he adores, and his dogs (who he adores rather less - yappy Pekinese, so fair enough!) are all fed and watered whilst Mr Phillips eschews any kind of refreshment as he takes down details of Wodehouse's life.
There are, of course, other characters in Wodehouse's life, specifically Jeeves and Wooster. They may be just characters in his books but he refers to them and others as if they are old friends who have inexplicably wandered into his life. Along the way, there were various songs to lighten the mood with lyrics written either by himself or other Broadway luminaries.
Whilst the first half is relatively jolly, the second half takes a decided turn to the dark side as the biographer wants to know about the "black" times. This refers to the extended period when Wodehouse was ostracised by the British as a result of some radio broadcasts which he had done. Internment during WW2 was followed by a series of radio broadcasts made in Germany for CBS in America. These humorous anecdotes entitled "How to be an Internee Without Previous Training" were then re-broadcast by the Germans to the UK. They did not go down well at all and he was "reviled ... as a traitor, collaborator, Nazi propagandist, and a coward". Some of his contemporaries actively disowned him whilst others were far more supportive. Also in this part is some devastating news imparted by Malcom Muggeridge which would have a massive impact on his life.
You certainly don't need to know about Wodehouse's work to enjoy this show, although there are various references to and indeed short readings from the books. He was an accomplished writer and wordsmith who created some of the phrases we use even today, almost 50 years after his death. These include "cuppa", though in his context it referred to coffee rather than tea! For one man on stage to hold the audience's attention for an entire play about the author is no mean feat but on the evidence of this very first performance, the show, written by William Humble and directed by Robin Hereford, will have a very successful run with Daws at the helm.
As in most venues, the tour will play for only three nights and finishes on Saturday evening (no matinee).
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2022 events
14th - 30th December 2022
Regal Theatre Tenbury
Robin Hood
⭐⭐⭐⭐⭐ Local and Professional - a great combination
A first-time visitor to the Regal in Tenbury Wells will be immediately struck by how lucky the residents are to have such a beautiful 1937 Art Deco Grade II listed building in the town centre.
You are then struck by how could this smallish venue possibly put on a professional pantomime…
But they do - and it was brilliant!
Their 8th professional panto is Robin Hood and from the start, it has all the elements which the packed audience of all ages was expecting. The baddie here, dressed all in black, is the Sheriff of Nottingham who, from high up in the tower, gets the audience immediately booing and hissing. Christopher Laishley plays the character superbly with more "Oh yes it is/isn't" moments than many a pantomime. He never redeems himself either, remaining the baddie right to the end. The other character who unsurprisingly had a lot of audience interaction was Chris Bianchi as Nanny Notty Nickerlastic, a name we were supposed to welcome her with on each stage entry but which inevitably was far too complicated for most the audience to remember! With her regular changes of over-the-top costume, she really is the Nanny no-one would forget. The love interest in the story comes from Maid Marian (Lucy Appleton) and Robin (Robbie Capaldi) but that does require the Sheriff to stop imprisoning her at every turn and it was at least easier to shout Hi Robin when he came on stage!. Even Nanny's love life is set to take a turn for the better with a dalliance with Friar Tuck (Philip Jennings). Wil Scarlet (dressed in appropriate colours!) is played by Olivia Beard and the man with many hats is Samuel Dreyer in his first panto. It is no coincidence that Guy of Gisborne, Little John and King Richard are never on stage at the same time, given that Samuel plays all of them faultlessly!
In the middle of the show, something unique. As the battle between Robin and the Sheriff continues, the pair disappear out of the auditorium. Projected then onto the stage is an old-fashioned black and white silent movie (with appropriate captions) as they take the sword fight out into the streets of Tenbury. A very clever and well thought out ending to the first act that brought home the fact that this is, in spite of its Nottingham Forest location, a very local production with plenty of mentions of local towns and villages. Heaven knows what the public thought was happening during the filming of that segment!
The two-week run has a couple of dance teams - for this show it was the last performance by the Blue Team and credit especially to little Tilly Booton who was clearly having the time of her life on stage! In addition to the dancing, there was singing to the lively music provided by the 3-piece band under Director Richard Fox.
There are a number of firsts here at the revitalised venue. Theatre Director (and Show Producer) Andrew Macduff has only been in the job for 6 months and this is the first show to be directed by Chris Garner at the theatre.
If live shows here continue to be of this quality (and drawing full houses), then the venue has an exciting future. Next year's panto is already announced - Aladdin runs from December 15th to 31st next year and also lined up are shows by Talon, Marty Wilde and The Christians amongst many others.
If there is a venue which is punching way above its weight, it is definitely the Regal Tenbury Wells!
20th - 30th December 2022
Malvern Theatres
A Christmas Carol
⭐⭐⭐⭐⭐ A new take on an old classic
As a kind of antidote to the jollity happening on the main stage, the Forum is given over to the first production from the Malvern Theatres Stage Company - A Christmas Carol. The cast consists of 10 young actors, many of whom will be familiar faces to the Malvern Theatre-going crowd, having been involved in Malvern Theatres Young Company or local companies such as Our Star.
Running at a relatively short 80 minutes (no interval), the show has been adapted and is directed by the theatre's Chief Executive Nic Lloyd who has, as expected, assembled a talented young cast for this Christmas treat. The main man of course is Ebenezer Scrooge, skilfully played by Toby Burchell, as he starts his journey from being a despised taskmaster to a position of relative redemption, courtesy of the visiting spirits (Rhys Harris-Clarke and Daniel Davis). The main recipients of this change of heart are the Cratchett family - Father Bob (Ben Mowbray), mother (Emily Henry) and the ailing son Tiny Tim (11 year-old Howard Haines). Marley (Scrooge's business partner who has been dead these last 7 years) makes a surprising appearance and is played by Henry Pine with Moa Myserson, Summer Reade and Elizabeth Anne Jones playing the other parts, as well as being central to the music. For yes - there is music! Of the seasonal variety, it is used throughout the show as there are (fittingly) carols being sung beautifully by the cast - including Silent Night and the very appropriate In The Bleak Midwinter.
The simple yet atmospheric set was perfect for this production - little is needed by the way of stage scenery or props as the story is more about feelings and emotions so there are a few boxes and candles and a changing projected background. Because whilst the surroundings remain relentlessly bleak, reflecting life as it was in the 1840's, the improvement in the characters' lives coming from the sudden beneficent nature of Scrooge is plain to see.
This first production from the new company certainly bodes well for the future and, complementing the work being done with the Young Company, is enabling young actors to develop their skills on the live stage in well-produced shows, an investment which Malvern Theatres should justifiably be proud of.
If you are expecting to see a traditional rendition of the Charles Dickens' classic, think again! This is so much better.
8th Dec 22 - 1st January 23
Malvern Theatres
Beauty & The Beast
⭐⭐⭐⭐⭐ Superb entertainment for the whole family
Panto is definitely back with a bang in Malvern this Christmas. Beauty and the Beast is the name of the game and it features a great cast, one of whom is very familiar to Malvern audiences. Yes, Mark James is back in the role he has made his own over the past few years. Same character. Same song. Same silly jokes. Different name. This time he is Louis La Plonk - from the Plonkers dynasty obviously - and the audience get their response in to his catchphrase ("Where's me mates?") before he had even asked for it, which says something about both Mark and the Malvern audience.
Topical in parts as ever (the first Liz Truss joke hit us within the first 30 seconds which must be something of a record!), the story takes us to the French village of Camembert where the show's Boo Hiss character is the slimy Hugo Pompidou (superbly played by Phil Atkinson who in this role has to endure being mocked if only for his version of the French language). The traditional dame this time is Louis's mother Polly (Leon Craig) who works the extravagant costumes for all they are worth and you will never see anyone with a bigger baguette on stage than Polly!. Coming in with a lilting Welsh accent to oversee proceedings and making sure her charges are safe is Melanie Walters (best known for Gavin & Stacey) who makes no bones about the fact that she is also there to allow the scene changes to take place… The Love affair between Belle (Milkshake's Olivia Birchenough) and the hairy Beast (Shaun Dalton) gets off, of course, to a shaky start, he having sent her beloved father Clement (seasoned pantomimer David Alcock) into the wilderness and imprisoning Belle but relations begin to thaw, which is more than can be said for the one between Belle and Hugo… he ultimately gets his just rewards by being suitably and severely punished and turned into… an Englishman! Zut alors! The Beast's transformation into human form is very cleverly done.
The cast is complemented by an excellent dance troupe of villagers (Oliver Ferro, Chris Gray, Kathy Bancroft, Lily Dyde, Beau Prance and Talia Webby) who, in conjunction with talented youngsters from the local Cecilia Hall Dance Centre, provide some well-enacted choreography, with a bit of acrobatics thrown in for good measure.
Great music (the Beast's re-interpratation of Sam Ryder's Spaceman as Beastman was brilliant) and dance routines are key to any pantomime and this plus the outlandish costumes of Polly make this a superb, enjoyable and very funny pantomime. There was, however, one element which truly means that panto is back where it belongs, as an entertainment for kids. Missing, for understandable reasons, in previous years was the element of trepidation when 3 young members of the audience are brought up on stage to play a game with Mark James. And he couldn't have had a better start than the first night's victims, with one of them being the cutest 4 year old boy imaginable who was given a guitar to play which was bigger than he was. The youngster had hits wits about him too and gave Mark a run for his money - literally!
Malvern thankfully can't get enough of Mark and it has already been confirmed that he will be back next year in the role of Buttons in Cinderella (where he started in Malvern) which premieres on December 14th 2023. Tickets on sale with an Early Booking discount of 10%…
For another traditional seasonal treat, A Christmas Carol is presented by Malvern Theatre's own Stage Company from December 20th to 30th. Heart-warming stuff!
6th - 30th December 2022
Alexandra Theatre
Dreamgirls
⭐⭐⭐⭐⭐ A glorious celebration of 60s music
If it's an all-singing, all-dancing spectacular that you want for Christmas rather than the "it's behind you!" panto fare, then the Birmingham Alexandra Theatre is definitely the place to be. Running until the end of the month is the exciting show Dreamgirls, a previous version of which was the 2006 movie which starred Beyoncé, Eddie Murphy, Jennifer Hudson and Jamie Foxx.
This is, by definition, the story of black music on the 1960s (Motown, etc) and the predominantly black cast includes Natalie Kassanga and Paige Peddie as Deena and Lorrell with Nicole Raquel Dennis and Sharlene Hector alternating in the role of Effie - three girls hoping for the big time as the Dreamettes via a talent contest which could give them their break. As is the nature of the music business, they fail at that attempt, falling foul of a rigged result. Effie's brother C.C. (Shem Omari James) is their song-writer and they get to work with the often hilarious and playfully non-pc singer Jimmy Early (Brandon Lee Sears) who has a bit of a reputation in the business. Manager Curtis Taylor Jr. (Matt Mills) wants to push boundaries and change the focus from soul to dance in doing so relegating Effie to the back of the trio. A brave move, given that Effie really is a force of nature to be reckoned with! Indeed, in terms of solos, she has all the best songs and belts them out with a strength that always had the audience applauding, her being a bit of an underdog and all that. The Dreamettes become the Dreams and a new 3-piece group takes to the stage. His leads to a battle in the charts when the group and Effie both have completely different versions of the same song out, introducing that nasty aspect of the business which is Payola. Money, not talent, talks.
The hit "One Night Only" (the song which both parties competed for) is the song which people will recognise but it is the superb "Steppin' To The Bad Side" which will remain with you, impressively performed by just about the whole cast. And as that cast runs to well over 20 performers along with a 10-piece orchestra, this is a production which certainly blows away the winter blues and replaces it with blues of a different king - a blues/soul/dance soundtrack which absolutely delighted the audience, not only at the final curtain but which also, unusually, had them on their feet for a standing ovation at the end of the first act.
The first night featured Sharlene Hector in the pivotal role as the formidable Effie - if Nicole Raquel Dennis can do even half as well, she will definitely bring the house down.
1st - 4th December 2022
Conquest Theatre
Dick Whittington
⭐⭐⭐⭐⭐ A superb Family panto
Panto is back post-Covid to its good old-fashioned naughty self and with a run of six pre-Christmas shows at the lovely Conquest Theatre in Bromyard, you can't do better locally than Our Star Theatre's presentation of the classic tale of Dick Whittington.
The company has form, of course as they presented the show (with some cast changes) last year in Ross-on-Wye's Phoenix Theatre. Moving to Bromyard gives the cast a much bigger stage on which to perform, particularly the many dance routines expertly choreographed by Destiny Dawe (who herself plays Fairy Bow Bells) and, heavens above, a live band this time too! Chris Corcoran, Derek Brown and Josh Crivelli provide the musical accompaniment to the story of poor boy Whittington and his travels to London to find his fortune. This is in fact the only panto story based on actual real events, although the original Dick Whittington was by no means poor, being the son of a Sir but hey, never let the truth get in the way of a good panto tale!
Everything you expect from a panto is there (though no-one gets wet!) with Dick played by company founder Ben Mowbray, Dick's potential future wife Alice (will there be a wedding?!) played by Eleanor Catherine Smart and Ava Weetman as the rather feisty and streetwise cat with her very useful Cat Nav. The energetic dance routines are performed by the little rats (Amalie Down, Emonie Huckle, Natalie Seyler, Ellie Walker and Sophie Watkins) along with the rest of the cast, giving this the feeling of a wonderful ensemble piece which they are all enjoying doing together (just add Katisha Harris to ensure the vocals are great too).
That is not the entire cast of course. Every panto has a Dame and a baddy and this is no exception. This year, playing King Rat is the responsibility of Daniel Davis (an Our Star and Malvern Theatres Young Company regular) who whips up the audience to provide the necessary booing and hissing and back in his role as Dame Sarah comes Toby Edwards. Toby makes this role his own, with all the make-up, costume changes and a script - sometimes ad-libbed - which kept adults and kids thoroughly entertained.
And that is exactly what Panto is all about. Family fun and pleasing two different audiences - the adults and the kids - on different levels. The title itself is enough to get the adults giggling every time it is mentioned and the section involving Dick, Dame and Cat performing "what would I be if I wasn't a..." was as hilarious as expected. After all, if you can't sing a song all about the Dame "polishing the knobs" and "trimming the little bush", it's not really panto, is it?!
There are matinees and evening shows this weekend so get along while you can.
www.ourstartheatrecompany.com
www.conquest-theatre.co.uk
29th Nov - Dec 3rd 2022
Alexandra Theatre
An Inspector Calls
⭐⭐⭐⭐⭐ A stunning re-imagining of a classic play
When an Inspector calls, you listen to what he has to say. Right?
Well, it's certainly true in the case of the Birling family and what they are obliged to listen to has major repercussions for each of them. Patriarch Arthur is a hard-headed businessman and was something of a high flyer in local politics - Lord Mayor no less (and is more than happy to tell anyone who cares to listen) - and his daughter Sheila has just got engaged to Gerald, with Arthur keen to put it out there that a potential knighthood might be coming his way to help things along. Until an Inspector calls, that is, and the apple cart is well and truly upset.
Set in 1912, the family have no inkling of the momentous events which will unfold in a couple of years. At the same time, Bradford-born J. B. Priestley introduces themes of class, age, social injustice and even homelessness, implying that factory boss Arthur may be indirectly responsible for the chain of events which are about to be revealed concerning a worker who was sacked for asking for a pay rise.
An air of mystery surrounds the story - and indeed the Inspector - and this is transferred to the set, bleak and very rainy to start with, kids playing around what looks like a large doll's house with a view through the windows of the family inside, toasting their daughter's engagement. The walls cleverly open out for the remainder of the play (until one event dramatically changes that) as the family come to terms with the Inspector's revelation that a young girl has committed suicide. All the characters deny that they knew her but little by little their involvement is revealed…
There is excellent acting from the cast (Liam Brennan is Inspector Goole, Jeffrey Harmer and Christine Kavanagh are the Birling parents, ably supported by Evlyne Oyedokun and George Rowlands as the young siblings, Simon Cotton as the suitor and Frances Campbell as Edna, the (almost) silent help. The special effects, including the rain and mist and the surprising and sudden fate of the house itself, are extremely well done (the latter definitely making the audience jump!). The cast is supplemented by 3 children and six supernumeraries ("extras") playing the crowd.
In this version, directed by Billy Liar's Stephen Daldry, the play runs through to its thought-provoking conclusion without an interval and, given the huge number of school-age children present and coaches delivering them to the venue, it is a favourite on the school curriculum giving many of those present the chance to see, no doubt, their first professional production - certainly the huge and enthusiastic applause at the end of the show showed that they thoroughly enjoyed it and, for the cast, that must have meant a lot.
28th Nov - 3rd Dec 2022
Malvern Theatres
Rocky Horror Show
⭐⭐⭐⭐⭐ Wonderfully, gloriously camp!
Malvern is certainly showing its sleazier side this week if the first night of Rocky Horror Show is anything to go by. A night out in fishnet tights and high heels for some - and that's just the men - all assembled to celebrate the return of those alien trans-sexuals from Transylvania.
If there is one musical which continually re-invents itself, bringing its energy and charm to a brand-new audience as well as retaining its hard-core fans, then it must be Richard O'Brien's show. Opening in June 1973, O'Brien's story of a pair of lovers who unexpectedly find themselves in a completely different world headed by Frank N Furter and his motley bunch of friends/workers/lovers/Phantoms has been a perennial favourite on the touring circuit for years and as such, with clever and varied casting particularly in the main roles of Frank and The Narrator, continues to draw a huge and very involved audience. Indeed, the involvement of the audience is as important an element as the story itself and tests every Narrator to the extreme.
In the past, these narrators have been as varied as Nicholas Parsons, Steve Punt, Dom Joly and Alison Hammond and for this part of the nationwide tour, it is Motherland star Jackie Clune's privilege to hold the big book and wait for the audience's jibes (which she responds to pretty well, including even a mention of Matt Hancock!). She is no stranger to musicals, having been in Mamma Mia and the West End production of Billy Elliot and being asked to be the narrator must be a feather in any actor's cap. The jibes come from an audience well-used to pre-empting the script, something which probably comes as a surprise to any newbies watching!
In this show, the muscular Frank is played by Stephen Webb with Richard Meek as clean-cut Brad and alongside this pair is Haley Flaherty as Brad's other half Janet (dammit!). The pivotal role of Riff Raff is still the domain of Kristian Lavercombe who has basically made the role his own, incredibly having done it now for well over 2000 performances. Kudos too for the very energetic and acrobatic Ben Westhead on his first professional UK tour outing, obviously much-loved in the title role of Rocky and expertly carrying out his aerobics perfectly on the Malvern stage.
The whole cast worked brilliantly as, to be fair, did the audience! The musical accompaniment from the live band hidden away at the top of the stage was superb. The spectacular and colourful ending using smoke and lights was also beautifully done and had the audience on their feet doing the Timewarp along with the cast.
It certainly seems that the show, forever being refreshed with new casting and effects, is set to continue for many years to come. And in June next year it will be 50…
So Malvern - Dress to suit. No-one will bat an eyelid!
22nd - 26th November 2022
Alexandra Theatre
Saturday Night Fever
⭐⭐⭐⭐⭐ A stunning spectacular show - so many great hits!
A bit of Jive Talkin', a few Nights on Broadway, a lot of Night Fever and most definitely Stayin' Alive - it can only mean one thing. Saturday Night Fever is back in town!
This is a show which comes around every few years (2018, 2015…) and never ceases to excite. Impressive as a touring show, this version is a very enjoyable and energetic adaptation of the original film which was given, and still has, an X (18) Certificate. And some of the elements which caused that rating back in 1978 (yes, that long ago!) remain in this production, many of which are (hopefully) "of the time" and not representative of today's attitude to relationships, pregnancies and minorities….
Adult themes and language aside, it is the music which counts here and the 20-strong cast are lead by Jack Wilcox in the iconic lead role of Tony Manero with Rebekah Bryant playing Stephanie Mangano by his side. Well, some of the time anyway, for this is a flawed man who does not know what he wants out of life and love except that working in the paint store is more like a prison sentence than a career. His true love lies in dancing but he hardly has the support of his family with an abusive father and a brother who is the "golden boy" with his position in the church. Until he decides to leave the faith.
Also on stage are the members of the excellent live band and three guys (Drew Ferry, Oliver Thomson and AJ Jenks) representing the Bee Gees - their presence as a central part of the show rather than hidden away really lifts this musical to another level as they accurately portray the very distinctive sound and compositions of Barry, Maurice and Robin, particularly so in the first act's closing number You should be Dancing, making it truly indistinguishable from the original.
The well-crafted Bee Gee tunes were very much at the pinnacle of disco fever in the 70's and early 80's (and so may hits came from just this one film) and certainly the crowd at the Alex enjoyed what they were seeing and hearing. Apart from all the well-known disco tracks, three songs in particular resonated with them (ironically neither of which were in the actual film) - Tragedy (given an extra significance considering what was to follow…), If I Can't Have You and the very much quieter and contemplative Immortality.
The finale had everyone up on their feet as the entire cast plowed through three of the show's biggest hits, Disco Inferno, Night Fever and You should Be Dancing. Well, we were so that worked a treat!
So flares on everybody whilst the Alex becomes Disco Fever Night till Saturday!
21st - 26th November 2022
Malvern Theatres
Darker Shores
⭐⭐⭐⭐ Scary stuff for a dark autum night!
It was a suitably cold, wet, dark night for the first night of Michael Punter's Darker Shores at Malvern Theatre. This was an atmosphere which continued on stage where the set was the somewhat intimidating interior of an old house, one of course which had history…
Ghost stories are nothing new to British audiences. Macbeth, Scrooge, Hamlet all encountered them, Noel Coward has one in Blithe Spirit, then there's The Woman in Black and Ghost Stories and today, their popularity continues unabated with the brilliant tv comedy Ghosts (which has even been adapted for American audiences).
Darker Shores takes the standard situation - a haunted house - and builds a story around how it came to be so. It is Christmas 1875 (or more accurately "Advent" as the midnight bells have not yet tolled) and the setting is Sea House, a rambling Victorian mansion on the East Sussex coast, whose owner "disappeared" leaving only the housekeeper Mrs Hinchcliffe (Juliet Mills) in charge, a Northern woman who takes no prisoners. A room is rented out to Professor Stokes (Maxwell Caulfield) who lost both his wife and son in a shipping disaster and the show starts with a conversation between him and Tom Beauregard (billed as being played by Michael Praed but, on the first night, it was the more than capable understudy Will Beynon who took the role (no explanation given). The other character is Florence Kennedy (Chipo Kureya) who helps out at the house after being taken in when she was left as a single mother with her son and no support. Stokes is a Christian natural historian (and therefore not a fan of the paranormal) and his friend Beauregard is an American spiritualist (from some dodgy-sounding church as they tend to be). The two set about trying to unravel the mystery of the smells, noises and apparitions in the house whilst Stokes is attempting to write his masterpiece in his rented room (and not enjoying kippers for breakfast!)
Needless to say, there are some clever - and startling - special effects throughout (you can always tell when these work as the audience gasps and then chuckles!) but to give more details would be to give away too much of the plot. By the end of the evening, you might just know more about the fate of the house's owner, why Mrs Hinchciffe really shouldn't turn the place into a hotel and why there footsteps of a boy in the loft…
15th - 19th November 2022
Alexandra Theatre
Noughts & Crosses
⭐⭐⭐⭐⭐ A stunning adaptation of the Blackman's book
Noughts & Crosses is a love story unlike any that you will have seen on stage before. This adaptation is based on author Malorie Blackman's 50th book from 2001 and it is something which has already been adapted elsewhere, most notably perhaps for BBC TV.
It is based in a world of role-reversal, where apartheid is endemic but is it an apartheid where dark-skinned people rule over the white-skinned. Adherence to class is the norm, colour separation is strict and the "blankers" (Noughts) perform menial tasks and are not allowed passports. It is a world where the Noughts begin to revolt, armed and angry. It is a world where white members of the audience will feel very uncomfortable, seeing things from the "other side". Love. Revolution. A World Divided. These are the themes addressed here.
Love conquers all, as they say. But does it? In this story, two families are highlighted - that of Callum (superbly played by James Arden, transforming from boy-next-door to freedom fighter) and his mother, father and brother (who both revolt against the system) and sister - all Noughts - and the Crosses, Sephy (Effie Ansah, quietly portraying a daughter and sister at odds with the world), her sister, her drink-loving mother and politician father. The young naïve innocent lovers have known each other for years (Callum's mother works for Sephy's family) but it is when Callum gets the opportunity to be the first Nought to attend a Cross school that things begin to erupt. It is through Callum that she learns how the world really is, rather than from the script provided by her mother and father. And it is here that she realises that love cannot conquer all.
The staging for the play is quite simple but very effective, allowing video to be used as TV news stations broadcast their version of events, in doing so giving the father politician his means of explaining events which, at various points in the show - not to give too much away - become very dramatic indeed, the bombing and the scenes following the death sentence particularly so.
On opening night, there was a very large percentage of young adults - refreshing to see in a theatre - who gasped at some of the events being portrayed (and equally whooped at an impending love scene!). Pilot Theatre, whose production this is, specialises is creating theatre for younger audiences and consequently this may be the first time many of the audience will have seen a live show. This one has so many contentious elements in it for them to take away and discuss amongst themselves and hopefully work towards a future which is less divided, having seen the catastrophic results which may occur if things remain unchanged.
For the whole audience, this was a superb show, stunning and shocking in equal measure, and kudos to the younger members who led the well-earned standing ovation at the end.
14th - 19th November 2022
Malvern Theatres
The Mirror Crack'd
⭐⭐⭐⭐⭐ A really entertaining murder mystery
There are, of course, two characters created by Agatha Christie who stand out and who have been played by an illustrious series of actors over the years: Poirot (Albert Finney, Peter Ustinov and, of course, David Suchet) and Miss Jane Marple (Margaret Rutherford, Joan Hickson, Julia McKenzie…).
The latest actor to take on the coveted role of Miss Marple is Susie Blake in Rachel Wagstaff's new adaptation of The Mirror Crack'd. Director Philip Franks (Cedric "Charley" Charlton in The Darling Buds of May) says that theatre had become lazy, doing run-of-the-mill productions of her stories knowing that the audience would always turn up because they "love a mystery". And so with Wagstaff's adaptaion, he set out to present something different and this starts with the set which is basically an enormous glass box which is rolled onto the stage and revolved as it is used for different locations.
There is a story to tell of multiple murders at Gossington Hall but Miss Marple is somewhat incapacitated by a foot injury. She does, however, get a visit from Chief Inspector Craddock (Oliver Boot) and her friend Dolly Bantree (Veronica Roberts) - the latter having sold her house to a sophisticated American couple - film star Marina Gregg (Sophie Ward) and her husband/director Jason Rudd (Joe McFadden).
The story is cleverly told in seamlessly-performed flashbacks involving the rest of the cast as the murders take place and Miss Marple attempts to unravel the mystery. She does this, however, to the increasing despair of the Chief Inspector who should really be in charge and this lends to an undercurrent of unexpected humour throughout the show (and a couple of laugh-out loud moments too). As in any good mystery, it is not just the" who" but also the "how" which is important and red herrings play their part in distracting the audience from the real killer.
Susie Blake brings a light touch to the role as she quietly, imperceptibly and knowingly gets the information she needs to identify those responsible for the murders as well as helping to resolve some other longstanding issues too. Oliver Boot is great as the Chief Inspector who tries his hardest to be take control but knowing that anything he tries to do will be overshadowed by actions of "Auntie Jane", the real sleuth in this case. "You're a spinster, not a detective!" he exclaims at one point, much to the amusement of the audience.
Given a fresh new approach to Agatha Christie's novels (as evidenced already with Sarah Phelps's re-imagined stories for BBC TV), it seems that, in addition to the long-running The Mousetrap (coming to Malvern next year), theatre is also playing its part in keeping her stories alive for a new generation of theatre-goers.
11th - 12th November 2022
Vesta Tilley Studio Theatre
An Improvised Murder
⭐⭐⭐⭐⭐ A clever, funny audience-driven evening of entertainment
There is something unique at the Vesta Tilley Studio Theatre this week. In fact, each performance of the show is unique for this is An Improvised Murder presented by Foghorn Unscripted.
Hailing from Birmingham, each show is different because whilst there will always be a murder, it is the audience who decides who will be murdered and who will be the murderer. Not only that, but where the murder takes place is down to the audience as well.
At the start of the show, the members of the audience are given a slip of paper on which to write either a possible location, the name of a character or a phrase from a recent text message. On the first of two nights in Worcester, the chosen location was a chocolate factory-cum-museum. And immediately the cast were set to devise a completely random scenario involving various characters (a couple of twins working in the museum, the factory owner, the HR manager and others) culminating in a scene which led to death of one of them. During the interval, a further set of questions were prepared by the audience relating to the second half's questioning of the 3 remaining suspects by Detective Henry VIII (another name chosen by the audience).
As the slips of paper were pulled out of pockets, the cast had no idea what was written on them but nonetheless had to use the words on them in the ensuing conversation. Luckily none of them were attributed to anyone in the audience as everything was kept totally anonymous.
There is something very special about a team who can improvise in this way (as a point of reference, you may remember Clive Anderson's Whose Line Is It Anyway on Channel 4 which did a similar thing). The enjoyment is mutual - for the audience, seeing the cast sometimes squirm at having to say their very words and for the actors to be able to create a totally new, unrehearsed and unique piece of theatre for every performance. Who knows where the next murder may take place… it's all down to the audience to decide on Friday night!
And as every show is different, hopefully it won’t be long before they return to Worcester.
https://www.facebook.com/foghornunscripted
7th - 12th November 2022
Malvern Theatres
The Lavender Hill Mob
⭐⭐⭐⭐ An ageless comedy brought to life on the stage
It is a curious thing that so-called heist movies are often turned into comic capers where the British are involved. Think The Ladykillers and The Italian Job as opposed to the rather more serious Bonnie & Clyde and Reservoir Dogs. And this is certainly the case with another movie about small time crookery which came from the famous Ealing Studios way back in 1951. The all-star cast of Alec Guinness, Stanley Holloway, Sid James, Alfie Bass and even Audrey Hepburn created a classic which, bizarrely, even made it into the Vatican's Top 15 films in the "Art" category alongside the likes of Citizen Kane and 2001: A Space Odyssey.
The Lavender Hill Mob takes an ostensibly honest, hard-working bank employee, Holland (Miles Jupp) who was passed over for promotion because he was so, well, ordinary and turns him into a lovable rogue who we first see apparently enjoying the fruits of his labour celebrating New Year's Eve with his partner-in-crime Pendlebury (Justin Edwards) and his new found friends and living the high life in Rio De Janeiro.
The ensemble cast of eight then take us through the story of how he came to be there for the benefit of Farrow (Guy Burgess) who, Holland claims, is going to turn his capers into a movie and needs to know the full story. This is a tale which begins with him transporting gold bullion around the streets of London (with seemingly little extra security!) during which he has the crazy idea that these could be turned into the little Eiffel Towers which Pendelton is already producing - in fake gold - for visitors to Paris.
This leads to some very funny escapades, particularly across the channel, as the cast play an array of different characters - and accents - in the pursuit of the bullion. There is also a very clever reconstruction of the Eiffel Tower itself on stage and the stage itself is packed with British memorabilia to remind the pair of home. Without exception, the cast take on their different roles perfectly, producing the sound effects themselves such as creaking doors and birds over the white cliffs of Dover (and their very funny, much sexier, French counterparts in Calais!) and the urgent taxi ride from Paris to Calais is hilarious, as the driver decides to stop for his déjeuner (a baguette, obviously!) en route. That might be stereotypical but also not far from the truth!
The show is a delight to watch (regardless of whether you have seen the original film) and it is great that a comedy first performed seven decades ago can still entertain modern audiences with a script by Phil Pulman which makes the most of what can be done on a stage with a team of talented performers.
7th - 12th November 2022
Alexandra Theatre
Shawshank Redemption
⭐⭐⭐⭐⭐ A clever atmospheric adaptation of the movie
The Shawshank Redemption is horror writer Steven King's 1982 story (a novella actually called Rita Hayworth and Shawshank Redemption) of a group of men incarcerated for their typically murderous deeds and was, back in 1994, made into a film starring Morgan Freeman and Tim Robbins. In this touring version of the play, those roles are played by Ben Onwukwe as Ellis "Red" Redding and Joe Absolom as Andy Dufresne. As this takes place in a male penitentiary, all the characters, inmates and staff, are male and the play covers 20 years of their lives.
The impressive set is designed to give some idea of the conditions in which the men are kept, noisy, cramped and a lack of privacy leading to the inevitable clashes of individuals (though always under the auspices of the guards who can spot most, but not all, of the things going on). Additional scenes are brought in to cover the canteen, library, the prison governor's office and the solitary confinement cell. And all the time, the wardens are watching from high up, armed and perfectly willing to use them. The play doesn't - and shouldn't - shy away from strong language and has scenes of physical abuse and implied male rape as well as the bribery and corruption we would expect in such an environment. That is exactly what Red does - he is a man who can get things for the other inmates. When Andy first arrives, and for a couple of years afterwards, he is quiet, reserved but is befriended by Red. He also has banking skills which are of use to the governor, which could be either his making or his downfall…
Among the threats and actual violence, particularly that meted out by the two "sisters" Rooster (Leigh Jones) and Bogs (Jay Marsh), are moments of humour from Rico (Jules Brown) with his quotes from Lady Chatterley's Lover, pages of which he stole from the library!
Onwukwe is effectively also the narrator of the story, often talking directly to the audience whilst Absolom is well cast as the introvert Andy who manages to have his feet in both camps and is seen as the saviour of new arrival Tommy who has some information about his conviction which could prove useful. The tension remains right to the end regarding the situation for both Red and Andy - plans had been made but could they be achieved?
This stage version quite possibly benefits from being on a static set. Things don’t change much even after 20 years and to be confined for such a length of time must be quite soul-destroying, especially if you consider that you have been wrongly convicted. The show is well worth a visit even if you have seen the film. Live performances will invariably trump what many millions of dollars have been spent on!
1st - 6th November 2022
Alexandra Theatre
The Mousetrap
⭐⭐⭐⭐⭐Great fun right up to the reveal of the culprit!
Rather like any Great British institution, Agatha Christie's The Mousetrap finds itself embedded in the psyche of the nation, as witnessed by the fact that it is now on its 70th Anniversary tour (and retaining its title of the longest running show in history). First staged at the Ambassadors Theatre in London, it opened with Richard Attenborough and his wife Sheila Sim but, curiously, Agatha Christie had no high hopes for the play. She reckoned on giving it a life of just eight months, so this is a pretty amazing achievement and Christie was as baffled as anyone at the show's enduring appeal.
The play was last at the Alexandra Theatre in 2019 and here it is again, with a totally different cast. For this celebratory tour, we have Gwyneth Strong, Todd Carty, John Altman, Joelle Dyson, Laurence Pears, Elliot Clay, Essie Barrow and Joseph Reed. And one of these doesn't even make it to the second half...
The red herrings come thick and fast whilst conceits, secrets and accusations abound as the visitors to and owners of a new snow-bound guest house just outside London try to come to terms with the fact that, to the tune of Three Blind Mice, two of them may be dead by the end and the killer, who has already struck once, is apparently already in their midst.
All the action takes place on a single set with various other rooms mentioned as locations where the characters happened to be when the murder(s) took place so no-one is in the clear and everyone is potentially the killer or the victim.
This is a good robust performance of the play, with more humour than you might expect in a murder mystery. Elliot Clay is hilarious as the "crazy" and somewhat unstable character Christopher Wren as is the unexpected guest Mr Paravicini, played by John Altman whose accent occasionally and amusingly strayed away from the Italian he was meant to be. An unusual sight was seeing Todd Carty impressively portraying a gruff Army Major and Joseph Reed was excellent as the Detective Sergeant Trotter (!) whose job it was to identify the killer… The audience is kept guessing until the end (unless you have seen it before, of course!) when the theme of Three Blind Mice comes to its natural conclusion with the killer revealed as...
So who did do it and why? Well, in the long-held tradition of the play, the audience is sworn to secrecy by the detective before the final curtain falls so there is only one way to find out...
Spare a thought for actress Nancy Seabrooke. On retiring from the show in 1994, she had been understudy for 6,240 performances but was called upon to take the role of Mrs Boyle just 72 times - an average of 5 per year over the 15 years she was involved in the show. Now that is dedication to the cause!
25th - 29th October 2022
Malvern Theatres
SIX
⭐⭐⭐⭐⭐5-star brilliance!
The "six" of the title are, of course, the six wives of Henry VIII with their various destinies described here as Divorced * Beheaded * Live rather than the usual version. For on stage are the living incarnations of the six Queens as you have never seen them before as history - or rather her-story - is given a thorough upgrade to bring it well and truly into the 21st century. Anyone who enjoys the type of education imparted by the talented team at Horrible Histories will already know what to expect - traditional facts and figures neatly wrapped up in cleverly-written songs using modern terminology and expressions, here served up live on stage by the 6 feisty and independent-thinking Queens and their Ladies In Waiting (aka the all-female 4-piece band).
And so it comes to pass that Aragon, Boleyn, Seymour, Cleves, Howard and Parr each have a story to tell and in a competition to convince the audience that they are the most worthy - and hard done by - of the wives, each has a song of their own. Those songs come after the rousing opening number which sets the scene perfectly, as if the audience is participating in a Spice Girls concert rather than a history lesson, which is exactly as it should be as you immediately know this is going to be something very different indeed. And clearly, from the packed theatre and the energetic and vocal response from the audience , this was a much anticipated and welcome show back, in fact, for a second outing as it was first performed here in those old Pre-Covid days (2019!). In addition to the songs, the wives jostle on stage trading insults in their attempt to outdo one other, in particular Boleyn for whom nothing surely can be more dramatic than losing her head.
Not all the Queens are from home-grown stock, of course, with Henry marrying a Spaniard and a German-only speaking German (there were truly weird times, absolutely ripe for mockery!) and the ensemble song "Haus Of Holben", with its Teutonic disco beat, is absolutely hilarious, superbly performed by the entire cast. Reminiscent of the sort of stuff we used to see in TV's Eurotrash and worthy of being a Eurovistion entry for Germany. Indeed to be fair were all the songs - whether they were fast-paced anthems or the slower laments of Seymour and Parr, these Queens can certainly bang out a tune!
After the six individual songs, the Queens are back together again for the rapturous finale - then the encore and the encore's encore with everyone on their feet singing and clapping and giving the show the send-off it truly deserved.
And then it was all over. Leaving the audience drained and wanting more but not getting it (as with all the best shows). Where did those 80 minutes go? Who knows but what you do know is, imperceptibly and with a smile on your face, you came away knowing far more about these ladies than you ever did before and that is very clever of the writers. To the extent that people came away from the theatre muttering "I never knew she did that...". Well now, thanks to this utterly brilliant show, you do! Very, very funny, informative, superbly choreographed and performed - what more could you ask for?
The show only premiered at the Edinburgh Fringe a few of years ago and has already been a massive hit in the West End and in the States - a coup then for Malvern to get a second bite of the cherry. Fortunately - and bravely - the writers and producers of the show have kept to the original premise of having an 80-minute performance about the Queens only, rejecting calls from some quarters to add a second half, increase the length to have a more "standard" theatre running time and, heaven forbid, introduce this Henry character into the mix (who, according to the ladies, wasn't quite as "big" as he might have seemed…!).
So now that we are back to having a male monarch, a word of advice to His Majesty and his successors - beware the females in your lives - they can be a lot more feisty than you imagine!
25th - 29th October 2022
Alexandra Theatre
The Osmonds Musical
⭐⭐⭐⭐⭐ Colourful and full of memories of the 70s!
Judging by the audience reaction, Birmingham loves being taken back to the past!
The past in this case was the late 60's and 70's and the story presented was that of the Osmond family. Hailing from Ogden in Utah state (home of the Mormon Church, to which the family belonged), this large family started their singing careers under the firm, often military, hand of their father George and the somewhat softer approach of their mother Olive. And it is one of the boys, Jay, who both wrote and largely narrates the story of their upbringing, from singing as a local barbershop-style group to raise money for their elder brothers (Virl and Tom, both of who were born with severe hearing difficulties and needed expensive hearing aids) via being "discovered" by Andy Williams' father in Disneyland to opening their own studio/recording/performing complex back in their home state. At the end of which comes the almost inevitable downfall as their financial empire crashes to the ground due to mis-management and the risk of entering Chapter 11 insolvency. But with 100 million records sold and debts of $80 million, it is the father who steps in again to ensure that they do not go under.
This isn't a sugar-coated story either - there were sometimes real power struggles between the boys which are portrayed here regarding who will be lead singer for a particular track and who will determine the financial affairs and the occasional and natural backlash against the father (always called "Sir" by his sons). With a total of 7 offspring actively involved in the singing side, various permutations evolved. In Britain, little Jimmy Osmond achieved 5 weeks at Number One by being a long-haired lover from Liverpool (he was 9 at the time!) and Donny was many a girl's dream pinup (plenty of those in the audience too!). Donny also teamed up with the only girl in the family Marie to have a very successful series of TV shows and hit singles. Each had their own style - Marie's country style, Donny's bubblegum pop, Jimmy being, well, cute and the rest moving to a heavier side of rock, the lyrics of which were not always appreciated by the parents (the word "satisfying" being particularly problematic). And that range of styles was well-represented in the show with a total of 30 songs played and sung live (some unexpected ones too such as Music To Watch Girls By from the popular Andy Williams Show and He Ain't Heavy, He's My Brother which neatly summed up the family's dynamic).
One element which encompassed fandom was the inclusion of "Wendy from Manchester, your No 1 fan" who popped up from time to time to give a young girl fan's eye view of the group and raised a smile every time she did so with her Northern accent completely at odds with the rest of the cast's American twang.
Whilst the main body of songs was performed by the adult Osmonds, we also had - very effectively - their younger selves on stage too. A revolving cast of 6 young lads superbly portrayed Merrill, Alan, Jay, Wayne, Donny and Jimmy, who were obviously having great fun doing it too, sometimes sitting with their older selves during family discussions.
On a stage as colourful as the outfits the brothers wore whilst performing (the whole stage is in fact one big letter O), the songs came thick and fast, all performed faultlessly. If you enjoy the music of the Osmonds (in any of their permutations) or just a well-told story of how a family went from a small town in the American Bible Belt to international fame and stardom, you will definitely enjoy this show, even if you weren't around at the time they were a big pop sensation.
Kudos to the show's team and theatre staff too as, on opening night, the performance had to be stopped and restarted twice for medical emergencies to be dealt with which led to an overrun of around 25 minutes.
27th - 1st October 2022
Alexandra Theatre
South Pacific
⭐⭐⭐⭐⭐An extremely impressive production and a joy to watch!
Chichester Festival Theatre's esteemed touring production of South Pacific arrived at the Alexandra this week and it is big. So much so that the start of the first night's performance was pushed back by 30 minutes to ensure that the stage was working perfectly and safe to perform on. Because this is a massive production in scale on a massive set which not only extends out into the auditorium but also includes a huge revolving stage in the middle, which was crucial to many of the scenes. Any failure there and the show would come to a halt. Fortunately, all that preparation led to a technically faultless production. Big, too, was the cast. More than 30 actors are on stage at any one time and they are backed by an orchestra composed of 16 musicians, not to mention those responsible for the excellent sound and clever projections on the backdrop.
This is Rodgers & Hammerstein's classic tale of life for American troops in the South Pacific (another of their foreign tales arrives at the Alexandra next February - The King & I) which premiered on Broadway way back in 1949 and is based on several stories from James A. Michener's Pulitzer Prize–winning book Tales of the South Pacific. So popular has the musical been that many of the songs have become classics in their own right - Some Enchanted Evening, Bali Ha'i, I'm Gonna Wash That Man Right Out Of My Hair, Younger Than Springtime, I'm In Love with A Wonderful Guy, Happy Talk and, of course, There is Nothin' Like A Dame (which, for many, will forever be associated with Eric & Ernie and the BBC newsreaders!). So many classics from a single musical is impressive and uncommon and it guarantees that the show will be familiar to the audience, even if they have never seen it before.
The main cast are Julian Ovenden who plays Emile de Becque, a Frenchman in self-imposed isolation on the South Pacific island, Gina Beck is American nurse Ensign Nellie Forbush, Joanna Amhil is the flirtatious local girl Bloody Mary and Rob Houchen is another love interest, Lieutenant Joseph Cable. Amongst the rest of the cast, Douggie McMeekin deserves a mention for playing crafty Luther Billis who has his hand in many pies on the island and always despairing of the lack of ladies. The story doesn't shy away from elements of racism either, something which provoked controversy at the time, not just with the interactions with the locals but also between de Becque and Forbush, whose blossoming love is hampered by his past relationship on the island which resulted in his two children.
The singing, as you would expect, is first rate whether from the ensemble cast or from individual cast members and the accents (American, French or local) are effortlessly maintained throughout. The revolving set comes into its own in various set pieces, particularly so when adorned with lamps which greet the men when they arrive on the mysterious island of Bali Ha'i and also on the parts of the show where the front and back of the set can be shown, as in the shower scene (yes, that water is real!) and the part where the troops are themselves putting on a show. And coming from the South Pacific, every opportunity is taken to make it as colourful as possible, in contrast to the drabness of the daily fatigues.
If you are looking for a show which will take you away from all the current depressing issues, this is definitely it. Colourful, lively and with a memorable score and an excellent cast, South Pacific thoroughly deserved the applause and standing ovation. And well done too all the backstage crew who managed to move such an impressive set from its previous location and get it all working perfectly on the night.
20th - 24th September 2022
Malvern Theatres
Shawshank Redemption
The Shawshank Redemption is horror writer Steven King's 1982 story (a novella actually called Rita Hayworth and Shawshank Redemption) of a group of men incarcerated for their typically murderous deeds and was, back in 1994, made into a film starring Morgan Freeman and Tim Robbins. In this touring version of the play, those roles are played by Ben Onwukwe as Ellis "Red" Redding and Joe Absolom as Andy Dufresne. As this takes place in a male penitentiary, all the characters, inmates and staff, are male and the play covers 20 years of their lives.
The impressive set is designed to give some idea of the conditions in which the men are kept, noisy, cramped and a lack of privacy leading to the inevitable clashes of individuals (though always under the auspices of the guards who can spot most, but not all, of the things going on). Additional scenes are brought in to cover the canteen, library, the prison governor's office and the solitary confinement cell. And all the time, the wardens are watching from high up, armed and perfectly willing to use them. The play doesn't - and shouldn't - shy away from strong language and has scenes of physical abuse and implied male rape as well as the bribery and corruption we would expect in such an environment. That is exactly what Red does - he is a man who can get things for the other inmates. When Andy first arrives, and for a couple of years afterwards, he is quiet, reserved but is befriended by Red. He also has banking skills which are of use to the governor, which could be either his making or his downfall…
Among the threats and actual violence, particularly that meted out by the two "sisters" Rooster (Leigh Jones) and Bogs (Jay Marsh), are moments of humour from Rico (Jules Brown) with his quotes from Lady Chatterley's Lover, pages of which he stole from the library!
Onwukwe is effectively also the narrator of the story, often talking directly to the audience whilst Absolom is well cast as the introvert Andy who manages to have his feet in both camps and is seen as the saviour of new arrival Tommy who has some information about his conviction which could prove useful. The tension remains right to the end regarding the situation for both Red and Andy - plans had been made but could they be achieved?
This stage version quite possibly benefits from being on a static set. Things don’t change much even after 20 years and to be confined for such a length of time must be quite soul-destroying, especially if you consider that you have been wrongly convicted. The show is well worth a visit even if you have seen the film. Live performances will invariably trump what many millions of dollars have been spent on!
13th - 18th September 2022
Malvern Theatres
Spike
The 1950's proved to be a bit of a renaissance in comedy at the BBC after suffering from the austerity of the immediate post-war years and the demise of the popular ITMA series following the death of Tommy Handley. It was a time when various writing partnerships came to the fore - Galton & Simpson, Muir & Norden - as well as writers such as Eric Sykes and, the subject of this show, Terence Alan "Spike" Milligan, India-born but of Irish descent.
His most famous collaboration was, of course, with Harry Secombe and Peter Sellers in BBC Radio's The Goon Show. He was inventive and ground-breaking is his approach to comedy. The BBC, however, has a history of issues with entertainers who break the rules (more recently, Kenny Everett who had a continuing love-hate relationship with the corporation) and so it was with Milligan who produced comedy which mocked the BBC and which was not understood by it either, even though vast audiences loved it.
In addition, the BBC considered Secombe and Sellers to be the show's talent, the ones who could be relied upon, whilst Milligan, as the writer and true creative element who repeatedly did not get his scripts in on time, was seen as something of a loose cannon.
The events which took place throughout various series of the show are the basis of this story, written by Ian Hislop and Nick Newman, another long-standing writing partnership which most recently brought The Wipers Times to the Malvern stage. Through the auspices of the satirical publication Private Eye, they are linked to Milligan who regularly provided content for it. The Milligan/Secombe/Sellers Goons are played by Robert Wilfort, Jeremy Lloyd and Patrick Warner who all portray their very individual characteristics with ease. During the first half, the man in charge of comedy at the BBC is Denis Main-Wilson who later moved on from radio to produce many TV comedies, including Till Death Us Do Part. Come part two, a new person is in charge, Peter Eton (both are played by James Mack) who came in from BBC Drama and who decided to change things by requiring, for example, proper rehearsals but luckily rejected a proposal to introduce ventriloquist Peter Brough and his dummy Archie Andrews into the show . In hindsight, it may not have been the best of moves to tamper with the likes of the temperamental Spike, already suffering from the anxiety of writing so many scripts whilst being paid substantially less that the other two and the script, via flashbacks to his army career, to some extent show why he is how he is.
Part of radio shows (then as now) is the use of sound effects - increasingly bizarre in the case of the Goons - especially once tape had been introduced, replacing 78RPM records. At various points in the show, we see these being used courtesy of the special effects engineer (Margaret Cabourn-Smith) who manages to convince us that what is fake sounds true to life… Well, a little anyway!
To be fair, the show is likely to attract an audience who are probably already familiar with either the Goons or Spike Milligan, as there were many references which are only really understandable to that audience. Why would anyone consider bringing a ventriloquist act into a radio show? Well bizarrely that was really a thing, with Educating Archie being very popular. But there are plenty of good one-liners too such as when, at a party, Milligan is asked if June (his wife) is coming. "No, it's mid-winter" comes the witty reply (think about it!). And, in Private Eye, he wrote "Inside the house, the blinds were drawn but the furniture was real". Beautifully-crafted one-liners and it's easy to understand why he would have struggled to keep up the pace of writing new ones.
The man may have been a somewhat tortured and misunderstood individual and the show goes a long way to explain and demonstrate his creative prowess.
13th - 18th September 2022
Alexandra Theatre
Fisherman's Friends
⭐⭐⭐⭐⭐
Fresh yet traditional, a unique and a deserved success!
Fresh from the start of its tour in Plymouth last week, Fisherman's Friends has moved inland to Birmingham. This is a big show encompassing basically three groups of people: the fishermen themselves, the women who support them and the band who provide the music. All three sets of people work seamlessly together on stage making this a piece of theatre which really is all-embracing. And, from the men in particular, you get solos from actors who you may not consider to be singers as the cast includes James Gaddas (most recently seen in Hollyoaks), Robert Duncan (who was the full-of-jargon Gus Hedges in Drop The Dead Donkey) and Susan Penhaligon from Bouquet of Barbed Wire and A Fine Romance. In fact, without exception, all of the cast proved to have the strong voices necessary to accurately portray the Cornish fishermen and their years of singing traditional shanties which described their lives, hopes, trials and tribulations.
Having deliberately not watched the 2 filmed versions of their rise to fame, the musical version can be judged as a standalone piece irrespective of the cinema releases. And as a theatre production, it has some definite advantages. The music, played by 7 very talented musicians led by James Findlay, is live and integrates very neatly into the show, which by extension, allows the singers to perform at their best when an instrumental backing is required. But for much of the time, as in the real world of shanty singers, many of the songs are performed a' Capella, proudly and loudly.
The first half of the show takes place in Cornwall, in the village of Port Isaac which does not always welcome the intrusion of "emmets" (non-locals) - this was, after all the setting for Doc Martin too! The "intruder" in this case is washed up music plugger Danny (James Langley), a real fish out of water, who ends up at the harbour almost by mistake. He promises the world, expecting to take his cut, but promises do not always get realised. County rivalries are also present and one can only guess at the response of the Devon audience to the singers' activities around the Welcome to Devon signpost! As things develop, the action moves to London in an attempt to get these reluctant harmony singers a record contract and maybe an appearance at Glastonbury. Again, promises are broken but, accidentally ending up in a gay bar and performing In The Navy (well it is a song about the sea!) provided one of the most hilarious moments of the show. Apart from that rather unconventional shanty, many of the songs are well known - from "What shall we do with the drunken sailor?" to "When the boat comes in", via "Sloop John B", the latter beautifully sung as a duet in a blossoming love scene. And "Haul Away, Joe" and "Keep Hauling" not only reflect the fishermen's trade but also life in general, especially when disaster strikes. For this is how they deal with life - family, companionship and tradition are at the very heart of this community. All the more so where tragedy occurs - something all fishermen must dread and be prepared for when they lose one of their own.
Aside from the community singing in the local pub and on the quayside, there are also two parallel plots which are that the pub where the singers meet is heavily in debt but can owner and new to fatherhood Rowan (Dan Buckley) find a way to extricate himself from the dilemma by approaching Danny or is he making a pact with the devil? And can Danny ever be accepted into the community and more especially into the heart of Alwyn (Parisa Shahmir)?
The show leans heavily on family, which is strong in these communities and is no bad thing, as the various generations have to work together even though their ideals and aspirations may well be different.
So given that the show gained a rapturous reception in Plymouth (by the sea), how did it fare in landlocked Birmingham (by the canal)? Judging by the reaction (standing ovation and massive applause) the entire cast without exception can be very proud to have brought a little bit of Cornwall to the West Midlands. The only thing missing were those delicious pasties!
For a further insight into how the show was put together, have a listen to my interview with Dakota Starr who plays Ben along with a couple of songs from the show:
https://1drv.ms/u/s!As__InsoO2XBjnJs6tCzFGYaOtI1?e=jG7jpI
6th - 10th September 2022
Alexandra Theatre
Derren Brown - Showman
⭐⭐⭐⭐⭐
Brilliant. Mind-blowing. Impressive. Devious. And very personal.
A true "Showman" with more than two hours of audience-participating spectacular trickery.
Make that phone call - if you dare...
25th - 27th August 2022
Alexandra Theatre
Fame
Given that the last outing for the Alexandra's Stage Experience was back in 2019 with Singing In The Rain, you might think they have had three years to prepare for their latest extravaganza Fame. Not so! This year's show has been put together in record time during August. Bringing together, for their 17th production, a range of young talent aged between 9 and 24 from across the Midlands, the one constant has been choreographer Pollyann Tanner who never ceases to amaze with how she can bring together a motley bunch of youngsters to produce a show in a couple of weeks which would happily grace the West End stage.
Like Stage Experience, Fame is of course all about how kids get to be on the stage in the first place. Based on the film from 1980 (an all-American movie directed by British film-maker Alan Parker), the show tells the story of students at the New York School for the Performing Arts and their bid to get a foothold in the industry. And undoubtedly, some of these young performers will be setting their sights on the same as their American equivalents.
From the very start, we are treated to an ensemble song and dance piece which sets the bar really high, with more than 60 on set to perform an extended routine (Pray / Hard Work) which puts the entire cast through their paces before moving onto a quieter lament with "I want to make magic" performed by one of the leads, Mason Daw, playing the quiet introspective Nick. At the other end of the spectrum is argumentative bad boy Tyrone and drug-taking bad girl Carmen, superbly played by Bradley Mutizwa and Laura Byran (who can really belt out a tune!). Louis Goode plays the cheeky Joe Vegas in his first Stage Experience role (as with many of the cast) and between then, Louis and Bradley have some of the best, funniest and definitely non-pc lines (which can't be repeated here!). Another cool kid in the school is Schlomo played by Cree Henson, trying to get a band together with other leads being Freya Hancox (another with a really strong voice) as Nick's potential girlfriend Serena, Eden Wedgbrow as Mabel, Eva Derbyshire as Grace, Jasmine Gill as Iris and Nathan Wong as the trumpet playing Goody.
As in all the best musicals, the reprise of the finale brings together all the events we have enjoyed throughout the evening - the songs and the extensive dance routines (how do they learn and remember all the complicated moves?!) involving the entire cast on stage before their curtain calls and Laura bringing the show to its rapturous conclusion as Carmen and the show's title song.
There were obviously many delighted and proud mothers, fathers and grandparents in the packed auditorium!
And as is tradition, Pollyann then came into the stage along with producer Becky Peers to congratulate her team of on-stage performers but equally those off-stage members of Stage Experience who were the Technical Team responsible for sound and light. And every year, Pollyann must be thinking "how can next year's show possibly be better than this?!"
24th - 27th August 2022
Vesta Tilley Studio
Happy Families
Set around a dining room table, Happy Families is author John Godber's semi-autobigraphical story of his upbringing in Yorkshire, seen from the eyes of his graduating self in 1978.
Godber, who was Director of Hull Truck Theatre Company for 26 years and is perhaps best known for his brilliant comedies Teechers and Bouncers pulls no punches in his description of life in a close-knit somewhat unadventurous family (as most were at the time, the height of sophistication being a caravan holiday in Filey) across three generations. John (played here by Amanda Blockley who portrays all the characteristics of a sometimes angry young man trying to decide on his future) begins his story when he receives what is perceived to be bad news. He has failed his 11-plus (younger readers, Google it!) and is destined for years in a Secondary Modern school much to the despair and huge disappointment of his parents. With John's previous generations going down the pit, this was seen as way to achieve better things. His dad Vic (Chris Isaac who spends a lot of the time hidden behind a newspaper) and his mum (Michelle Whitfield, always making tea, as they do!) don't have that much in their lives, especially compared with his Aunt Edna and cousin Rebecca (Sue Hawkins and Ellie Davison) who drink Earl Grey tea, have extensive holidays abroad and waste no time telling others about it. A caravan in Filey? No thank you!
At the far end of the family is John's grandad Jack (Frank Welbourne), whose answer to everything is a punch up and who is never afraid to say what he thinks and grandma Liz (Jane Wooton) who together form a doting couple in their twilight years. There is also young neighbour Lyn (Lydia Wotton/Sophia Davkina) but the less said about what they get up to, the better!. And Auntie Doris (Jane Lush, who also directed the play) whose home-made tarts apparently set like "concrete in the stomach". Oh, and there's Doris's husband Ken, who curiously never visits the family…
Throughout the play, John steps forward to address the audience and give little insights into his actions which are particularly effective given the proximity of the audience to the small stage at the Vesta Tilley studio (quite packed with a large table, chairs and a cast of 9). You can easily believe that Amanda is just talking to you.
Whilst his family do not initially understand his desire to do drama, the outcome of the story is obvious as we have in front of us the third most performed British playwright after Alan Ayckbourn and someone called Shakespeare!
Sometime it pays to go against the flow and do your own thing and this group of amateur actors brought the trials and tribulations - and ultimate success - of the young John Godber to life in a drama with many humorous touches and great pathos.
22nd - 24th August
Malvern Theatres
The Tiger Who Came To Tea
Magical things happen on stage when The Tiger Who Comes To Tea comes through the door - things which can't quite be explained like the food on the plates and in the fridge suddenly disappearing!
This is an Olivier Award nominated musical version, direct from the West End, which brings to life Judith Kerr's very popular story and is something which is already no doubt familiar to the children in the audience. There is loads of audience participation here, singalongs with the three cast members (just like in a panto, which is also how the Tiger first appears - "he's behind you!") to various sequences including the ticking of the clock, which is used to show the progression of the day from a typically chaotic breakfast to teatime when the loveable, colourful (and huge!) Tiger appears.
The Tiger soon begins to eat and drink them out of house and home (hence the disappearing food) and when switching on the radio, starts a dance routine which had all the kids - and adults - in the audience up on their feet participating.
It's great to have short shows like this based on stories which children already love - this comes in at around 55 minutes, which is long and lively enough to ensure that boredom does not set in the young audience - and barely a single rush to the loo during the show!
The show runs with two more performances a day on Wednesday and Thursday and is proving very popular as a holiday treat for the kids (and adults!).
www.tigerstealive.com
9th - 12th August
Malvern Theatres
The importance of being Earnest
The 2022 show from the Malvern Theatres Young Company, under the usual expertise of Nic Lloyd, is Oscar Wolfe's The Importance of being Earnest, and with 7 young actors, a table and a couple of chairs, the stage is set for an enjoyable and impressive evening's entertainment.
As in previous years, the play is performed "in the round" in the Forum where the audience is on three or four sides rather like a wrestling ring - this is always an interesting experience as the actors have to perform equally to, in this case, three sets of people.
The age of the actors ranges from 19 to 23 but they already have a wealth of experience both with the MTYC and other companies.
Company stalwart Rhys Harris-Clarke with around a dozen shows under his belt plays the roles of the Rev Canon Chasuble, manservant Lane and butler Merriman (just watch his hilarious facial expressions which tell a story of their own!) and kicks off the show with a little dancing accompanied by, well, no-one really!
Edward Kirby is confident and mature in his role of John (or is it Earnest?) Worthing, a young man from the country who is in love with Gwendolen Fairfax and also is hilarious with his mimicking of his aunt and his attempts to force acceptance of his engagement to someone who will only love a man by the name of Earnest. The other male character - Algernon - is played by the oldest member of the troupe, Henry Pyne, equally at home in the role of another young gentleman from London, this time the nephew of Lady Bracknell and who is in love with Cecily Cardew.
On the female side of the family are, of course, Lady Bracknell (Ellie Ricci in her first MTYC appearance), very much a society lady and dressed accordingly, Elizabeth Anne Jones as her daughter Gwendoline, Lexi Henry plays Cecily and Mia Stevens takes on the character of Miss Prism - all play their roles superbly, even if Lady "a handbag!" Bracknell is a very young 20 years old!
The show is a very pointed satire on Victorian values towards love and marriage and the ways those morals are being tested by the new generation. Had the show been performed by a professional company of actors, they would have done no better than this talented group who were faultless in their rendition of Wilde's play.
The concept of doing this in the round, works very well and allows a flexibility which will be useful in other venues for the show will not only be staged at the Malvern Forum. After the shows here - running until Friday - they are off to Edinburgh to perform at the Fringe, which will undoubtedly give them a mass of useful experience.
So another successful show for the MYTC and especially welcome as it a light satirical comedy. What was also nice to see was participants of previous shows turning up to give their support. Indeed, Toby Burchell will be returning to the Malvern stage over the festive season in A Christmas Carol whilst others continue to perform in Ben Mowbray's Our Star Theatre Company.
One thing to note - the evening shows start at 7pm sharp - something which quite a few people apparently hadn't noticed...
28th July 2022
Swan Theatre
The importance of being Earnest
A version of the classic Oscar Wilde comedy The Importance of being Earnest performed by just three actors? Absolutely - why not?!
The name of the company performing the show - Slapstick Picnic (the stage resembling an outdoor picnic) - maybe gives a clue that this is a cheeky, sometimes irreverent adaptation of the comedy.
With just two main actors - one male, one female - and a plethora of characters to portray, the costume changes are frequent, fast and furious. Sometimes the same character, for example Lady Bracknell, is one minute played by one actor, then with a quick change by the other. And always expertly and deftly done, which is no mean feat given the rapidity of the action. The third actor is there mainly to ensure the costume changes work as planned but does finally get her chance to play The Lady...
The story itself, however, remains true to the original and all the expected themes are there, if in exaggerated form as silliness is key to the show. Cucumber sandwiches abound (and end up in the audience!) and when the all-important handbag makes its appearance, it is hilarious and certainly not what you expect! There are some excellent and unexpected moments of choreography too which always got audience applause. Slapstick by name, definitely slapstick by nature…
This was an early start (6.30pm, even though the official publicity pamphlet for the Fringe stated 7.30pm!) and ran uninterrupted for around one hour and three quarters. Being part of the Fringe, this was a one-off performance but a show by their sister company HandleBards was presented earlier this month at The Fleece Inn in Bretforton. Their USP? The travel from venue to venue by bicycle… Crazy!
For possibly a more traditional version of the play, head for Malvern Theatres from August 9th. But this also comes with a twist - it is presented by their company of young actors before heading to another Fringe - the one in Edinburgh.
19th - 23rd July 2022
Alexandra Theatre
Some mothers do 'ave 'em
70s music greets you as you enter the auditorium - the perfect accompaniment to an era when sitcoms were king, watched by audiences upwards of 20 million. The likes of Dad's Army, Porridge, Rising Damp and Fawlty Towers all have their roots in this era and are still popular today as their comedy seems ageless. Another classic show which enjoyed a 6-year run is now playing to audiences new and old - Some mothers do 'ave 'em.
Perhaps wisely, the production has not been "updated" - the set is very definitely reminiscent of a 70s sitcom, from the garish wallpaper to the music centre and the photos on the wall all perfectly replicating 70s living, at least as seen through the eyes of sitcom writers, in this case a collaboration between Guy Unsworth and creator of the TV series Raymond Allen. Key to the success of the series was, of course, Michael Crawford who played Frank, the hapless, gullible but lovable character with a heart of gold and an apparent inability to carry out any task without turning it into a major catastrophe.
Into the role for the stage version comes national treasure Joe Pasquale who fits into it remarkably well. Luckily for him, the show doesn't include the hair-raising stunts which Crawford was famous for (so no chasing after a London bus on roller skates!) though the sequences with the banister had to be well-rehearsed to avoid injury. Sarah Earnshaw plays Frank's long-suffering wife, desperate to tell him some good news whilst some of the best lines (certainly those which involved a long and rapidly-told story about watches and witches which deservedly got a big round of applause) were given to the wonderful Susie Blake playing Frank's increasingly-intoxicated mother-in-law. The casting was spot on and also included Moray Treadwell, James Paterson and Ben Watson in supporting roles.
Although an article in the show's programme makes the rather dubious claim that "TV sitcoms have been out of fashion for decades" (the author obviously forgetting the likes of Friday Night Dinner (Channel 4), Plebs (ITV) and Outnumbered (BBC) - all future "classics"), there is no doubt that the 70's did provide a wealth of comedy content to counteract everything else that was gloomy at the time (strikes, power cuts, failing governments...) and now seems the perfect time to resurrect them (though maybe not Love the neighbour!). The audience (and especially some of the very vocal ladies in the stalls!) certainly thoroughly enjoyed this blast from the past and even sitting in a 120- year old theatre on the hottest day ever couldn't diminish that!
The show ended with all the cast - and Joe resplendent in a white suit, a million miles from his beige overcoat and cap - dancing to that 70s classic, Mud's Tiger Feet. A perfect fitting to a much-loved, if very silly, comedy.
Oh, and Fun Fact - his catchphrase "Ooh, Betty" was uttered only once during the show's 23 episodes…
15th - 17th July 2022
Dragon Orchard
Murder Mystery
One of the advantages of the current heatwave is that outdoor events are pretty much guaranteed warm summer evenings (for as long as it lasts at least!).
And so relaxing in the open air in the country setting of Dragon Orchard in the small Herefordshire village of Putley near Ledbury to watch a Murder Mystery (albeit a comedy one) is one of life's little pleasures.
Revisiting the unusual venue after their previous productions there, Our Star Theatre Company is putting on a show in the style of those "plays that go wrong"... this time, The Murder at Checkmate Manor (written by David McGillivray & Walter Zerlin Jr and adapted by the company). So effectively a play about a play being put on by a bunch of enthusiastic amateurs from FAT (the Farley-Wallop Amateur Theatre company) which starts with the preparations before the play actually starts - the placing of the props, etc. And at this point, Ava Weetman chats to the audience (all the actors are surprised to actually see us there!), something which she does at various points during the play. Ava is one of the 5-strong cast who, due to the number of characters in the show, both alive and dead, have some quick costume changes to perform as they change from role to role.
Ben Mowbray, the company's director, plays the policeman attempting to nail the murderer as the death toll mounts. Another Our Star stalwart over the years, Rhys Harris-Clarke is, for most of the time at least, the family butler, Katie Balson has a range of family characters to portray and Ava does indeed have other parts to play, including the vital one of a sexy French maid... Newbie to the company Ellie Davison makes an impressive debut too.
The play's ethos is "what can go wrong will go wrong" but there is a skill involved in making a play apparently effortlessly "go wrong", especially in an outdoor production - missed cues, inexplicably and confusingly jumping forward in the script, faulty props, the technical team not doing what they should etc - when in fact everything is going exactly as planned (and to be fair the audience is unlikely to spot any real "accidents" anyway!).
A very funny show and the perfect way to spend a couple of hours on a summer's day, along with Dragon Orchard's own range of products on sale. The show runs over the weekend.
The company continues to play both locally and nationally - over the summer appearing at the Edinburgh Fringe, Bristol, Burton-upon-Trent and Stroud as well as bringing their panto version of Dick Whittington to the Conquest Theatre in Bromyard in December.
www.ourstartheatrecompany.com
5th - 9th July 2022
Malvern Theatres
Boeing Boeing
Generally perceived as a French invention, farce (which gets its name from the French language, more specifically from the French word meaning to stuff(!)) has equally become synonymous with a very British type of slapstick humour. In Boeing Boeing, we get the best of both worlds - a French comedy translated into English. Marc Camoletti's play is a real treat and was first presented to London audiences 60 years ago - a time when attitudes were certainly different from today.
So we have Bernard (John Dorney) as a batchelor with a girl in every port. Or rather all in one port - his flat near Orly airport in Paris - as his trio of adoring ladies are all air hostesses (as they were called then!) each keeping to their tightly-run schedules and never encountering each other. One by one, we are introduced to the staff and coloured uniforms of three different airlines (only one of which still exists today!) - TWA's Gloria (Isabel Della-Porta), Italia's Gabriella (Nathalie Barclay) and Lufthansa's Gretchen (Jessica Dennis) who fly around the world and are each fiancéed to the unscrupulous Bernard. Add the mix Bertha (Jo Castleton), a very down-to-earth British housekeeper and cook and the boy from the sticks (actually Aix-en-Provence), Robert (Paul Sandys) and you have the makings of a situation comedy which pans out over a single day (3 acts - morning, afternoon and evening) as Bernard's carefully constructed plans come crashing down. For as we all know to our cost, schedules can change unexpectedly at the last minute… and you can be sure that all the doors in that swanky apartment are going to be made good use of…
Poor innocent Robert, newly arrived in Paris, is left to try to coordinate the rapid comings and goings of the ladies but can he manage to keep them apart from each other and thereby keep Bernard's little secret going? Well you will know that answer to that obviously!
It's slightly unfair to single out any member of this great cast but Paul Sandys was superb as the rather gullible (less so towards the end as he begins to embrace Bernard's dubious lifestyle!) Robert as was Jo Castleton, whose character and accent gave a very British angle to the play. That said, as an ensemble piece, they all worked very well together and were clearly enjoying themselves as much as the audience was enjoying them.
If farce is entertainment through the highly exaggerated, the extravagant, the ridiculous, the absurd and the improbable, then this show gave everything that is required. Very funny from start to finish and another feather in London Classic Theatre's cap.
Doors to manual…
30th June 2022
Swan Theatre
Watson: The Final Problem
⭐⭐⭐⭐⭐ A concise and enjoyable adaptation of the 1893 story
90s sitcom star Tim Marriott, who played ‘Gavin’ in seven seasons of BBC's The Brittas Empire, has co-written and stars in Watson: The Final Problem, a one-man show about the life and times of Sherlock Holmes's ever-reliable right hand man, John Watson. It covers more than just his friendship with the esteemed yet difficult sleuth though, beginning with when he was involved in and subsequently injured in war in Afghanistan and looking back over his life with Holmes, including how they met, a couple of years after both the detective and his wife Mary have passed away.
With a simple set which includes a chair, a table and a coat-stand, it falls upon Marriot to hold the audience's attention which he does with the aid of a great script and some well-timed special effects, whether they are of fighting during the war, a train passing by with Moriarty on board or the thunderous roar of the Reichenbach Falls, seemingly the ultimate location for Holmes and his nemesis. His aim, in 1894, is simply to put the record straight and to quash the many rumours flying around London, some of which were put about by Moriarty's brother. So is this the "true" story of what happened at the Falls that fateful day? It certainly casts an intriguing view of three of the most famous fictional characters in history.
The show has already garnered good reviews from an outing at the Edinburgh Fringe Festival (and will be appearing there again this year). At around an hour in length and with continued interest in Holmes and Watson on television, Watson: The Final Problem seems perfectly suited to the Fringe's audiences and deserves to do well.
28th June - 2nd July
Alexandra Theatre
Guys And Dolls
⭐⭐⭐⭐⭐ A great night out - colourful and lively, the enthusiasm shines through
It has taken a while, more than two years in fact since they started rehearsals, but BMOS Musical Theatre Company are finally back on stage doing what they enjoy most - presenting an extravagant stage musical to the public. And, as always, it is a production which bears comparison with professional shows.
This time, they have chosen Guys & Dolls, the show based on Damon Runyon's short stories which first saw the light of day on stage in 1950 and which 5 years later became a film starring Frank Sinatra and Marlon Brando. With a Tony Award-winning score, this is the perfect show to test all of the participants skills - singing, dancing, speaking in an American accent - and they do it superbly. And whilst the musicians (the impressive 12-piece Midland Concert Orchestra) and set and may be brought in for the occasion, the rest is pure BMOS - enthusiastic, lively, colourful and thoroughly enjoyable. And it is clearly not just the members of the audience who enjoy it, the cast obviously do too (especially with family and friends watching their every move!).
The four main characters are Guy Masterson (James Gordanifar) and Nathan Detroit (Patrick Pryce) - both small-time gamblers of the crap-game variety, always moving on from one location to the next (which in one scene is the sewers!) - Miss Adelaide, Nathan's long-suffering girlfriend of 14 years who amusingly, in the eyes of her mother, is married to Nathan and have 4 children together and finally, Sarah from the failing Salvation Army Mission who, in spite of her situation, develops more than a fondness for the morally-dubious Sky. All four carry out their roles perfectly but there are other cast members too who are worthy of mention. Phil Saunders (Harry The Horse, who must have spent a long time learning how to neigh!), the always-eating Alex Broadfield (the strangely-named Nicely-Nicely Johnson) and Dave Shaw playing the rather high-pitched Big Jule.
The show has a number of well-known songs, particularly Luck Be A Lady Tonight and Sit Down You're Rocking the Boat, the latter giving the entire ensemble and especially the Hot Box Girls the opportunity to perform a wonderful extended song and dance routine whilst the relocation to Cuba for one scene (part of Sky's bet with Nathan) was another successful element of the show enabling a different type of dance to take centre stage.
All's well that ends well of course with the gamblers enabling the success of the Mission (with the reformed Sky now even working there!) and the two couples finally tie the knot, a happy ending to a colourful and enjoyable show.
A nice touch was having the real Salvation Army playing outside the theatre when we arrived.
BMOS have not made known their next show yet but with well over 100 years of experience and recent summer shows such as Chitty Chitty Bang Bang, My Fair Lady and Calamity Jane under their belt, they can pretty much guarantee they will be putting on another crowd-puller and without a three-year wait!
Prior to the show, I chatted to Patrick Pryce who plays Nathan Detroit. You can hear the chat here:
https://1drv.ms/u/s!AhfUKQX-WLIya0nJCI3r8wfbQVo?e=IecxT3
23rd June 2022
Swan Theatre
Su Pollard: "Oh... and another thing"
Certainly no shrinking violet, Su Pollard burst onto the stage resplendent in a glittery costume through some equally glittery curtains above which was a giant pair of glasses. The show's title "Oh, and another thing" refers to her - thankfully - seeming inability to stop talking, no bad thing in a one-woman show (albeit with her pianist Steve on hand to provide the musical accompaniment). And although she might be best known through her appearances in many TV series, she has been part of many a successful musical too, from Godspell (Jezebel!) to Annie's Miss Hannigan via Me and my Girl. She recounted her life with warmth and humour, thankfully never holding back when a rude word was required, not being woke or politically correct, much to the audience's obvious delight.
The second half of the show was more relaxed as the audience provided the questions (written in advance so necessarily all from that night's attendees), ready by Steve and answered by Su. Some were serious, some were cheeky, some were definitely way out there, such as "Would you prefer to hav bananas as hands or an orange as a head? Quick as a flash came the reply - "I'd rather have melons as tits!". The audience certainly got its money's worth.
However, there were less than 50 people in the audience. How can that possibly be? Well, part of the reason must be because when you arrive at the Swan theatre, it looked completely dead. Not a single indication that there is even a show on that night, let alone one starring the illustrious Su Pollard (this was exactly the same for A bit of a Carry On a couple of weeks ago which had to be relegated to the small Vesta Tilley space due to a lack of sales). Quite honestly, it beggars belief that if the venue wants to be a post-covid success, it is not pulling out all the stops to promote itself to the public.
20th - 25th June 2022
Malvern Theatres
Cluedo
How do you take a classic board game and turn it into a hilarious stage play? Involve the Director of The Play That Goes Wrong for a start and then base it on the screenplay by Jonathan Lynn (who gave us the inimitable Yes Minister and Yes, Prime Minister). Add in some stars - Michelle Collins and Daniel Casey (who have both been in Eastenders) - and a cast of easily-recognisable characters and you have a fun show which keeps you guessing till the very end.
It looks like a very British show, based as it is in a country pile outside London on a dark thundery night but it is in fact a British version of an American play, based on an American film (Clue), based on, you've guessed it, the very British board game which was created during World War Two air raids by an avid but bored crime enthusiast called Adrian Platt - in, of all places, Birmingham. Now famous worldwide, there have been many other interpretations, such as four series on ITV back in the 1990's which starred Joanna Lumley, Stephanie Beecham and Richard Madely amongst others and even a Golden Girls version in the US where there was no murder, just a stolen cheesecake!
There are all the elements of the board game in the show - 6 people, 6 rooms and 6 deadly instruments. And a killer. So we have Miss Scarlet (Michelle Collins), Professor Plum (Daniel Casey), Colonel Mustard (Wesley Griffith), Mrs White (Etisyai Philip), Mrs Peacock (Judith Amsenga) and Reverend Green (Tom Babbage, who has been in many a Goes Wrong production), all of whom have, in the best Agatha Christie fashion, received an unexpected invitation to the ancestral pile of the mysterious Lord Boddy - and all of whom also have secrets to hide - whilst the proceedings are held under the watchful eye of Wadsworth (the brilliant Jean-Luke Worrell), the butler who explains that his job there is to butle!
And so the stage is set for a sometimes frantic escapade, fully utilising the doors leading to the different rooms (which also cleverly open out to become the room itself) as if in a typical British farce with the characters appearing and disappearing as if being pushed around the board game whilst the death toll mounts… And if you get lost in the plot, there is a very funny and superbly-performed recap given by Worrell which fully deserved the round of applause for getting to the end without any mistakes. Although not one of the standard Cluedo characters, Wadsworth often has the funniest lines and the most energetic moves as well. Similarly, each character has the opportunity to "rewind" the action to show what "really" happened from their point of view… But who to believe in this crafty whodunit?
Mark Bell, the Director, hopes to have made a gripping thriller which is also an exciting joyful comedy. It would not be an exaggeration to say that he has successfully achieved both aims if the audience reaction is anything to go by.
17th - 19th June 2022
Three Counties Showground
Royal Three Counties Show
The Royal Three Counties Show is back with a bang and the Gods of Good Weather made sure that the first day of the three-day event was drenched in glorious sunshine on what was the hottest day of the year so far.
As usual, the entire showground was covered in events which are worthy of people's time, from the large events in the main arena - the parade of excited dogs, beautiful shire horses and other livestock and the sighting of the plane carrying the Red Devils indicating that they would be soon be landing in a colourful blaze of glory - to the smaller events involving super-intelligent sheepdogs and birdlife. Plus, of course, stands displaying a plethora of information and goods to buy. But let's not forget that this is first and foremost an event where the farming community from all over the UK come together to be judged by their peers and take home - hopefully - some First prizes and either side of the judging itself, visitors to the show can mingle amongst the many breeds of sheep, poultry, horses, dogs etc and chat to their obviously proud owners. Even if you know nothing about Shetland sheep, chatting to guys like Robbie, one of the exhibitors from South Wales with his very gentle flock, opens up a whole new world of interest and reasons to be impressed. There is a complete timetable of entertainment too, from Worcester's Ukulele band to the Rock Choir, from competitive horse shoeing to creating beautiful creatures such as a large owl out of a lump of wood with a chainsaw in less than 25 minutes (sadly outbid in the auction to buy said owl!)
This time, interviews concentrated not on the celebrities (Kaleb Cooper being the latest to be feted in that way, having taken on Jeremy Clarkson and put him firmly in his place in his recent TV series) but on the some of the people making the Three Counties of Worcestershire, Herefordshire and Gloucestershire great and the perfect destination for locals and visitors alike.
So listen to the following for a glimpse into how are coming out of a devastating couple of years and if you visit the show, have a chat to them yourselves!
https://1drv.ms/u/s!As__InsoO2XBjmzp6QTrSgR6zs-c?e=H5iLqd
Linda Robinson - Visit Worcestershire www.visitworcestershire.org
Claire Rowley Farm Holidays RowleyFarmHolidays.co.uk
Dale - Attwell Farm Park, Redditch www.attwellfarmpark.co.uk/
Lila - Bespoke Brewing Mitcheldean bespokebrewery.co.uk
www.facebook.com/BespokeBrewery
Katie Whitehouse - Oh My Goat Mitcheldean
Caroline & Ailsa Labels Ross On Wye www.labelsshopping.co.uk
16th - 19th June 2022
Alexandra Theatre
Lord of the Dance
⭐⭐⭐⭐⭐ Utterly superb and exhausting to watch!
One thing we can thank the Eurovision Song Contest for (other than Abba, of course) is the interval performance back in 1994. That surprise element showed Irish dancing in a completely new light and was enlarged into the full-blown stage extravaganza that was, and is, Riverdance (which I saw from the front row of the circle at the Hammersmith Apollo in December 1995), with Michael Flatley and Jean Butler as dance leads. Flatley then branched out to create his own show Lord of the Dance and it is this show, some 25 years on, which has been revamped for a UK tour - new performers, new music, new staging, new costumes and choreography plus cutting-edge technology and special effects lighting. In fact, a completely new show for this decade with the aim of achieving Flatley’s belief that “Nothing is impossible. Follow your dreams.”
Whilst it is obviously a pared-back version of the original show (excerpts of which were shown on screen during the show), it is nonetheless a very impressive and spectacular show. Modern technology allows for some amazing full stage projected images to help tell the tale: fiery red burning forests as well as landscapes and other Irish imagery such as a floating 3D Celtic knot. And the tale is the age-old battle of good vs evil. In the dreams of the Little Spirit, the Lord of the Dance represents all that is good. The Dark Lord and his warriors, aided by a Temptress, is at the other end of the scale. And two shall meet and form the basis of a couple of very energetic face-offs.
As you would expect, the dancing is of an incredibly high almost unbelievable standard. It is quite remarkable to watch when all of the dancers are on stage in a line and see that each and every one is in perfect sync with the others, in spite of the complexity of the routines, which is vital to hearing all 17 dancers produce each tap (and there are hundreds in every routine) as a single sound . The multiple encores were well deserved but, as they say, it ain't over till the fat lady sings or, in this case, till Michael Flatley has appeared to perform a dance. Not in person on the stage as this is achieved through the same clever technique as the scenic projections, this time with not one but three Flatleys competing with each other and then merging quite magically into one person and then disappearing in a puff of smoke. Genius. And a great way to end the show (along with more standing ovations as the dancers ended their routines!).
14th - 18th June 2022
Malvern Theatres
A Murder Is Announced
The scene is set by the simple appearance in the personal ads of a local newspaper which states simply that a murder will take place at 6.30pm on Friday at the Chipping Cleghorn home of Letitia Blacklock. From that point on, and with the inclusion of amateur sleuth Miss Marple, we follow one of Agatha Christie's notoriously complex tales of mystery and murder.
A Murder Is Announced comes from Middle Ground Theatre Company and is the latest in a long line of both classic and alternative dramas over the past three decades, ranging from Gaslight and On Golden Pond to Cadfael and The Railway Children.
This time, they are firmly in Christie territory with a tale that has many twists and turns and more red herrings than your local fish counter. Sarah Thomas takes on the role of Miss Marple, quietly analysing the events of the night in question, much to the annoyance of the policeman in charge of the case, Inspector Craddock (Tom Butcher). So who is in on the act? After all, someone present on the evening must be the murderer… It seems that most have a case to answer as relationships unravel before your eyes. And why would anyone arrange for a murder to take place at this particular location, the home of Mrs Blacklock (Barbara Wilshere)? As far as the audience is concerned, it could be anyone but maybe particularly Mitzi, the Eastern European cook (played magnificently, and generating plenty of laughs, by Lydia Piechowiak) who obviously has an axe to grind. And who is the victim anyway? Slowly but surely the tale comes to its conclusion, even if poor Bunny (Karen Drury) doesn't seem to know whether she is coming or going.
There is plenty here to keep you guessing throughout the show over its two acts, each with 3 scenes based in the sumptuous drawing rooms of this Victorian house. And if you don't already know the story, you probably would not guess the culprit and the reason behind the murder. Just sit back and enjoy a tale of mystery and murder with only the irrepressible Miss Marple as the one person telling the truth. Or is she…?
If you need more Agatha Christie fixes, there are other mysteries to solve later in the year.
The Mirror Crack'd (Miss Marple again, this time played by Susie Blake) is staged from November 14th and The Mousetrap in its 70th Anniversary tour runs from January 30th.
And the author herself is the subject of Where Is Mrs Christie? at the Coach House Theatre next door - Chris Jaeger's play about her own mystery disappearance for 11 days which has two performances on November 12th
12th June 2022
Swan Vesta Tilley Theatre Worcester
A Bit Of A Carry On
When your family is in the public eye, you might think that people know all there is to know about you. But even members of the family can discover secrets and that is certainly the case for Tyler Butterworth whose parents were Carry On actor Peter Butterworth and impressionist Janet Brown.
As he explained in his lovely show A bit of a Carry On, his dad had a secret which he took to his grave and which was revealed only when the government de-classified secret war documents and the secret was out. For Peter had spent most of World War Two as a prisoner of war, ensconced in Stalag Luft III and narrowly escaping death on various occasions, after being captured by the Nazis when his plane (he was a Royal Navy Fleet Air Arm lieutenant) was shot down in the summer of 1940 on the occupied Dutch island of Texel.
As Tyler explained, it was during this time that his dad forged a friendship with someone who would change his life completely and ours as well through the Carry On series and TV shows such as Up Pompeii - writer Talbot Rothwell, also a downed pilot. The stories he told about his dad border on the unbelievable and yet are true, with many photographs to prove it. Whilst at the camp, they managed to convince the camp commanders that they should have a 300-seat theatre in which they could perform to inmates twice a day. But equally it could be used to hide the earth which was being excavated as the future escapees created their three tunnels... Ironically, he was subsequently turned down for a role in the escape film The Wooden Horse because he "did not look convincing enough as a POW"! Recounting the fact that some of the German commanders were actually considerate and helpful was rather eye-opening too, giving them bottles of champagne after a failed escape attempt, saying "nice try".
The rest is history, of course, and Tyler was raised in a world where the famous names of the time were regularly presented to him and his sister, Sid James, Kenneth Williams, Joan Sims, Bernard Bresslaw amongst them. On his mother's side, Margaret Thatcher obviously featured greatly too. She also had a military background, having enlisted in the Auxiliary Territorial Service, and was the first female performer to take part in Stars in Battledress.
Both parents were presented with a This Is Your Life tribute by Eamonn Andrews and Tyler brought along one of the famous red books full of photos of the night (not the one presented during the show as that contained only the script!) as well as the original script his father received for Carry On Up The Khyber and a sad reminder of his time spent as a POW - part of a wheelbarrow handle used by his dad and Rothwell to help push each other along during the Long March in winter 1944/45.
This was a fascinating presentation with a question and answer session which revealed much more than expected about two well-loved characters from comedy's golden age.
You can hear my interview with Tyler here:
https://1drv.ms/u/s!AtuaI9OE0AgBgSOBspaIoM2i857n?e=1cqAKh
10th June 2022
Huntingdon Hall Worcester
Joe Broughton's Conservatoire Folk Ensemble
If anyone can stretch the definition of a music genre, Joe Broughton can. Folk, in Joe's eyes, has by no means a narrow definition and his Conservatoire Folk Ensemble includes just about every instrument and style imaginable.
It is also a very fluid ensemble, made up as t is from the members participating in each year's programme. This basically comes from a loose weekly get-together of Royal Conservatoire students who spend the time creating music which ultimately they will get the chance to perform on stage. Sadly, the pandemic put a sudden stop to that for the 2019/20 year who would never get to perform on stage. But things must go on and a new line-up now gets to present their repertoire (but luckily did get to record for an album, just in time). The same number of talented young musicians will crowd onto the stage at Huntingdon Hall and give their all in a concert which includes some of their own pieces along with standards which Joe has been performing with the ensemble for many years.
Whilst most of the songs involve the entire near-50 piece ensemble (yes, really - 50, all with their instruments!), there is always room for some smaller groups to take centre stage. Some of these can be rather surprising - the combination of cello, trumpet and drum, for example, was excellent as was the acapella duet performing a spine-tingling version of Shenandoah, crystal clear voices perfectly carried by the wonderful acoustics of the Hall. All the individual pieces were a joy to watch because not only did the audience enjoy them, but the other musicians clearly did too. The ensemble is, by definition, all of the musicians coming together and you could hardly have hoped for a more joyous and lively evening with the horn section in particular making a real difference to every tune they were part of - folk music, trumpets? Yep! The co-ordinated movements of the musicians is an integral part of the show, jumping up and down in synchronised fashion, leaning or crouching and rising up as the music's crescendo demanded.
Whilst the audience has something very special to enjoy after an enforced lull of more than two years, what made the evening a real pleasure was to see the absolute joy on the faces of the entire ensemble, glad to be back, on our little stage, performing with Joe in front of a live audience, as the ensemble has done for many years (this is their 25th year celebration).
The show did include a number of tracks from their new album (the one delayed because of the pandemic) "Not leaving quietly" (quietly is clearly not a word in their vocabulary anyway!) and one of the duets during the show was from Harry Thorpe and Sean Morrison, marrying guitar and violin, English and Scottish, Guinness and dog (!), with a track called Merlin the Wolfhound and their album Saffron's Well was also available on the night (they have a newer one but it had already sold out!). Oh, and we sang Happy Birthday to Harry's mum who was in the audience.
Definitely an evening to remember for many reasons!
10th June 2022
Swan Vesta Tilley Theatre Worcester
Who Lives Next Door?
Whether you know Worcester-based Vamos Theatre already for their full mask productions or you are new to this type of theatre, you (along with the cast) are in for a treat with their current show. For "Who Lives Next Door?" is not just a brand-new offering but is one which was written from scratch when these talented performers first met earlier this week. They had to design the different scenarios and the characters which inhabit them, all of course without uttering a single work or facial expression. The only sound you hear is the music which effectively sets the scene.
The scenarios chosen are all very familiar to everyone - the charity shop run mainly by older people but frequented by younger ones looking for bargains. The mother, run ragged by her son and daughter after a hard day at work. The new mother whose baby won't stop crying without the intervention of another mother (to say more would spoil that little scenario!). Kids and their video games and pizza deliveries. So you might think that any kind of empathy with the characters would be impossible, as they neither speak nor show emotion via their faces. Not so. The carefully carried out movements of, for example, the old man who sets the table for two but no longer has his wife to sit with him, is genuinely sad. And the ladies in the charity shop show no signs of slowing down and are as active as the young lads playing their video games.
The Wow factor comes at the end when, after the applause, the players de-mask - to even more applause. Without knowing in advance, you would not guess their age range or how close they are, in both age and gender, to the characters they have chosen to portray. The after-show informal discussion is also useful in introducing the actors to the audience and finding out how they went about it in such a short period of time.
It is an amazing achievement to have brought together, for the first time, 14 actors from around the country, concoct and rehearse a play over three days and then dare to present it live to an audience, twice in the same day. It works a treat and they should all be proud of what they have done keeping the name of Vamos Theatre at the forefront of this engrossing type of theatre for a new generation.
The show is on again this evening and one of their other shows - Dead Good - is going to be available to view free online from June 30th to July 14th.
24th - 28th May 2022
Malvern Theatres
Ladies Of Letters
It's been a very long-running radio series voiced by Patricia Routledge and Prunella Scales which was then turned into a successful TV version (albeit only on ITV3) starring Maureen Lipman and Anne Reid so the stakes are high for the new stage version of Ladies Of Letters which sits somewhere between the radio and TV versions and has Tessa Peake-Jones and Gwyneth Strong (both stalwarts of Only Fools and Horses) in the roles of the letter-writing pair of Irene and Vera. The radio series was (obviously) voice only whilst the TV version was filmed largely in different locations (camper van, farm, etc) and with other characters present, but here we are presented with an impressive-looking stage (giant neon-outlined envelopes, huge pens and postage stamps - all the accoutrements needed for writing letters), with on the left Vera and on the right Irene. And never the two shall meet as all communication is done through reading aloud their letters to each other. Which might, let's face it, sound rather monotonous but with the content of the letters and the way they are read is anything but. And the script by Jonathan Harvey, whilst keeping the same story lines as Lou Wakefield and Carole Hayman's original, has been updated to include contemporary references, keeping it fresh and relevant.
Although at the start, the two ladies barely know who the other is, except through a chance meeting at a wedding, they soon get to know each other and that includes their families and their own peculiarities. Irene can be particularly damning and certainly doesn't hold back where her feelings are concerned, alternating between sarcastic and kind in equal measure, leaving Vera to ponder what sort of person she is dealing with. But each also has their own personal tragedies to relate, families who let them down, friends who do much the same, even a spell in prison as a result of taking on a bulldozer at a rally to stop an M&S Food outlet from becoming a Wetherspoons. At times like these, their sympathetic nature and desire to help each other out comes to the fore.
The result is a good solid two-hander of a comedy. Tessa Peake-Jones excels as the somewhat bombastic, single-minded widow and mother of a daughter who decides to flee with husband and new-born to Australia (this is a character not in fact a million miles from her most recent role as the determined and headstrong Mrs Chapman in Grantchester) whilst Gwyneth Strong is wonderful as her more mild-mannered counterpart. The on-stage chemistry, even at a distance, is as important as the script when the show revolves exclusively around two characters and here, with a simple but very effective set, it works very well indeed, giving the audience plenty to laugh - and think - about. Just beware of talking about Charlie!
16th - 21st May 2022
Malvern Theatres
Footloose
Not a very auspicious start to this week's long-awaited show. Postponed in both 2020 and 2021, Monday's performance of Footloose had the audience waiting for an hour in the auditorium before the show was abandoned before it had even begun as, apparently, the touring company had not factored in sufficient time to get the set onto the smaller Malvern stage (having seen the production a month ago in Birmingham, it was clear how much of a squeeze it was).
And then on Tuesday and without any prior warning or notification in the foyer (even the box office was unaware), a number of cast replacements were announced on stage. So no Darren Day then.
At least the show itself, once it finally got started, in no way disappointed.
The remaining star name was Jake Quickenden (Dancing On Ice winner) who played Willard Hewitt, the quiet, shy lad who is not sure how to get the girl but the main couple involved in the show are Joshua Hawkins who plays Ren and Lucy Munden as Ariel, the daughter of a Reverend with whom she has a very claustrophobic relationship. Ren is about to change all that. Joshua in particular excelled in the role, with his boyish charm and forming a very believable bromance with Jake as together they take on the town's rules about no dancing and no singing.
Based on the film of the same name starring Kevin Bacon, Footloose tells the story of young Ren who moves with his mother from Chicago to bible-belt America after his father leaves the family home. But Bomont is a town held back by a tragic story which, over 5 years, has had a big impact on the town and on the Reverend himself. Ren unexpectedly finds that he has something in common with the preacher who banned all entertainment (apart from the game of bridge apparently). With hit songs throughout such as Let's Hear It For The Boy, Holding Out For A Hero, the earworm which is Somebody's Eyes and obviously the title track, the show bristles with energy, particularly in the second half, as Ren works to change the opinions of the town's elders and, during a great rendition of Let's Hear It For The Boy, Willard transforms from gangly awkward youth to confident dancer, in doing so predictably getting the biggest cheer from the ladies in the audience…
All the music is played live on stage with the multi-talented cast making this a real ensemble piece and justifiably had the audience on their feet and, during the final extended "megamix" curtain call, singing along to the reprise of songs with Joshua milking the audience response for all its worth.
Footloose, it's been a while. Malvern welcomes you back!
16th - 21st May 2022
Alexandra Theatre
The Play That Goes Wrong
⭐⭐⭐⭐⭐ More than a little Mischief in this wonderfully inventive show
It's the turn of the amateurs at the theatre this week as the Conley Polytechnic Drama Society take to the stage with their version of "Murder At Haversham Manor".
But the show starts well before the performance itself as Winston the dog has gone missing and no-one can find Lighting and Sound Operator Trevor who in turn cannot find his Duran Duran CD...
OK - all is not what it seems. The title, "The Play That Goes Wrong", pretty much explains the riotous evening which is about to unfold. The show comes from Mischief Theatre who, in addition to other stage plays (one of which, Magic Goes Wrong , is playing at the Birmingham Hippodrome next week), have now had two successful series of their TV equivalent, The Goes Wrong Show.
The show within a show starts innocently enough with the Director welcoming the audience but when he starts describing some of their previous attempts, you know full well that this is likely to be another unmitigated disaster. Which, of course, it is. But the true skill here is not just the acting, always professionally amateurish, but the continuous array of stunts and misbehaving stage furniture, all of which must go wrong in dramatic fashion at exactly the right moment (which explains the slight delay to the start on the first night as everything has to be exactly right in order for it to go wrong).
Cue doors that don't open - or close - windows which fall out, shelves that won't stay put, actors mistiming their cues, whisky which is anything but - even a (real) audience member hauled on stage to help out with the misbehaving furniture! And the whole cast bravely plough on through the increasing carnage as if nothing untoward was going on. Only the director believes that things have been even worse in the past!
One of the funniest characters is Max Bennett, brother of the "deceased", who is clearly loving his opportunity to be on stage in front of an audience (even though love scenes are clearly well beyond his abilities) and the same amateur actor reappears later as the gardener. But you can see why he got the parts - the play is financed by a large donation from a recent inheritance of his...
It is definitely worthwhile getting the show's programme as it contains some very funny information about this bunch of lovable but incompetent amateur drama group players (Conley not Mischief, obviously!) and their other productions.
It's not often that a stage comedy has the audience laughing and cheering throughout its entire length but this is certainly an occasion where this is undoubtedly true, even to the point of getting a thoroughly well-deserved standing ovation at the curtain call.
You'll come away glad that amateur productions are never remotely as bad as the play depicted here but very grateful indeed that the genre gave rise to a very inventive comedy!
A hugely enjoyable show which brings together every conceivable fail where, given the complexity of some of the stunts, on the night it was thankfully The Play That Went Right!
14th May 2022
Huntingdon Hall
Chris McCausland
Chris McCausland at Huntingdon Hall managed to do with ease what every comedian longs for - a packed auditorium, downstairs and upstairs, with fans who clearly appreciated his visit. First, however, it was the chance for support act Jon Long to entertain us. And entertain he did, with funny anecdotes about his move from sleepy Lincolnshire to bustling London, his absolute hatred of jogging and his job working in a recycling centre (or tip) showing people around the facility and presenting them with items which really should never end up in the recycling bin (don't ask!). And in one of those moments which will be forever be imprinted on the minds of the audience, we now the sign language for a certain wobbly sex toy… Thanks for that, Jon!
Now, the stage at the Hall is not huge and when Chris came on, his chair was located rather close to the edge which had the people in the front row hoping they wouldn't be having to rescue him if he toppled over and claiming £250 from You've Been Framed (Chris's joke, that!). Chris however was perfectly safe, almost imperceptibly regularly touching the chair behind him to ensure that he had not strayed too far… The lighting makes it very hot on stage and he asked for it to be turned down - something which of course wouldn't affect him as he couldn't see the audience anyway! And that was moment when you realise that he is there to make us laugh regardless of his blindness and indeed that can be used very effectively whist not seeking sympathy, adding something which other comedians lack. Chris is one of those guys who lost his eyesight rather than being born blind so knows what he is missing. And that includes knowing what both his Brazilian wife and young daughter look like, which he mentioned in one of the short sombre parts of the show. But even that element ended with a gag for Chris is a consummate comedian who knows his stuff. He knows his limitations and what he cannot do in life (as his daughter begins to learn that her daddy cannot do certain things, though hide and seek is apparently always fun as she hasn't yet realised that she doesn't actually have to hide anywhere!) but standing there in front of an audience, he is a guy who can regale us with stories about his life in a way which makes you believe that losing one of the senses certainly doesn't prevent you from having a career as a comedian. One of his gags (or rather stories, as he really doesn't tell jokes as such) was the moment he met his downstairs neighbour in his flat. Both thought the other was being extremely rude, but at the time he had not realised his neighbour was deaf and his neighbour had not realised he was blind! Comedy can come from the strangest and most unlikely of circumstances… Chris is a self-confessed geek and uses technology to his advantage (particular products which read him his texts and allow him to choose appropriate emojis) but even those sometimes fail or embarrass him, in doing so adding more humorous stories for him to tell).
Well known now, of course, for many appearances on shows such as Would I lie to you?, Have I got news for you? and the Royal Variety Performance no less, we can be very grateful that instead of hurtling down the M5 to larger venues, Chris took a right at Junction 7 and headed for Worcester. Or, as he would no doubt say, not him but his driver or he would never have got there!
10th - 14th May 2022
Malvern Theatres
Private Peaceful
Set initially in the years running up to the Great War, the first half of Michael Morpurgo's Private Peaceful deals very effectively with the preamble to conflict. Family life for the 3 brothers and their parents is generally tough but, as a close family unit, they look after each other even when confronted by figures of authority such as the overbearing school master and nasty landlord (as well as, later in the play, the army superiors who shockingly refer to the brothers as "vermin" and "useless"). Which implies there is a sizeable cast but with some of the actors taking multiples roles - as many as 10 in the case of John Dougall - this requires the small cast to make some very quick changes of costume and characters.
The family ties are strong and when Charlie (Daniel Boyd) wants to enlist once the request for troops has been put out, Tommo (Daniel Rainford) wants to follow him, even though he is a mere 16 years old. As was the case with many recruits, the checks on age were minimal and Tommo becomes Charlie's "twin" brother for the purpose of acceptance. One problem is that both brothers love the same woman and they go to war with Molly pregnant with Charlie's baby.
The action is, however, done in teasing flashback style, with Tommo recounting in hindsight how things were, at home and in battle, whilst he awaits a court martial and a death by firing squad. This leads to an incredibly tense (and cunning) final scene which holds the audience spellbound.
The set is beautifully designed, allowing it to represent a number of different locations, including the family home, a river and of course most crucially the theatre of war which it becomes at the start of act 2. Off stage there is even a plane which lands hopelessly off course and the special effects, replicating the noise, the explosions and the general disarray of troops fighting in WW1, are impressively done.
As an illustration of a family - and particularly brothers - bonding in difficult but not unusual circumstances, this is an excellent story set in an age where it was truly tested to the limit and it has been creatively brought to the stage. Definitely a show which should appeal to adults and children (advisory age for children is 9+), it is a masterclass in how a relatively simple but effective set can be combined with a talented cast to produce a show which will leave you thinking about courage, devotion, family and friendship. The fact that Michael Morpurgo, who also wrote the amazing War Horse, considers it to be his favourite work should be all the encouragement you need to see it while you have the chance.
7th May 2022
Swan Theatre - Vesta Tilley
JABS
With the early days of the pandemic being brought back into close focus again with police investigations and fines for illegal parties, "JABS - behind the scenes" gives us a hilarious look at those who were actually doing something about the pandemic even without the required PPE protection. In an attempt to not stretch the resources of the NHS beyond breaking point, a vast army of new recruits were taken on to carry out the vaccinations.
Sally Tonge was one such person. Folk singer by trade. Out of work when Covid hit. Retrained as a vaccinator. And JABS is her story.
Chris Eldon Lee turned her texts to him about how her day had gone into a show which, through a series of actual examples (names changed to protect the innocent, of course!) gives a graphic and very comic illustration of her real-life encounters with various ordinary members of the public.
Aided and abetted by Paul Wilkinson (who plays "all the men") and Christina Cubbin ("all the women"), Sally introduces us to the individuals, each with their different characteristics and expectations, who turn up at her pod for their 3-minute slot to hear the words "Hello, I'm Sal and I am your vaccinator today" - words which indeed can fill some people with dread, even though the reality is that few people even feel the jab let alone exit the room to be followed by a thud as they hit the floor…
Sally and John provide the story through music, both playing guitars, and the oft-repeated chorus of "It's the holes in your life that let the light shine in" allows the audience to join in too. And there is a complete range of society coming along for their jab - the posh, the not quite so posh, a Welsh farmer who has struggled to get there due to a lack of public transport, the young who have a different take on the vaccine from the over 50's - all are portrayed sympathetically and mostly come away with that tiny prick in their arm. The one person who does need convincing oddly enough is Sally's husband who uses every trick in the book to avoid getting his…
After all the light-hearted fun, it therefore comes as a sledgehammer out of the blue when the farmer's wife turns up for hers and tells Sally the events which have happened since her husband's dose was given - something which must have hit Sally particularly hard too.
The show takes the everyday experiences of very ordinary people and involved in a (hopefully) once in a lifetime opportunity to get protection from the virus and gives a very funny insight in how the simplest - and yet most serious - of events can induce laughter if taken the right way. JABS comes from Love Lee Productions from Shropshire with the encounters happening in Telford and other towns in the county. Their next new show will be in February 2023 when they present Arthur Ransome's fourth Swallows and Amazon's book "Winter Holiday". After the stress and strains of Covid, any holiday will come as a welcome relief!
Meanwhile, JABS continues its run at small venues. There are three more shows in Shropshire. Oswestry Hermon Chapel on June 8th - book via their website. Rodington village hall (twixt Telford and Shrewsbury) on June 10th - tickets on 01952 770258. And Alveley near Bridgnorth on July 9th - 01746 780478.
3rd - 7th May 2022
Malvern Theatres
Beautiful
Who would have thought that a musical about Carole King would start with a cute rendition of Twinkle Twinkle Little Star?
This one does, because it really goes back to the start of this singer/songwriter's impeccable career. In the early days when she jettisoned Bach to write her own songs as a teenager, this is where she first met and completely fell for her writing partner and future husband Gerry Goffin - a partnership that would flourish and inevitably ultimately flounder, but not before the duo had written some of the most famous and covered songs of the 20th century.
The show starts with one of Carole's gently and emotive solo songs, So Far Away, before the story takes us through a fantastic catalogue of hits, many of which were, in the early days, created specifically at the request of music boss Donnie Kirshner (played here by Garry Robson) for a particular artist, such as Will You Still Love Me for The Shirelles. However, they weren't alone in producing great songs - they were in competition for the Number 1 slot with friends Cynthia Weil (Seren Sandham-Davies) and Barry Mann (Jos Slovick) who did on one occasion win out with You've lost that loving feeling, a hit for the Righteous Brothers.
With the entire cast responsible for playing the music live on stage, everyone in the audience will have their favourites. Up on the roof? The Locomotion? Take Good Care of my Baby? They are all there and more. The second half is notable for two things: the marital issues which led to divorce and the desire for Carole to move away to Los Angeles with her children which sparks the idea for having her own songs sung by herself. The result: her seminal 1971 album Tapestry with its evocative cover of her looking out of her Laurel Canyon house, her cat at her feet. The last few songs in the show are testament to the power of this album and her independence - You've Got A Friend, A Natural Woman and Beautiful, with the final encore of I Feel The Earth Move having the audience on their feet for a great ovation to a great show. Throughout the show, the two leads Molly-Grace Cutler and Tom Milner effortlessly and accurately reproduce bring to life not just the songs but the story behind them.
This is the story of a songstress whose importance and impact cannot be underestimated. One who we can be very grateful for disregarding the advice of her mother to become a teacher, because "the music business isn't for women". And although Geffin died in 2014, a year after the show opened in San Francisco, their legacy to the musical world is truly immense and this show highlights it, well, beautifully.
2nd - 7th May 2022
Alexandra Theatre
Cluedo
⭐⭐⭐⭐⭐ Hugely entertaining with a deadly twist at the end
How do you take a classic board game and turn it into a hilarious stage play? Involve the Director of The Play That Goes Wrong for a start and then base it on the screenplay by Jonathan Lynn (who gave us the inimitable Yes Minister and Yes, Prime Minister). Add in some stars - Michelle Collins and Daniel Casey (who have both been in Eastenders) - and a cast of easily-recognisable characters and you have a fun show which keeps you guessing till the very end.
It looks like a very British show, based as it is in a country pile outside London on a dark thundery night but it is in fact a British version of an American play, based on an American film (Clue), based on, you've guessed it, the very British board game which was created during World War Two air raids by an avid but bored crime enthusiast called Adrian Platt - in, of all places, Birmingham. Now famous worldwide, there have been many other interpretations, such a four series on ITV back in the 1990's which starred Joanna Lumley, Stephanie Beecham and Richard Madely amongst others and even a Golden Girls version in the US where there was no murder, just a stolen cheesecake!
There are all the elements of the board game in the show - 6 people, 6 rooms and 6 deadly instruments. And a killer. So we have Miss Scarlet (Michelle Collins), Professor Plum (Daniel Casey), Colonel Mustard (Wesley Griffith), Mrs White (Etisyai Philip), Mrs Peacock (Judith Amsenga) and Reverend Green (Tom Babbage), all of whom have, in the best Agatha Christie fashion, received an unexpected invitation to the ancestral pile of the mysterious Lord Boddy - and all of whom also have secrets to hide - whilst the proceedings are held under the watchful eye of Wadsworth (Jean-Luke Worrell), the butler (who explains that his job there is to butle!).
And so ensues a sometimes frantic escapade, fully utilising the doors leading to the different rooms (which also cleverly open out to become the room itself) as if in a typical British farce with the characters appearing and disappearing as the death toll mounts… And if you get lost in the plot, there is a very funny and superbly-performed recap given by Worrell which fully deserved the round of applause for getting to the end without any mistakes. Although not one of the standard Cluedo characters, Wadsworth often has the funniest lines and the most energetic moves as well. Similarly, each character has the opportunity to "rewind" the action to show what "really" happened from their point of view… But who to believe in this crafty whodunit?
Mark Bell, the Director, hopes to have made a gripping thriller which is also an exciting joyful comedy. It would not be an exaggeration to say that he has successfully achieved both aims if the audience reaction is anything to go by.
Welcome back home to Birmingham, Cluedo!
25th - 30th April 2022
Alexandra Theatre
Catch Me If You Can
Be warned - this play has nothing to do with the film of the same name which came out in 2002 and starred Leonardo DiCaprio and Tom Hanks.
This play is, in fact, based on a book by French writer Robert Thomas entitled Trap for a Lonely Man, renamed for this stage version, and comes with two American and two British stars, Patrick Duffy and Linda Purl from the States and Gray O'Brien and Ben Nealon from the UK. It must be a bit of a coup to get Bobby Ewing/The Man from Atlantis involved in the play as well as established actress Linda Purl and then adding the familiar faces of O'Brien (a regular in Malvern and one-time Villain of The Year thanks to Coronation Street) and Nealon, still remembered from his role in Soldier Soldier.
The French Alps setting of the book has been replaced by Catskills but the story remains basically the same. Advertising Executive Daniel Corban (Duffy) is on his honeymoon with his wife (Purl) but she appears to have gone missing a few days ago. Then she returns, or at least someone claiming to be her returns, and it is not long before the local police inspector (O'Brien) and priest (Nealon) become involved in trying to find the truth. Corban, however, is the only person to think this woman is an imposter and is convinced that they are all out to get him to allow his wife to claim on his life insurance, in doing so effectively gaslighting him to make him out to be mentally unstable. But just who is fooling who?
Staged on a single set which is the lounge of the chalet rented from Corban's boss (who also makes an unexpected appearance along with his wife and Sidney, the owner of the local sandwich shop, played by Paul Lavers, Chloe Zeitounian and Hugh Futcher respectively), the script has a number of comic moments throughout, particularly from Duffy whose character is perpetually bemused and frustrated by all the goings on - he even falls foul of a good thumping (gently done as he is 73 after all!).
As with other dramas of this type, the moments of humour and levity add to rather than detract from the action - after all, murder (if it is indeed murder) is a serious business and by the final denouement, it becomes clear just who has been fooling who. By this point, you may well have guessed the outcome yourself but no matter, this is still an enjoyable romp through a police procedural with an ensemble cast who are more than welcome to grace the stage.
24th April 2022
Huntingdon Hall
Gigspanner Big Band
In the days when Huntingdon Hall was a chapel, the Sunday Evening Service would have no doubt raised the roof. Now, many years later, a different kind of performance did much the same. Only this time it was due to the visit of Gigspanner Big Band whose music was perfectly suited to the Hall's excellent acoustics.
Gigspanner is legendary Steeleye Span's fiddle player Peter Knight's current incarnation - and a band of three (Knight plus Roger Flack on guitar and Sacha Trochet on drums. Gigspanner Big Band is another beast as it adds to that trio the undoubted talents of Bellowhead co-founder and melodeon player John Spiers and Phillip Henry and Hannah Martin (who themselves have funded their own multi-instrumentalist band, Edgelarks).
Knight tells us that he prefers to play music than to talk so unsurprisingly we are a few songs into the concert before a word is uttered to the audience… No matter, as it is the music that counts and any explanatory comments are kept to a minimum. The inclusion of Hannah Martin gives the band one obvious advantage over the Gigspanner trio - a female voice and, indeed, she is the main vocalist for many of the songs - especially the one sung in the Cornish language (an element from Edgelarks' project Saltlines for the summer).
Doubling the size of the band and "going large" also increases the variety of instruments used with the expert melodeon playing of Spiers adding to Martin's banjo and violin and Henry's horizontally-played guitar and harmonica. Trochet certainly kept the rhythm going especially at the end with a solo segment - how his hands must have hurt after that! - and at times there was almost a battle between the instruments as they took on each other, duelling banjos style.
An excellent Sunday evening's entertainment from gifted, inventive musicians who still hark back to the roots of British music which the audience quickly warmed to and a return visit is surely on the cards.
18th - 23rd April 2022
Swan Vesta Tilley Theatre
Life x 3
With two years of no productions at all, it's been a particularly tough time on amateur companies who have not had the chance to present anything during that period. So it is a pleasure to see the Swan Amateur Theatre Company back on stage with a play which is not home-grown but translated from French.
"Trois versions de la vie" has become "Life x 3" and comes from the pen of Yasmina Reza who gave us Art, a play all about the value - or not - of a blank canvas and its impact on three friends.
Life x 3 concerns two couples. Henry and his wife Sonia and Hubert and his wife Inez. The latter couple arrive a day early for a dinner date, whilst Henry and Sonia are putting their 6 year old son to bed. Or at least trying to, given that they each have differing ideas about how to do this when the boy is crying and demanding food and cuddles. As they have arrived on the wrong day, they have no food prepared for their guests and end up embarrassingly giving them snacks like Wotsits and chocolate fingers. There is however, an abundance of wine and the Sancerre certainly lubricates the evening as it slowly degenerates.
But this is only one scenario. As the title indicates, it is repeated, with subtle differences and outcomes, three times with each character taking on a different hue and therefore a different cause and effect.
The cast of Matt Fearnley, Janet Bright, Nigel Hales and Jane Lush have many years of experience in amateur productions and are at home with this one. Literally, as the set is just a couple of comfortable sofas and tables (and a lot of wine!).
Matt has probably the most complicated script, having to remember a plethora of scientific phrases and cosmic theories and needing the approval of Nigel's character to progress. Janet is his less needy wife and plays the part as a natural, whilst Nigel and Jane both are great in their respective roles as the husband with somewhat meandering hands and a wife who battles to get her opinions heard and, like Henry likes a drink or two. Matt does a particularly good impression of someone getting slowly drunk!
The show is littered with funny moments as, in the three different situations, their marriages are scrutinised in front of the other couple. For a show which does not need a large set, the Vesta Tilley studio is the perfect location for the company's first adult production for this year (later they will be taking on John Pielmeier's Agnes of God.
19th - 23rd April 2022
Alexandra Theatre
Footloose
⭐⭐⭐⭐⭐ A fun and lively romp in Middle America
Last at the Alex in 2016 and postponed from 2020, perennial favourite Footloose The Musical is back on tour and at the Alex this week.
This time the star names are the ever popular Darren Day as the Reverend Shaw Moore and Jake Quickenden (Dancing On Ice winner) as Willard Hewitt, the quiet uncertain lad who is not sure how to get the girl but the main couple involved in the show are Joshua Hawkins who plays Ren and Lucy Munden as Ariel, the Reverend's daughter who feels she is in a very claustrophobic relationship with her father.
Based on the film of the same name starring Kevin Bacon, Footloose tells the story of young Ren, enthusiastically played with boyish charm by Hawkins, who moves with his mother from Chicago to bible-belt America after his father leaves the family home. But Bomont is a town with a tragic story which, over 5 years, has had a big impact on the town and on the Reverend himself. Ren unexpectedly finds that he has something in common with the preacher who has banned dancing in the town. With hit songs throughout such as Let's hear it for the boy, Holding out for a hero, Somebody's eyes and the title track, the show bristles with energy, particularly in the second half, as Ren manages to change the opinions of the town's elders and Willard changes from gangly awkward youth to confident dancer, in doing so getting the biggest predictable cheer from the ladies when he is stripped down to his underwear...
All the music is played live on stage with the multi-talented cast making this a real ensemble piece and justifiably had the audience on their feet and singing along to the reprise of songs during the final extended curtain call.
Footloose, it's been a while. But Birmingham welcomes you back!
18th - 23rd April 2022
Malvern Theatres
The Homecoming
Harold Pinter's The Homecoming certainly portrays a family in need of a few lessons in civility. The play is very much a family affair - Max at its head, with brother Sam and sons Lenny, Joey and Teddy with his wife Ruth completing the ensemble.
That is the family unit which the cast portray (old man Max played by Keith Allen and well-dressed man-about-town Lenny by Mathew Horne) and, from the beginning, it is clear that there is no love lost between any of them. Indeed, the show starts with Max attempting to have a conversation with Lenny, who basically ignores him. That is not really surprising given the way that we subsequently see the way he speaks to each of his boys. The missing character here is his wife, long since passed away, whom he refers to with a mix of bile and hatred one minute and then, as if a switch had been flicked, love and affection the next. One very curious individual indeed, well played by Allen, hobbling around the stage with a stick and someone who in the past, if the rumours are to believed, was once a man feared by his contemporaries - indeed he injures both Joey (Geoffrey Lumb) and Sam (Ian Bartholomew) during the course of events. His venom is at its worst when son Teddy (Sam Alexander) arrives back unexpectedly from America - accompanied by his wife whom they have never met. Ruth (Shanaya Rafaat) is subjected to a torrent of abusive language and name-calling, with Max believing that she is just a common whore bought into the house by Teddy, even though nothing could be further from the truth. Or could it? She admits to a past life as a "model" before meeting Teddy and simultaneously is set up by the others (excluding Sam, whose own sexuality was brought into question) to become a "working girl" in order to pay for her keep, something which she seems happy to go along with as she despatches her husband back to the States on his own.
As a family, there is little to redeem any of them and it is hard, in fact, to have any empathy for them at all apart from possibly Sam, whose taxi driving seemed to keep him on the straight and narrow. The fact that daughter-in-law Ruth seems complicit in the arrangements which the family propose makes it all the more unpalatable. They speak to each other in strange, often repetitive, ways as if they are approaching a total stranger which, in some ways, they are. Long pauses (deliberately prescribed by the author) just add to the sense of a family that cannot communicate effectively. There are, fortunately, a few moments of levity which break through this somewhat dismal family affair though these are few and far between. But as Pinter said - "I have never been able to write a happy play" so the audience should not expect one.
The set itself is quite simple, comprising a few chairs and a table and a stairway leading to the floor above. More impressive is the height of the set with the wallpapered walls disappearing what must be more 30 feet above the stage, which must be a nightmare to erect at each new venue. The lack of furniture concentrates the audience's eye on the acting which, without exception, brings out the nastiness of all of the characters (again, with the exception of Sam, yet even he, at the end, reveals something about Max's wife that no-one knew…).
This is definitely a production worth seeing and not only for the inclusion of two major names, Allen and Horne. The entire cast add to the feeling that, cigars apart, the family have little connect with each other until a woman comes into their collective lives.
14th - 16th April
13th - 14th June 2022
Alexandra Theatre
Diversity - Connected
⭐⭐⭐⭐⭐ A stunning show with a message
If an audience's reception and anticipation are anything to go by, Diversity, on stage with their new tour entitled Connected, had an awful lot to deliver. Fortunately, with a two year lapse imposed by Covid, they had been able to hone and perfect a stage show which impressed and thrilled in equal measure both with their dance routines and the technology used to portray the story of how, in the modern world, we are indeed all connected.
Front-man Ashley Banjo introduced the show against a massive backdrop of a platform with video screens with his trademark ease and geniality, much as he did with his warm-hearted Channel 4 show where he matched two total strangers purely by a shared and silent dance routine. Nothing silent here though - with most dance routines backed up with a heavy beat and accompanying special effects.
Most of the dances involved the entire troupe of 15, looking decidedly more mature than their younger selves when they first hit the big time back in 2009 after 2 years together, winning Britain's Got Talent. They have certainly not lost any of their enthusiasm nor any of their skill in carrying out precise and energetic dance movements in an array of impressive routines, with not only the contemporary references the show was promoting - how we use technology, what the future may hold, etc - but also harking back to the past with skits involving both Charlie Chaplin and Michael Jackson. The biggest surprise, in part one at least, was the finale which had the lads baring their tops and getting very, very wet which had the females in the audience going berserk. Not many shows require the use of industrial driers (and presumably towels and heavy duty hair driers) in the interval…
There was a lovely change of pace at the start of the second half with Ashley pondering on video how to begin this part of the show. The solution - let a group very young kids decide! So the show continues with a very funny routine involving strange costumes, animal suits and large teddy bears. This was followed by another routines which did actually involve the whole audience as elements were sampled and replayed in an off-the-cuff performance - again, very well done.
Not unsurprisingly, given the furore which accompanied their Black Lives Matter performance on ITV which generated thousands of complaints, BLM too unapologetically became part of the show along with Climate Change and the environment. There were also very personal elements with Ashley presenting his son to his mum via a video as an example of how the pandemic affected everyone and how technology assisted.
The show's last two routines were amazing, one involving long ribbons used rather like a very extreme maypole which was not only complicated but also required the whole thing to be "undone" all without a single fault or broken ribbon. And then there was Ashley on stage alone. Well, not quite alone as he was accompanied by 10 illuminated drones, very skilfully controlled and performing acrobatic and aerobatic movements alongside Ashley - this was wonderful to see.
As you might expect, this was not just a dance show. It was a show deliberately conceived to highlight the good things which technology and connectivity brings but also to bring to the fore the elements of societal change which are not at all positive. All of which combined to become a powerful image of where we are today as people in a connected world and how dance has embraced these technological changes.
The show runs until 16th April and then returns for extra shows on 13th and 14th June.
8th April 2022
Huntingdon Hall
Moments of Pleasure
It is no easy feat to pay tribute to one of the UK's most ground-breaking and iconic singer songwriters but that is what Lisa-Marie Walters aimed to do with her show Moments of Pleasure in homage to, of course, the wonderfully distinctive repertoire of Kate Bush. With her 4-piece band (keyboards, bass and lead guitars and drums (and mandolin)) accompanying her, she really has a plethora of songs to choose from, some hits, some less well-known but all with that distinct feel of the expert songstress who wrote one of her biggest hits, The Man with the Child in his Eyes, when she had just entered her teenage years.
Coming on stage dressed entirely in black - with the addition of a hat for one song - and in bright red for the second half, Lisa-Marie had all the right moves to portray Kate's trademark way of performing: balletic, arms flailing, eyes looking around as if searching for something, voice high or deep as required by the song. The range of Kate's songs, especially when sung live and in succession, is a test for any vocalist. Some were beautifully simple ones accompanied by just the piano - the second half started in such a way with This Woman's Work and Moments of Pleasure - then there are those need a much heavier backing such as James and the Cold Gun, Running up the Hill, Sat in your Lap and Hounds of Love (which has one of the best album covers of all time!) and sprinkled amongst them, the definitely more off-beat, left-field and sometimes frankly weird compositions like Breathing (a song about an unborn baby and a nuclear attack), tracks from the Ninth Wave (side 2 of the 1985 Hounds Of Love album) and , of course, the seminal Wuthering Heights - the latter being kept till the very end for the encore. Whatever the song, Lisa-Marie's vocals were spot on and even when the band were pounding away, never for a moment was her voice lost, always rising above the instruments however loud they played.
It is somewhat disconcerting to think that it is nearly 45 years since Kate first arrived so spectacularly on the music scene but equally good to know that we can still hear accurate live renditions of her music today courtesy of the likes of Lisa-Marie.
5th - 9th April 2022
Malvern Theatres
Private Lives
Not content with being in nearly 200 episodes of Coronation Street, hosting The Bidding Room on BBC and starring in many a panto over the year, septuagenarian Nigel Havers has just created his own theatre company called, appropriately enough, The Nigel Havers Theatre Company and the first production, in conjunction with Theatre Royal Bath, is Noel Coward's classic comedy Private Lives.
For this, Havers teams up with Patricia Hodge OBE, a very talented actress herself perhaps best known in recent years for playing Miranda's mother in the TV sitcom. The pair (Elyot and Amanda) play a divorced couple who are starting their married lives with their new partners, Victor (Dugald Bruce-Lockhart) and Sybil (Natalie Walter). Unfortunately they have chosen to spend their honeymoons in the same Deauville hotel and even more unfortunately, in adjoining rooms. So the first thing we see is an impressively large three storey construction of the soft pastel-coloured hotel balconies, overseeing the band who happen to play the former couple's favourite tunes. This is a couple who throughout the show prove that they cannot live with each other, cannot live without each other, fight continuously taking a break only when the safe word is uttered to prevent it escalating to something even more violent and then proceed to make up each time in what could be considered the blueprint for every rom-com since.
Not long after their first unexpected meeting, which neither of their new partners were party to, they decide they must leave together and head for Amanda's Paris apartment, which is the equally impressively-decorated location for the second and third acts and which also introduces the very funny maid Louise (Aicha Kossoko) - especially funny if you understand French as she doesn't utter a word of English whilst she complains about having to go to a different place to get their pain au chocolat! The arrival of Victor and Sybil in the flat turns the tables somewhat, with the bickering transferring to these two whilst Elyot and Sybil smile knowingly at each other and sneak out of the flat…
The play remains in its original time and place where Coward himself played Elyot in 1930. Whilst at the time he would have been much younger - in his 30's - the pairing of Havers and Hodge still works well because they are a believable older couple for whom the scenario of second marriages is, particularly these days, quite realistic.
This is a beautifully staged comedy of manners (or lack of them!), very funny and perfectly suited to the Malvern audience which clearly thoroughly enjoyed it. Based on this first successful outing, the audience can look forward what The Nigel Havers Theatre Company will bring us next.
1st April 2022
Swan Theatre
Revenge
A politician returns home from a trip to Frankfurt to the news that his assistant has died in a car crash. An uninvited stranger arrives at the door of his London apartment and begins to inveigle her way in for reasons which he cannot fathom. Someone clearly wants revenge.
Coming from The Crime and Comedy Theatre Company, this is the premise of Revenge, a play by writer and actor Robin Hawdon, a two-hander starring Nigel Fairs as Bill Crayshaw MP (suave, sophisticated and liking the finer things of life like Meissen porcelain) and Kate Ashmead as Mary Stewart (smart, devious, mysterious and intent on getting what she wants). David Sandham is also cast, intriguingly, as "the Body"…
The plot thickens as secrets are brought to light and the identity of this mysterious visitor is finally revealed. The outcome is by no means certain and there are various twists and turns in the story - right up until the last couple of seconds in fact to keep you on your toes and guessing what will happen, which is probably not what you thought!
They say revenge is a dish best served cold. In this case, that dish is delivered with relish over a couple of hours in a well-acted and believable story of political sleaze with its inevitable twists and turns.
26th March 2022
Huntingdon Hall
Nearly Dan
Some timely anniversaries were being celebrated last night at Huntindon Hall where the music of Steely Dan reverberated through the venue courtesy of Nearly Dan. It is 25 years since this 9-piece band started recreating the brilliant music of Donald Fagen and Walter Becker. But maybe more importantly, and surprisingly, it is 50 years since Do It Again was released (thanks for reminding us how old we are, Steve!) and 40 years since Fagen's solo album The Nightfly was released (thanks again!!). The band treated us to tracks from both band and soloist, including the "scary" to perform title track of the solo effort.
As usual, frontman Steve Hayes took control of proceedings alongside lead guitarist Rob Rolph, obviously happy to be back on stage at the Hall and playing to a very appreciative crowd. All the band are self-confessed "Danoraks", in their spare time trying to make head or tale of the song lyrics and their love of the music shines through. The show's running order covered many of the band's albums - and hits - featuring Do It Again, Ricki Don't Lose That Number, Haitian Divorce, Hey 19, FM and Pretzel Logic. The backing singers Kate & Sarah came to the fore with Dirty Work and perhaps the most impressive part of the line-up - the brass section consisting of trumpet and saxophone - really excelled during the likes of Peg. The inclusion of these two instruments adds another level of interest to the music, the saxophone bringing in elements of smooth jazz and the trumpet giving a big band sound. In fact, they were missed at the start of the second half when they didn’t appear until the third song was played!
Donald Fagen's own album was featured with the tracks IGY, New Frontier and The Nightfly. The songs may have been written decades ago but the lyrics are somehow still relevant. As Steve pointed out in New Frontier, those words still reflect today's threats: "It's just a dugout that my dad built. In case the reds decide to push the button down". And "Is there gas in the car, yes there's gas in the car" Ouch!
With keyboards, 3 guitars, drums and horn section, they are able to perfectly replicate that West Coast Yacht Rock feel that Steely Dan brought so effortlessly with their songs.
Sadly, with Walter Becker no longer with us, the band itself can never again be heard live but thanks to these talented guys, their music lives on and sitting there, eyes closed, you can easily imagine you are listening to the real things (even if the chat between the songs has something of a Northern twang to it!).
The two-hour set culminated with Bodhisattva before it was time for the encore. Without leaving the stage, the guys "returned" with a brilliant version of My Old School. This included a superb "duelling banjos" style battle between trumpet and bass guitar to end the night on a real high. Just the one song to finish with but what do they say? Always leave the audience wanting more…
It's been three years since their last visit in 2019 (and before that in 2017 and 2013) - hopefully (pandemic permitting), they will be back much sooner than that for a return visit.
25th - 26th March 2022
Malvern Theatres
BANFF Mountain Film Festival
Back in its rightful place as a cinematic rather than a virtual event comes the BANFF Mountain Film Festival World Tour for 2022 and as usual, Malvern gets two bites of the cherry with a different set of selected films each night. The red night's chosen films covered skiing, cycling and rock climbing. Sounds fairly easy? Well, the difference here is not just the extent to which the participants go, sometimes over a number of years, but also the quality of the filming where drone footage has really upped the ante in terms of showing what they are capable of.
Follow The Light gave us a glorious view over the mountains of Cappadocia in Turkey with the drone darting in and out of the many hot air balloons as it followed the cyclists riding the peaks and speeding through the ravines.
Action Directe took us where no woman had been before - to take on a cliff face that previously only men had been able to conquer, a feat that took 7 years to film before the final joyful moment of success.
Moving closer to home and the West Highland Way between Glasgow and Fort William was the setting for an endurance test on a mountain bike with the aim of breaking the record by covering the 95 miles in the fastest possible time.
Ultimate Ski Run was exactly that - a gorgeously-filmed sequence of extreme skiing, both on top of and underneath the mountain, all the time performing some mind-blowing tricks in the process.
Proving that disability should be no obstacle to enjoying the outdoors, From My Wiondow took a blind man and a woman with cerebral palsy (and a team of supporters) up a mountainside to experience for the first time the real outdoors in a magnificent show of teamwork and personal effort.
Deep Roots reconnected a father and son in Yosemite with the son attempting to replicate his father's success at overcoming the challenge posed by the rather scary Magic Line, one of the hardest and least successfully-climbed rock faces in the world.
And finally The Farmer followed a skier powering through powder snow and creating the most beautiful patterns - all that at the age of 73. This was a very poignant film as he passed away from cancer at the end of last year.
The films range from 5 minutes to 50 minutes but whatever their length, they perfectly showcase the talents of people who simply don't do the ordinary - they live for the extraordinary and in conjunction with the talented film-makers, provide an evening of films which will stay in the memory for a long time.
The second evening's films - the Blue selection - promises to be just as gripping and include seeing mountain biking through the eyes of pups of all types and sizes following and sometimes leading the riders - with the promise of a welcome belly rub at the end!
See www.banff-uk.com/films for more details
21st - 26th March 2022
Malvern Theatres
Catch Me If You Can
Be warned - this play has nothing to do with the film of the same name which came out in 2002 and starred Leonardo DiCaprio and Tom Hanks.
This play is, in fact, based on a book by French writer Robert Thomas entitled Trap for a Lonely Man, renamed for this stage version, and comes with two American and two British stars, Patrick Duffy and Linda Purl from the States and Gray O'Brien and Ben Nealon from the UK. It must be a bit of a coup to get Bobby Ewing/The Man from Atlantis involved in the play as well as established actress Linda Purl and then adding the familiar faces of O'Brien (a regular in Malvern and one-time Villain of The Year thanks to Coronation Street) and Nealon, still remembered from his role in Soldier Soldier.
The French Alps setting of the book has been replaced by Catskills but the story remains basically the same. Advertising Executive Daniel Corban (Duffy) is on his honeymoon with his wife (Purl) but she appears to have gone missing a few days ago. Then she returns, or at least someone claiming to be her returns, and it is not long before the local police inspector (O'Brien) and priest (Nealon) become involved in trying to find the truth. Corban, however, is the only person to think this woman is an imposter and is convinced that they are all out to get him to allow his wife to claim on his life insurance, in doing so effectively gaslighting him to make him out to be mentally unstable. But just who is fooling who?
Staged on a single set which is the lounge of the chalet rented from Corban's boss (who also makes an unexpected appearance along with his wife and Sidney, the owner of the local sandwich shop, played by Paul Lavers, Chloe Zeitounian and Hugh Futcher respectively), the script has a number of comic moments throughout, particularly from Duffy whose character is perpetually bemused and frustrated by all the goings on - he even falls foul of a good thumping (gently done as he is 73 after all!).
As with other dramas of this type, the moments of humour and levity add to rather than detract from the action - after all, murder (if it is indeed murder) is a serious business and by the final denouement, it becomes clear just who has been fooling who. By this point, you may well have guessed the outcome yourself but no matter, this is still an enjoyable romp through a police procedural with an ensemble cast who are more than welcome to grace the Malvern stage.
21st - 26th March 2022
Alexandra Theatre
Dreamboats and Petticoats
⭐⭐⭐⭐⭐ The jukebox is on and ready to play those hits live on stage!
The last decade or so has seen "Dreamboats and Petticoats" and its follow-up "Dreamboats and Miniskirts" and now it is back to "Dreamboats and Petticoats - Bringing on back the good times!".
And good times they certainly are, especially after the last two years of virtual drought in terms of theatre shows. The cast of 17 consists of both the actors and also the musicians, all on stage. After all, why have a band of 10 musicians hidden away under the stage when you can have them actively taking part in the show? The music is, unexpectedly, chosen from the 50s and 60's classics that we, of a certain age, all know and which even the younger generation would be familiar with, featuring classics such as Sealed with a kiss, Stop! In the name of love and Keep on running. More than 3 dozen songs fill the show like a jukebox on overdrive.
The musical definitely has two aces in the pack in this revamped version. Whilst the younger members of the cast blast out the hits just as they would have done back in the 60s, why not introduce to the story someone who was actually there and had hits of his own. Welcome to the stage Mr Mark Wynter, now approaching his 80th year but who can still show the young upstarts a thing or two in terms of energy and singing ability especially when it comes to the medley of his own hits, including Venus In Blue Jeans, one of 9 hit records that he had. And the second ace? That must be David Benson who brilliantly portrayed Kenneth Williams and his homage to the French language, the hilarious "Ma Crepe Suzette" (a real skit which Williams wrote - google it!). That had the audience cheering and probably wishing that Williams had actually been the presenter on the Eurovision Song Contest show! If only…
Such were the songs of that era that, for whatever the situation or emotion, there was a hit which matched it and authors Laurence Marks and Maurice Gran (phenomenally successful writes of TV shows such as Shine On Harvey Moon, Goodnight Sweetheart, The New Statesman and Birds of a Feather) ran with that to provide a jukebox musical based in the place that they first met - Butlins. The set (if you look closely enough) is also adorned with images of that era - adverts and musicals and films posters abound - "Rice is nice, But Ricicles is twice as Nicicles" places it firmly in the mid-sixties.
The story, such as it is, has all the elements you would expect when it comes to a 60s band scenario. Rivalry, fall-outs, an awful sexist manager (Mark Wynter, who must have had personal experience of a few!), references to females as "crumpet" (thankfully the woke police haven't caught onto that yet!), youth clubs, Butlins and its over-bearing manager, a storyline of boy has girl but almost loses her, etc etc. Every action leads to a song and indeed there is not a lot of talking in the show, given the number of songs that are packed into its 2 hours. Both leads - Elizabeth Carter as Laura and Bobby played by David Ribi (whose boyish looks and charm hasn't diminished since he first played the role more than 10 years ago!) - are excellent as the young lovers separated when Laura has to go for a summer season in deepest darkest Devon, miles away from Bognor Regis where the rest of the band are. And when she unexpectedly turns up at Butlins on her day off… well, you can probably guess what she finds.
The show starts with the discovery in an attic of an old "cassette recorder" and ends with a great medley of songs from that era which had the audience clapping, on their feet and singing along. And you could tell that the cast were absolutely delighted to be there and doing what they do best - entertaining a large crowd.
14th - 19th March 2022
Malvern Theatres
An Hour And A Half Late
The running time for An Hour And A Half Late is, well, an hour and a half - not exactly coincidence as the show unfolds in real time (without an interval). The play comes courtesy of two French writers - Gérald Sibleyras and Jean Dell, with this version adapted by Belinda Lang (yes, she of 2 Point 4 Children fame).
This two-hander stars Griff Rhys Jones and Janie Lee as Peter and Laura, a couple of empty-nesters who find themselves on the point of starting their retirement together with the kids now gone and his business partnership about to be sold for a healthy sum. To cement the deal, all they have to do is take up a dinner invitation with his business partner and wife.
But this is sitcom-land and all is not well. As far as Peter is concerned, he is happily looking towards the future where he can indulge in a comfortable retirement of, basically, eating himself into a cardiac arrest, whilst Laura has decidedly cold feet about this meal, something which Peter cannot grasp as, after all, it is only a dinner invitation. Or is there something more going on here?
Over the next ninety minutes, as the delay gets progressively longer in spite of repeated ignored calls from their would-be hosts, the bickering brings out the truth about their somewhat middle-class lives. Laura feels she has wasted her life simply because everything has been a rush - a rush to have children, a rush to get them schooled, a rush to get them off to college, all done without fulfilling her own politically leftist leanings. Except, perhaps, that one affair she may once have had. His life on the other hand, as a tax consultant, has been spent largely at work - he knows his business partner better than his own wife.
House-proud to the end, she insists on putting down coasters to protect the tabletop, something which becomes rather futile towards the end of the show. Being a white middle-class couple with obviously higher ideals, any mess (and there is plenty) will have to be cleaned up by the foreign daily help in the morning.
The actors work well together, realistically portraying a couple who suddenly discover that each has not quite been understanding the other over the years. It is a situation which many couple face as retirement dawns, realising they will have to spend more time together and deciding what on earth to do with all that extra time. There are some very funny sequences, especially around the food and the squeaking floorboards. So do they finally get to the dinner party or does the delay extend itself further? You'll need to see the show to find out…!
8th - 12th March 2022
Alexandra Theatre
The Lion The Witch & The Wardrobe
⭐⭐⭐⭐⭐ A stunning and beautifully-staged extravaganza for kids of all ages
The new production of C. S. Lewis' The Lion The Witch & The Wardrobe (which first kicked off in 2017 and then Covid struck…) is back on tour and filling the stage at the Alexandra with a magnificently colourful array of performers, special effects, singing, dancing, magic and puppetry - a real feast for the senses, whatever your age.
The story begins as the audience arrive with a sole performer on stage playing wartime tunes on the piano before the children appear, ready to be evacuated to deepest darkest Scotland and placed in the care of the rather dour Mrs Macready. Here we see the first use of puppetry as the toy steam train and 4 carriages are whisked away, back and forth across the stage, the children and other actors moving in rhythm with the train's motion. This really sets the scene for what is to follow - a beautifully-imagined scenario either side of the magical wardrobe as the children take it in turn to cross through to the other side and experience the land of Narnia and its creatures who have not seen humans before and have lived under the spell of the White Witch for far too long.
The White Witch (and Mrs Macready) is played here by Samantha Womack in a role somewhat different from her last show at the Alex which was The Girl On The Train and she is lucky in that she gets to enjoy some of the best special effects, soaring high above the stage in her long flowing gown. She is just one of the massive cast of nearly two dozen actors who, even with such numbers, often have to play different roles. For example, Oliver Grant plays Mr Wilson, Red Squirrel, Head Cruel and is also puppeteer for Schrodinger (the cat!) and Alsan (the rather bigger cat!!). Other stand-out performers were Sam Buttery (hilarious as Mr Beaver) and Jez Unwin as Mr Tumnus. And of course the actors in the pivotal roles of the children (Ammar Duffus, Shaka Kalokoh, Robyn Sinclair and Karise Yansen), all of who perfectly portrayed the evacuees, siblings each with their own characteristics.
Director Michael Fentiman's design is stunning, none more so than when Alsan is introduced in the second half. Rather than having just an actor dressed as a lion, Aslan is both an impressively large puppet which requires 3 men to manipulate with, alongside him, Aslan in human form courtesy of Chris Jared, his flowing fur and long hair emulating the beast. This works very well, as indeed it does with the other puppetry elements where there is no attempt to hide the puppeteers.
The story is, of course, first and foremost, one for children so any stage version must aim to keep their attention throughout. The huge cast allows this to happen very effectively. The entire cast is on stage most of the time, either playing instruments (over and above the excellent pre-recorded music score) or dancing so that whatever the scene, there is always something happening to keep the audience's attention. Add to this the clever scene changes and actors flying high above the stage and you have a spectacle which will have kids - and adults - in awe. Kids will simply be mesmerised by the action whilst adults will be thinking "how on earth did they do that?".
The story is about good conquering evil in a make-believe world, a wicked queen being ousted by a gentle lion and, in the real world, children being moved to safety as war breaks out. There can hardly have been a more appropriate moment for this to be played out on stage…
2nd March 2022
Malvern Theatres
Blood Brothers
Proof that some things just don't need to be re-invented or re-imagined or changed for a different generation is the fact that Willy Russell's stunning Blood Brothers is back in Malvern for the fourth time in a decade and each time the only noticeable change is the actor playing Mrs Johnstone. This is a role which has, rightly, attracted some major stars over the years, from Kiki Dee to Petula Clarke, from Barbara Dickson to Spice Girl Melanie Chisholm and even Carole King. This time that honour goes to Niki Evans, herself returning to the role for this tour. And yet there is something consistent - the role of Micky has, in outings in 2016 and 2019 and now in 2022, been played by the same actor, Sean Jones. He plays the role of Mickey from the age of 7 (nearly 8…) and therefore is playing a character far younger than his own daughter. Also in the cast for this run is a local interest. Playing various roles from husband to teacher to policeman to, most notably, an upstanding judge (!) is Malvern Theatre stalwart, writer and actor Nick Wilkes.
You have to admit that any show that returns to a theatre again and again and is still a sell-out has something going for it. Audiences, many of whom will have seen the show before, genuinely never tire of the show which tells the tale of twin brothers separated at birth after the mother effectively makes a pact with the devil, an act which carries a price which has to be paid later in life.
Indeed unusually the show starts at the end with two bodies on stage before nipping back to happier if more financially difficult times when Eddie (Joel Benedict who was also in the 2016 run), one of the twins, was given away to a childless family on the basis that the secret must never be told. The other twin is Mickey, the shy childish son who remains with his mother, whilst Eddie goes on to live a pampered and privileged life. These must be two of the best roles in show business – who wouldn’t want a part where you can act like a 7 year-old and upwards and both of them do it brilliantly and believably, in spite of them being as tall as their mum!) with perfectly contrived mannerisms and the well-observed knockabout behaviour that kids have. Paula Tappenden is Eddie’s new mother and the ever-present harbinger of doom (or at least the truth) is Robbie Scotcher. All the singing and the orchestration is, as you would expect, superb.
The standing ovation and multiple curtain calls in Malvern no doubt reflect what happens at every venue and deservedly so – Sean Jones in particular looked physically shattered, but happy, when taking the bow - he has the most physically demanding role as 7 year olds have boundless energy!
So why does a musical about a family break-up with absolutely devastating consequences prove to be so popular? Other than the fact that, however many times you have seen it and know exactly what is going to happen at any particular moment, it genuinely pulls at the heart strings, the show’s author Willy Russell describes it perfectly:
"People do see it more than once and one of the reasons is that it is a musical with a strong book, it has got a tale to tell. This might indict it as not being a real musical but if all the electricity fails in the theatre and you can’t light the show or amplify it, you can still do the show with a piano and even if the piano blows, you can still do the show a capella and it will work. It simply relies on the primal, ageless, universal thing of “I’m going to tell you a story”. Your ears prick up and you stay with it and there’s no better experience”
And that is storytelling and theatre at its very best.
Remember. Make a pact with the Devil and the Devil will have your number. Always.
1st March 2022
Alexandra Theatre
Fatal Attraction
It's not that long since Oliver Farnworth appeared on stage at the Alex - 2019 in fact when he starred opposite Samantha Womack in The Girl On The Train. This time he is back playing opposite Kym Marsh, both with American accents, in James Dearden's stage version of his 1987 film Fatal Attraction.
Oliver and Kym play Dan and Alex, two people unexpectedly brought together for a one-night stand (actually 2 nights) with disastrous consequences for all concerned (and that includes his wife of many years, Beth (Susie Amy) and his unseen daughter Ellen. The other participants in the story are Beth's mother Joan (Anita Booth) - who may well know more than she lets on - and his mate Jimmy (John Macauley) who was the unwitting catalyst for the two getting together in the first place.
Having got together for a drink then a meal and then more, that first night of passion goes rapidly downhill with Alex showing a different side to her character once he decides to head home, one which gets increasing extreme over the coming days. By the end of night two, the die is cast. Retribution has begun as Alex plots to wreak a twisted revenge on Dan and his family. And on their pet rabbit, but the less said about that the better!
Set in a Manhattan apartment and a house in the Bedfords, the stage is a large and impressive set of screens which are used effectively to display elements of the locations and live action as it happens on the stage (phone calls happening between the actors, for example). It also allows simple furniture such as a sofa and a bed to be moved effortlessly on and off the stage.
With believable acting, the tension mounts (especially if you have not seen the film) as Alex's becomes more and more engrossed in infiltrating the lives of Dan and his family and one revelation above all seals the deal as far as she is concerned.
Who is most to blame for this situation and its consequences will no doubt be hotly debated and attitudes may be different now from when the film was released.
Is Dan just an innocent bystander who happened to have an unplanned casual fling that goes terribly wrong and doesn't deserve the repercussions or is he a man who cannot control his libido?
Is Alex, who clearly has her demons, manipulated for sex or is she doing the manipulation for her own twisted ends?
Either way, it takes two to tango and no-one in this tale of abuse and the associated mental health and social issues, comes out unscathed.
There are two morals to this story:
Every action has consequences…
Never mess with Alex!
26th February 2022
Swan Theatre
The Adult Panto Little Red Riding...
Poor Doug. Poor Cath. Sit in the front row of an Adult Panto production from Hitchin's Market Theatre Company and you are going to be pounced on, verbally not physically though the effect can feel much the same! But that will come as no surprise to anyone who has seen one of their shows before and for Worcester, that was about half the audience. The other half - Adult Panto Virgins - would not know what was going to hit them…
As with previous shows at the Swan Theatre, main man Nick Hooton tests the water by attempting to discover how low the Worcester audience will go in terms of comedic references by judging the audience reaction to increasingly sleazy jokes. The answer, as expected, is very low indeed. Which is lucky as that sets the scene for the show which follows in which Nick, accompanied by two hastily employed actresses who Nick had found by trawling the city's less salubrious venues (in reality Tilly Howes and Jemma Carlisle who play Big Red and Little Red respectively), re-tell or rather completely re-image the story of Little Red Riding Hood in writer K R S Foster's own inimitable way. Each actor is required to play multiple roles (and the images here give a clue as to what these characters are!), often, especially towards the end, changing from one to another as the climax approaches (ooer, missus!). As in a frenetic farce, the actors disappear through different doors and reappear elsewhere, sometimes in a different costume, at a rapid pace. And, amazingly, do this faultlessly with the sound and lights perfectly controlled by Stage Manager Glyn Doggett.
The story itself is, of course, rather irrelevant and bears only a passing resemblance to the "real thing", which, if memory serves me, does not include anyone playing with a cub scout's woggle! It is the interplay between the performers and with the audience which works so well along with the wordplay which, particularly during the robbers scene, is hilarious. Just about every single taboo word or image is used, often many times, blatantly but not in a way that would offend the audience who had come to watch exactly that. And it all ends with a sing song so what could be better?
It is a couple of years since the company was able to tour due to the pandemic and they certainly have hit the ground again running and are fortunate to have been able to complete the current tour (with one show to go) without a single cancellation.
It is good to see Market Theatre back with another thoroughly entertaining, disreputable and pandemic-beating show which had the audience forgetting all their current woes and fully immersing themselves - especially Doug and Cath - in the fairy tale that thankfully never was!
22nd February 2022
Malvern Theatres
The Ballad Of Maria Marten
Maria Marten is dead. She died after a brutal attack - strangled, shot with a pistol and with a spade embedded in her head. And yet here she is, standing in front of us in all her deathly glory, to recount the tale of how, in 1820's Eastern England, this most callous and hidden murders came about, a true story which has been retold since many times as "popular entertainment" in film, poetry and song but which here, in a version written by Beth Flintoff for Eastern Angles Theatre Company, focusses on the woman herself rather her killer.
With the help of her friends, all traces of her scars and wounds are removed and she returns to her childhood self, playing innocently with other kids who have formed their own secret gang. Growing up, however, things get more difficult with the position of women in the society of the time defined totally by their social class with relationships across the social divide definitely frowned upon and in the case of Maria, with deadly consequences. She is at the very bottom of the social scale, poor, used and abused by menfolk and, as with her friends, becoming pregnant and suffering from all that it entailed. Her death, following her disappearance, sadly becomes almost an inevitability. The story is told through a variety of means with Maria (Elizabeth Crarer) alternating between narrating directly to the audience and seamlessly returning to the scene being depicted. There is dancing and singing, much of it A capella, humour (is there really somewhere called the "Isle of Wight" one of the girls asks?) and some atmospheric music with the cast, all female, taking on a variety of roles (including convincingly a couple of menfolk). The scenes are very cleverly thought out and acted out, such as when one of those men dies by being drowned in a frozen pond.
The set itself, basically a wooden structure representing the fateful barn, is transformed into other locations with some nifty choreographed scenery changes which you barely notice happening. And in the end, the barn becomes the "red barn" as fire engulfs it. Whilst some of the "higher class" women did show some concern for their lower-class counterparts (delivering food and baby necessities, for example), the production concentrates rightly on the fate of the womenfolk like Maria who could do little to improve themselves and whose future, particularly after a relationship with men not at their social level, effectively seals their fate. Eastern Angles Theatre Company
16th February 2022
The Alexandra Theatre
Looking Good Dead
It's so good to be back in the theatre again, not just with a good size audience but also to see a production which hasn't had to be pared back to accommodate social distancing and masks, etc. For Peter James' latest play to hit the stage has a cast of nine, with the full stage incorporating three different locations (including an S&M torture chamber) and there is even some hugging, for goodness sake, which was probably more surprising than the torture chamber!
Looking Good Dead follows his other "dead" novel adaptations - Dead Simple, Not Dead Enough plus The Perfect Murder and The House on Cold Hill. This time, the stars come from the main three soaps - Adam Woodyatt (38 years in EastEnders) and Gaynor Faye (Emmerdale and Coronation Street).
Never one to ignore current trends (indeed, one of the "stars" of The House on Cold Hill was everybody's friend, Alexa), this time the story revolves around a USB stick, live-streaming sites hidden on the dark web, data being stored in the cloud and Bitcoins. Keep up!
Adam Woodyat is the one who finds the USB stick and is therefore responsible for all that follows. But it becomes increasingly clear that the Bryce family business - and indeed the family itself - is on something of a downward spiral. He is virtually bankrupt, his wife is an alcoholic and their son is 17 years old - enough said!
It is therefore down to the police to sort the wheat from the chaff and find out what is really going on with the deaths and kidnappings and who is responsible. Which, of course, in the true manner of these things, is not revealed until the dying moments… All of this is intermixed with moments of humour (and some awful jokes cracked by Grace's sidekick). The inclusion of an American businessman may just give some hint that maybe all is not what it seems…
Detective Superintendent Roy Grace (played this time by Harry Long) features in another enjoyable romp through the darker side of policing, keeping the audience guessing with its plot twists until the very end in a production which certainly doesn't disappoint.
13th February 2022
Huntingdon Hall
Go Now!
They may have sneakily taken the name of one of the band's iconic hits from the 60s but there is definitely more to Go Now! than meets the eye. Because if you thought this was just a tribute band playing the music of The Moody Blues, you could hardly be further from the truth. If the backbone of a band is the drummer, then The Moody Blues lives on as the backbone of Go Now! was the band's drummer for 25 years, Gordy Marshall. So less "tribute" and more "next generation" as the band brought to life all the elements of the decades where they produced an eclectic mix of folk-rock, psychedelic, symphonic - and sometimes very lengthy - tunes, from 3 minute pop songs to minor opuses. Let's not forget that the band were contracted by Decca to show off a new-fangled thing called "stereo", something which they accomplished with flair in conjunction with the London Festival Orchestra with their album Days Of Future Passed (one of many albums with glorious cover artwork). Not that Gordy is alone in bringing the music back - the band was formed with Mick Wilson, lead singer with 10cc for 20 years and he is the main man here too, introducing many of the songs in a charismatic, informal and knowledgeable style. The pair was more than ably assisted in this show by Phil Taylor, Tim Maple and Patrick Duffin who each have a very impressive musical CV and covered guitar and keyboards. So who penned the theme of Come Dine With Me and Loose Women? Patrick did!
Appropriately enough, the set began with "Lovely to see you", so much more meaningful due to almost 2 years of enforced isolation from the live audiences that these bands thrive on. The first half included other classics such as The Story In Your Eyes, Isn't Life Strange, the fast-paced Question and Go Now (rather oddly placed as the last-but-one song of part one rather than the encore song at the end of the show.
But then the most unexpected thing happened at the start of the second half with Mick narrating the opening words of Jeff Wayne's The War Of The Worlds - "No one would have believed in the last years of the nineteenth century…" - before the band launched into The Eve Of The War". What's going on here then? Have we wandered back into the wrong concert? Who cares? It was utterly brilliant! In fact, it transpires that Gordy has been on 4 world tours with the musical and, well, the guys like to play music which they have been involved in. Good for them and good for us too. There is, of course, a tangible link with The Moody Blues with band member Justin Hayward providing the beautiful hit single from the show, Forever Autumn, which was also in their set with Mick really strong on vocals. In fact, starting the second half in the way they did took the show up a notch, allowing them to give renditions of many more of the band's tracks - Dr Livingstone I presume, Legend Of A Mind (about Timothy Leary) and, of course, the inevitable and welcome Nights In White Satin amongst others. After a short pause, the encore was quick and brief - just Ride My See Saw but then what do they say? Leave the audience wanting more. And they did...
The quality of the sound was exceptional, probably the best of any concert at the Hall, perfectly matching its own wonderful acoustics. Crisp and clear for instruments, vocals and speech and where the drums needed to pulled back in favour of quieter instruments, it was. There were even a couple of purely acoustic tunes, beautifully played by all 5 members. All in all, it was an absolute delight to listen to. And you just had to go home and put those classic platters on the stereogram…!
2nd February 2022
Malvern Theatres
Groan Ups
If you have seen any of Mischief Theatre's productions (The Play That Goes Wrong and its variants on stage or TV), you know you are in for a treat and a show of finely-crafted mayhem.
Groan Ups is their latest offering and in a sense goes back to basics or at least, goes back to school. All the way back to a 1990's primary school in fact as the 5 actors start the show with a hilarious rendition of what every teacher must dread - "what we did at the weekend". The kids, very perceptively portrayed, reveal in all innocence and in graphic detail, what they got up to and what their parents said, much of it rather inappropriate for a school assembly! The action then moves to the chaotic classroom where their individual characters begin to take shape and where the subtle politics of schoolkids begins to take shape and natural winners and losers emerge. And, of course, at that age, they can say and do pretty much anything and get away with it - they are obviously all such darlings! At the bottom of the pecking order is poor downtrodden Simon - brilliantly played by Matt Cavendish - but maybe he will surpass himself in years to come. All this is done in a totally believable fashion as the enormous furniture make the actors seem as small as they need to be and there are references made to the time period (for example, Opal Fruits ("made to make your mouth water"!) have become Starburst…)
Move on a few years and the children are now teenagers with all that that implies. Hormones have kicked in and relationships formed, boobs and pubes are discussed. Mocn (Yolanda Ovide) is obviously a force to be reckoned with and Spender (Dharmesh Patel) really needs to keep away from that hamster cage, a theme which repeats itself with hilarious consequences right up to the end of the show. Meanwhile Katie and Archie (Lauren Samuels and Daniel Abbott) seem to be getting along fine together but you already get the impression that Archie's feelings lie elsewhere….
In the second half, the actors are now their adult selves, attending a class of 2004 school reunion and it is here that we learn that, in spite of what he claims, poor Simon is still the runt of the litter. But it does give us a chance to see one of the funniest characters in the show - the absolutely dreadful but hilarious "Chemise" (Jamie Birkett), ostensibly now Simon's glamourous wife, and who, for someone who claims to be French, has a very strong Geordie accent! The final character is Paul (Killian Macardle), who spends most of his time trying to convince the others that they do really know him and playing a walrus (!). Both Jamie and Killian also play a husband and wife pair of teachers, who prove that it is not only the kids who can say inappropriate things to the school assembly!
Secrets and lies abound in this part of the show and it goes to some dark and sad places whilst not forgetting that it is still a comedy. The entire company does well in convincingly portraying the innocence and unintended nastiness of children which is carried through to some extent into adulthood, where the choices of how they act are far more a decision they explicitly make.
This is a very, very funny show and in truth, you barely have to suspend belief that these young schoolkids are really being played by adults, so well and enthusiastically do they do it. All you have to do is remember what you were like when you were their age… Ah, the innocence of youth!
1st February 2022
Alexandra Theatre
School Of Rock
"Stick it to the man" is the oft-used phrase in this show (an American slang term basically meaning rebel against authority) and where better to show this than in an American school with a "teacher" who doesn't follow the rules?
This is the premise of both the "School of Rock" film from 2004 and the current stage show, the latter being a full-blown musical version created by Andrew Lloyd Webber, adapted from a book by Julian Fellowes (yes, Mr Downton himself). So the show has an excellent pedigree and compared with Jack Black's film, the musical leans heavily on the songs (not surprising, given that the film only had a couple of musical numbers in it) and it proves to be the perfect vehicle for the cast to show off what they do best - entertain their audience.
And a huge cast it is too. With the main role of the reprobate Dewey Finn played by Jake Sharp (mirroring and equally as good as Black's version of a teacher, with an updated script giving him more singing and more ways to fool around) and the school principal Rosalie Mullins is played here by Rebecca Lock (who clearly has a beautiful voice on the occasions it was allowed to shine through). This pair is backed up by Matthew Roland as the "real" Ned Schneebly who Finn impersonates to get himself a job and Nadia Violet Johnson as Ned's girlfriend Patty Di Marco.
There are more than a dozen adult actors in the cast, many taking multiple roles, a "grown up" band of eight and, of course, the school kids themselves. Pretty much central to the show, 12 kids are chosen for each performance, taken from an incredible total of 42 who have been fully trained to take to the stage. Each one has their own character just as in a real school, from the quiet one (Tomika) who needs to be brought out of her shell to the overly-confident one (Summer) who has no qualms about putting Finn in his place. And, of course, all the parents are aghast at the education their kids seem to be getting (as their homework seems to be exclusively listening to CDs of classic rock artists). These are not older children pretending to be youngsters - these really are an incredibly talented bunch, all aged between 9 and 12, who can sing, act, dance and play instruments (electric guitar, bass, keyboards and drums) which, as Webber points out in a pre-show announcement, are all played live on stage (obviously in conjunction with the band hidden away in the orchestra pit).
The script itself is very funny (and obviously kept updated, given the reference to "office parties"!) and allow Jack Sharp to go into the character of Finn full-pelt and with an amazing energy, which is exactly what is needed.
Oh, no spoilers but unlike in the film, there is not just one but two kisses…
Note that Alex Tomkins plays the role of Finn at certain performances
27th January 2022
Malvern Theatres
Same Time Next Year
The title kind of says it all. Same Time, Next Year refers to the meeting between two people on the anniversary of when they first met. They are, however, married to different people…
For their first new show in two years (due to the unmentionable…), London Classic Theatre have chosen Malvern Theatres as the venue to kick off their 10-theatre tour of the show. And first night showed that all the work necessary to stage the play had paid off.
The author, Canadian Bernard Slade, already had form when it came to writing comedies, having been responsible for The Partridge Family and scripted various episodes of Bewitched on TV), and for this play, he placed the events across three decades, with each of the 6 meetings taking place approximately 5 years apart, starting in 1951 and ending in 1975 (the year he wrote it, in fact). The first of these comes about as a result of an encounter in a restaurant which led the pair (Doris & George) to spend the night together and it is the morning after where the play commences, as guilt and embarrassment (he gets her name wrong for a start!) begin to hit home.
In American society as elsewhere, these decades were a period of dramatic change - the fight for women's rights, anti-war campaigns and home life changing forever as people became more prosperous. The music which introduced each segment cleverly reflects this, ending with 1975's disco era. We experience these changes exclusively through the eyes of Doris (Sarah Kempton) and George (Kieran Buckeridge) and whilst George's conservative fashion sense does not change much over 25 years (although he does at least sport some bell bottom jeans and a very 70's moustache at one point!), each appearance of Doris is accompanied by a complete change of fashion, especially evident in the 60's hippy era). It is as if a different woman presents herself to George, which is indeed the case as her home life, marriage and a desire for self-improvement evolve. Apart from George's attire, the other thing which doesn’t change much, if at all, is the décor of the hotel room which they use each year, which probably says something about the American hotel or "country inn" industry! (although given that the actors have to reset parts of the stage themselves between episodes, it is not surprising that not much changes). Designer Bek Palmer did well to convey these changes in a simple way, complementing the script and there is just a simple "Happy 5th, 10th etc" board strung up made it clear which year we were watching (although the 19th board was still there for the 25th - the only first night glitch as far as I could see).
These annual meetings are, of course, totally illicit, neither partner back home knowing what the other is up to during these days away. They are short enough to not be noticed as anything other than the business meeting/religious retreats that they are made out to be so no suspicions are raised. Until one day…
The humour runs across all 6 short episodes as the details of their respective families are slowly revealed - apart from this one meeting per year, life goes on very much as normal - though less so in the final episode where it is revealed that tragedy has struck. As the pair do not communicate at all throughout the rest of the year, this is the only time they can catch up and a lot can happen in a year, not all of it to each other's liking.
Both actors play their roles very well and are totally believable with their American accents and their romantic connections, albeit brief, with one another. It is a gentle, perceptive and naturally nostalgic comedy where the audience can decide for themselves whether what this pair is doing is right or wrong, livening up or killing their respective marriages and the question remains, at the point at which both are inevitably left without their partners, will they, after 25 years, get together themselves…?
25th January 2022
Alexandra Theatre
Chicago
"Murder, greed, corruption, exploitation, adultery and treachery… all those things we hold near and dear to our hearts“.
Curious words with which to start a show maybe but aficionados will know instantly that, yes, these are opening words of Chicago and the first murder occurs even before the first song - the classic All That Jazz - has finished...
As with previous runs of this show (it was the Alexandra's Christmas offering back in 2016), there are some big names filling some big roles. For this tour, the show stars musical stalwart Darren Day as Billy Flynn, Faye Brookes (who played Kate Connor in Coronation Street) as Roxie Hart, Sinitta as Matron ‘Mama’ Morton, and Djalenga Scott as Velma Kelly, all of whom are well up to the task of bringing the story of nightclub singer Roxie Hart's fight to keep herself off death row as it was indeed she who pulled the trigger and killed her lover whilst passing the blame onto her husband, the mostly ineffectual Amos, played by Joel Montague (who played the part so well, he got everyone's sympathy!). Helping her in her trial is the slimy, selfish lawyer Flynn, whose only interest is how much money can be gained from his actions rather than any care or thought for his clients and who moves from one to another with impunity, depending on how much their fame will benefit him.
Not only does the main cast deliver the goods, they are able to rely on a very talented and energetic group of singers and dancers (in particular, B E Wong as Mary Sunshine - no spoilers here!).
And central, literally, to the show is the excellent 10-piece band which is permanently on stage in a banked area which in fact takes up a good two-thirds of the available space, an almost unheard of luxury for an orchestra, which is normally hidden away under the stage. As a result, there is very little other ornamentation, nor is it needed - just a couple of tall ladders and some chairs. The available space gives the dancers sufficient room to do their stuff and there are even a couple occasions when music director Andrew Hilton can really let his hair down, to great effect! The trial itself is hilarious and gives the cast a great opportunity to let their hair down too and enjoy themselves.
This tale of sleazy seduction and corruption in the 1920's Midwest America works perfectly in the 2020's with aspects of behaviour which clearly haven't changed a bit over the last 100 years!
20th January 2022
Malvern Theatres
The Dresser
"Murder, greed, corruption, exploitation, adultery and treachery… all those things we hold near and dear to our hearts“.
Curious words with which to start a show maybe but aficionados will know instantly that, yes, these are opening words of Chicago and the first murder occurs even before the first song - the classic All That Jazz - has finished...
As with previous runs of this show (it was the Alexandra's Christmas offering back in 2016), there are some big names filling some big roles. For this tour, the show stars musical stalwart Darren Day as Billy Flynn, Faye Brookes (who played Kate Connor in Coronation Street) as Roxie Hart, Sinitta as Matron ‘Mama’ Morton, and Djalenga Scott as Velma Kelly, all of whom are well up to the task of bringing the story of nightclub singer Roxie Hart's fight to keep herself off death row as it was indeed she who pulled the trigger and killed her lover whilst passing the blame onto her husband, the mostly ineffectual Amos, played by Joel Montague (who played the part so well, he got everyone's sympathy!). Helping her in her trial is the slimy, selfish lawyer Flynn, whose only interest is how much money can be gained from his actions rather than any care or thought for his clients and who moves from one to another with impunity, depending on how much their fame will benefit him.
Not only does the main cast deliver the goods, they are able to rely on a very talented and energetic group of singers and dancers (in particular, B E Wong as Mary Sunshine - no spoilers here!).
And central, literally, to the show is the excellent 10-piece band which is permanently on stage in a banked area which in fact takes up a good two-thirds of the available space, an almost unheard of luxury for an orchestra, which is normally hidden away under the stage. As a result, there is very little other ornamentation, nor is it needed - just a couple of tall ladders and some chairs. The available space gives the dancers sufficient room to do their stuff and there are even a couple occasions when music director Andrew Hilton can really let his hair down, to great effect! The trial itself is hilarious and gives the cast a great opportunity to let their hair down too and enjoy themselves.
This tale of sleazy seduction and corruption in the 1920's Midwest America works perfectly in the 2020's with aspects of behaviour which clearly haven't changed a bit over the last 100 years!
19th January 2022
Malvern Theatres
The Addams family
For those of, ahem, a certain age, The Addams Family is a well-loved if somewhat bizarre early 1960's black and white American TV comedy. In the 90's, it was made into a couple of movies and now that same cast of kooky characters is back at it, this time on stage and in a glorious musical version.
Each member of this family is a character in its own right and the story here revolves around the daughter Wednesday Addams deciding she wants to marry a "normal" boy, Lucas and even going to the extent of ditching her usual black attire for something more suitable - in yellow! Both sets of parents are understandably horrified by this prospect, as is her sibling Pugsley, who will lose the sister who enjoys torturing him. Uncle Fester decides he is in love with the moon (because a quarter of a million miles is a good distance to start a relationship) and Grandma is the oldest family member. Except that she is not because also in the cast are eight different ancestors, ranging from a Madam, a Matador, a Viking and Emperor. The Ancestors are also all understudies for the main roles so they have a lot to learn. There is also the grunting Lurch and, once you add in Thing, you have exactly the same family characters as in the TV show.
Without exception, the cast play their roles exceptionally well. Remember also that this is a musical version - which inevitably will involve dance - and they must also show off their singing and dancing skills. So having Strictly Come Dancing winner Joanna Clifton on board as wife Morticia is an added bonus and there are some excellent dance routines in the show. She and hapless husband Gomez (Cameron Blakely) must decide whether Lucas Beineke, the boy chosen by Wednesday is in any way suitable (Ahmed Hamad and Kingsley Morton play the lovestruck couple, neither of whom really know what they are getting themselves into). The bald Uncle Fester (Scott Paige) engages with the audience by directing various comments to them (the script even includes references to the likes of Trump) whilst Valda Aviks as Grandma (but whose Grandma is she exactly?) keeps us entertained with her various potions. Grant McIntyre somehow just looks like Pugsley without having to be made up to look like Pugsley!
Lucas' parents are played by Sean Kingsley and Kara Lane - similar to Brad and Janet in the Rocky Horror Show, this couple have another side to their respectable image which needs to come out…
Alongside Uncle Fester in the comedy characters, Lurch (played with a quiet emotionless air by Dickon Gough - until he roars like a lion!) says nothing but is just hilarious in doing nothing and doing it very, very slowly… At 6'4", he rightly towers of the rest of the cast without managing to reach the height of the original Lurch, Ted Cassidy, who was 6'9"! And he definitely has an unexpected talent which he shows towards the end of the play!
The set is suitably gothic - and very unwelcoming at first for the visiting Beinekes, being a place where "all the money has been spent on the rent with nothing left for furniture". And there are constant set changes incorporating a graveyard, the playroom (definitely for adults!), Morticia's boudoir and the Grand Hall amongst others. The music is provided by an excellent 8-piece band hidden, as is often the case, under the stage. They even played the original theme tune at one point, with the iconic clicking fingers - classic!
Regardless of whether you are a fan of the original TV series or the subsequent films and animated versions or even if you don't already know the family at all, this is a really hilarious and superbly-performed show which fully deserved its standing ovation.
The fact that, 60 years on, this family is still entertaining audiences must have Charles Addams laughing in his grave!
19th January 2022
Phoenix Theatre
Dick Whittington
Proof (if proof were needed) that you don't need a big venue and a big budget to put on a family-friendly pantomime comes in the form of Our Star Theatre Company's seasonal production of Dick Whittington at the rather lovely Phoenix Theatre in Ross-on-Wye, which runs until January 15th. On a stage which easily reaches the front row and on which you could barely swing a cat (much to the relief no doubt of Dick's cat, whose name was chosen by a member of the audience), the 7 cast members retold the story of poor boy Whittington and his travels to London to find his fortune. This is in fact the only panto story based on actual real events, although the original Dick Whittington was by no means poor, being the son of a Sir but hey, never let the truth get in the way of a good panto tale!
All the necessary panto elements are there (with the exception, thankfully, of water cannons, which would have flooded the place!) with Dick played by company founder Ben Mowbray, future wife Alice (after all, there has to be a wedding!) played by Eleanor Catherine Smart, Ava Weetman as the rather feisty and streetwise cat. The dance routines (and little rats) are provided by Destiny Dawe and Catherine Donativo, with Katisha Harris as the show's musical director.
Then there are the big two (literally!) - Jacob Buckley as King Rat and Toby Edwards as Dame Sarah, both of whom are perfectly cast for their characters. And it is these two in particular who had the audience - kids and adults - in stitches throughout the two hour show, both of them showing their ability to go off script and ad lib where necessary. Highlights were Jacob's rapid run through of the story of Titanic the Movie and Toby desperately (and failing) to reach the high notes in his hilariously elaborate costumes which must have used up most of the budget. Unless of course they were his own... They didn't quite manage to hide his hairy chest though!
As far as the script is concerned, there were enough "Dick" jokes to keep adults entertained whilst shielding the little 'uns from the double-entendres, exactly what panto does best, working at different levels for the different age groups. And the scene where Dick, Dame and Cat go through their "what would I be if I wasn't a..." was hilarious.
We had to wait a year for the show to be staged (for obvious reasons!) so it was no doubt a relief for all concerned for it to finally go ahead. And getting the appreciation of a packed, if masked, audience is the icing on the cake for these young actors, many of whom have come through various "young" acting groups such as the Malvern Theatres Young Company. It might be small scale but it is certainly big-hearted and proved to be a very enjoyable way to spend a wet Saturday afternoon.
The company will be back on tour later this year with Sherlock's Excellent Adventure and Toby is also working on writing his own musical so there may well be chance to see that too, costume fitting permitting!
5th January 2022
Alexandra Theatre
Bat Out Of Hell
Just mention Bat Out Of Hell and it is instantly acknowledged as one of the key albums of the 1980's - after all, it sold more than 50 million copies so clearly Jim Steinman and Meatloaf were doing something right. It took another 16 years before Bat Out Of Hell II was released, adding to the litany of hit songs from the first album with I Would Do Anything for Love (But I Won’t Do That). Quite a catalogue of songs then to form the basis of a musical - and what a musical it is too with the book, lyrics and music all written by Steinman.
Set in some bleak dystopian underworld (there is a huge tunnel entrance on stage as well as a cliff face) which is inhabited by a group of ne'er-do-wells called The Lost, none of whom age beyond 18 and one of whom is called Tink (and you thought the panto season was over!), the story itself is the age-old one of girl fights against parental control and goes off with a bad lad to prove her point. So Bat Out Of Hell is a love story? Well, yes, and plenty more besides.
The well-to-do Mum and Dad, that's Falco (Rob Fowler) and Sloane (Sharon Sexton), live high up in an apartment block, of which the daughter's bedroom is on stage and this and other elements of the set are displayed through the clever use of a hand-held camera which is used throughout the show to project onto a massive screen. The other two main cast members are gang member Strat (Glenn Adamson) and the rebellious daughter Raven (Martha Kirby). And boy, can these four sing! Which is essential really as they have a plethora of great rock songs to work with.
The songs can be hard rocking tunes - the likes of the title track (which ended Act One is great style), Dead Ringer For Love and You Took The Words Right Out Of My Mouth - or quieter more reflective songs - never a ballad, always a power ballad - such as Objects In The Rear View Mirror May Appear Closer Than They Are and It's All Coming Back To Me Now (both of which got really beautiful renditions on stage). And there were moments of levity outside of the songs - Sharon Sexton's portrayal of mum Sloane was often very funny and there was even a nod to the current pandemic when, after Falco shook hands with Tink, out came a bottle of sanitiser…! Indeed, after the show had ended, Rob Fowler spoke directly to the audience to thank them all for coming, hammering home the importance and precarious nature of live theatre with the cast and musicians numbering around 30.
As a legacy to the man who brought so much to "symphonic rock", there can be no better tribute than this exciting, loud and impressive show.
2022 events
14th - 30th December 2022
Regal Theatre Tenbury
Robin Hood
⭐⭐⭐⭐⭐ Local and Professional - a great combination
A first-time visitor to the Regal in Tenbury Wells will be immediately struck by how lucky the residents are to have such a beautiful 1937 Art Deco Grade II listed building in the town centre.
You are then struck by how could this smallish venue possibly put on a professional pantomime…
But they do - and it was brilliant!
Their 8th professional panto is Robin Hood and from the start, it has all the elements which the packed audience of all ages was expecting. The baddie here, dressed all in black, is the Sheriff of Nottingham who, from high up in the tower, gets the audience immediately booing and hissing. Christopher Laishley plays the character superbly with more "Oh yes it is/isn't" moments than many a pantomime. He never redeems himself either, remaining the baddie right to the end. The other character who unsurprisingly had a lot of audience interaction was Chris Bianchi as Nanny Notty Nickerlastic, a name we were supposed to welcome her with on each stage entry but which inevitably was far too complicated for most the audience to remember! With her regular changes of over-the-top costume, she really is the Nanny no-one would forget. The love interest in the story comes from Maid Marian (Lucy Appleton) and Robin (Robbie Capaldi) but that does require the Sheriff to stop imprisoning her at every turn and it was at least easier to shout Hi Robin when he came on stage!. Even Nanny's love life is set to take a turn for the better with a dalliance with Friar Tuck (Philip Jennings). Wil Scarlet (dressed in appropriate colours!) is played by Olivia Beard and the man with many hats is Samuel Dreyer in his first panto. It is no coincidence that Guy of Gisborne, Little John and King Richard are never on stage at the same time, given that Samuel plays all of them faultlessly!
In the middle of the show, something unique. As the battle between Robin and the Sheriff continues, the pair disappear out of the auditorium. Projected then onto the stage is an old-fashioned black and white silent movie (with appropriate captions) as they take the sword fight out into the streets of Tenbury. A very clever and well thought out ending to the first act that brought home the fact that this is, in spite of its Nottingham Forest location, a very local production with plenty of mentions of local towns and villages. Heaven knows what the public thought was happening during the filming of that segment!
The two-week run has a couple of dance teams - for this show it was the last performance by the Blue Team and credit especially to little Tilly Booton who was clearly having the time of her life on stage! In addition to the dancing, there was singing to the lively music provided by the 3-piece band under Director Richard Fox.
There are a number of firsts here at the revitalised venue. Theatre Director (and Show Producer) Andrew Macduff has only been in the job for 6 months and this is the first show to be directed by Chris Garner at the theatre.
If live shows here continue to be of this quality (and drawing full houses), then the venue has an exciting future. Next year's panto is already announced - Aladdin runs from December 15th to 31st next year and also lined up are shows by Talon, Marty Wilde and The Christians amongst many others.
If there is a venue which is punching way above its weight, it is definitely the Regal Tenbury Wells!
20th - 30th December 2022
Malvern Theatres
A Christmas Carol
⭐⭐⭐⭐⭐ A new take on an old classic
As a kind of antidote to the jollity happening on the main stage, the Forum is given over to the first production from the Malvern Theatres Stage Company - A Christmas Carol. The cast consists of 10 young actors, many of whom will be familiar faces to the Malvern Theatre-going crowd, having been involved in Malvern Theatres Young Company or local companies such as Our Star.
Running at a relatively short 80 minutes (no interval), the show has been adapted and is directed by the theatre's Chief Executive Nic Lloyd who has, as expected, assembled a talented young cast for this Christmas treat. The main man of course is Ebenezer Scrooge, skilfully played by Toby Burchell, as he starts his journey from being a despised taskmaster to a position of relative redemption, courtesy of the visiting spirits (Rhys Harris-Clarke and Daniel Davis). The main recipients of this change of heart are the Cratchett family - Father Bob (Ben Mowbray), mother (Emily Henry) and the ailing son Tiny Tim (11 year-old Howard Haines). Marley (Scrooge's business partner who has been dead these last 7 years) makes a surprising appearance and is played by Henry Pine with Moa Myserson, Summer Reade and Elizabeth Anne Jones playing the other parts, as well as being central to the music. For yes - there is music! Of the seasonal variety, it is used throughout the show as there are (fittingly) carols being sung beautifully by the cast - including Silent Night and the very appropriate In The Bleak Midwinter.
The simple yet atmospheric set was perfect for this production - little is needed by the way of stage scenery or props as the story is more about feelings and emotions so there are a few boxes and candles and a changing projected background. Because whilst the surroundings remain relentlessly bleak, reflecting life as it was in the 1840's, the improvement in the characters' lives coming from the sudden beneficent nature of Scrooge is plain to see.
This first production from the new company certainly bodes well for the future and, complementing the work being done with the Young Company, is enabling young actors to develop their skills on the live stage in well-produced shows, an investment which Malvern Theatres should justifiably be proud of.
If you are expecting to see a traditional rendition of the Charles Dickens' classic, think again! This is so much better.
8th Dec 22 - 1st January 23
Malvern Theatres
Beauty & The Beast
⭐⭐⭐⭐⭐ Superb entertainment for the whole family
Panto is definitely back with a bang in Malvern this Christmas. Beauty and the Beast is the name of the game and it features a great cast, one of whom is very familiar to Malvern audiences. Yes, Mark James is back in the role he has made his own over the past few years. Same character. Same song. Same silly jokes. Different name. This time he is Louis La Plonk - from the Plonkers dynasty obviously - and the audience get their response in to his catchphrase ("Where's me mates?") before he had even asked for it, which says something about both Mark and the Malvern audience.
Topical in parts as ever (the first Liz Truss joke hit us within the first 30 seconds which must be something of a record!), the story takes us to the French village of Camembert where the show's Boo Hiss character is the slimy Hugo Pompidou (superbly played by Phil Atkinson who in this role has to endure being mocked if only for his version of the French language). The traditional dame this time is Louis's mother Polly (Leon Craig) who works the extravagant costumes for all they are worth and you will never see anyone with a bigger baguette on stage than Polly!. Coming in with a lilting Welsh accent to oversee proceedings and making sure her charges are safe is Melanie Walters (best known for Gavin & Stacey) who makes no bones about the fact that she is also there to allow the scene changes to take place… The Love affair between Belle (Milkshake's Olivia Birchenough) and the hairy Beast (Shaun Dalton) gets off, of course, to a shaky start, he having sent her beloved father Clement (seasoned pantomimer David Alcock) into the wilderness and imprisoning Belle but relations begin to thaw, which is more than can be said for the one between Belle and Hugo… he ultimately gets his just rewards by being suitably and severely punished and turned into… an Englishman! Zut alors! The Beast's transformation into human form is very cleverly done.
The cast is complemented by an excellent dance troupe of villagers (Oliver Ferro, Chris Gray, Kathy Bancroft, Lily Dyde, Beau Prance and Talia Webby) who, in conjunction with talented youngsters from the local Cecilia Hall Dance Centre, provide some well-enacted choreography, with a bit of acrobatics thrown in for good measure.
Great music (the Beast's re-interpratation of Sam Ryder's Spaceman as Beastman was brilliant) and dance routines are key to any pantomime and this plus the outlandish costumes of Polly make this a superb, enjoyable and very funny pantomime. There was, however, one element which truly means that panto is back where it belongs, as an entertainment for kids. Missing, for understandable reasons, in previous years was the element of trepidation when 3 young members of the audience are brought up on stage to play a game with Mark James. And he couldn't have had a better start than the first night's victims, with one of them being the cutest 4 year old boy imaginable who was given a guitar to play which was bigger than he was. The youngster had hits wits about him too and gave Mark a run for his money - literally!
Malvern thankfully can't get enough of Mark and it has already been confirmed that he will be back next year in the role of Buttons in Cinderella (where he started in Malvern) which premieres on December 14th 2023. Tickets on sale with an Early Booking discount of 10%…
For another traditional seasonal treat, A Christmas Carol is presented by Malvern Theatre's own Stage Company from December 20th to 30th. Heart-warming stuff!
6th - 30th December 2022
Alexandra Theatre
Dreamgirls
⭐⭐⭐⭐⭐ A glorious celebration of 60s music
If it's an all-singing, all-dancing spectacular that you want for Christmas rather than the "it's behind you!" panto fare, then the Birmingham Alexandra Theatre is definitely the place to be. Running until the end of the month is the exciting show Dreamgirls, a previous version of which was the 2006 movie which starred Beyoncé, Eddie Murphy, Jennifer Hudson and Jamie Foxx.
This is, by definition, the story of black music on the 1960s (Motown, etc) and the predominantly black cast includes Natalie Kassanga and Paige Peddie as Deena and Lorrell with Nicole Raquel Dennis and Sharlene Hector alternating in the role of Effie - three girls hoping for the big time as the Dreamettes via a talent contest which could give them their break. As is the nature of the music business, they fail at that attempt, falling foul of a rigged result. Effie's brother C.C. (Shem Omari James) is their song-writer and they get to work with the often hilarious and playfully non-pc singer Jimmy Early (Brandon Lee Sears) who has a bit of a reputation in the business. Manager Curtis Taylor Jr. (Matt Mills) wants to push boundaries and change the focus from soul to dance in doing so relegating Effie to the back of the trio. A brave move, given that Effie really is a force of nature to be reckoned with! Indeed, in terms of solos, she has all the best songs and belts them out with a strength that always had the audience applauding, her being a bit of an underdog and all that. The Dreamettes become the Dreams and a new 3-piece group takes to the stage. His leads to a battle in the charts when the group and Effie both have completely different versions of the same song out, introducing that nasty aspect of the business which is Payola. Money, not talent, talks.
The hit "One Night Only" (the song which both parties competed for) is the song which people will recognise but it is the superb "Steppin' To The Bad Side" which will remain with you, impressively performed by just about the whole cast. And as that cast runs to well over 20 performers along with a 10-piece orchestra, this is a production which certainly blows away the winter blues and replaces it with blues of a different king - a blues/soul/dance soundtrack which absolutely delighted the audience, not only at the final curtain but which also, unusually, had them on their feet for a standing ovation at the end of the first act.
The first night featured Sharlene Hector in the pivotal role as the formidable Effie - if Nicole Raquel Dennis can do even half as well, she will definitely bring the house down.
1st - 4th December 2022
Conquest Theatre
Dick Whittington
⭐⭐⭐⭐⭐ A superb Family panto
Panto is back post-Covid to its good old-fashioned naughty self and with a run of six pre-Christmas shows at the lovely Conquest Theatre in Bromyard, you can't do better locally than Our Star Theatre's presentation of the classic tale of Dick Whittington.
The company has form, of course as they presented the show (with some cast changes) last year in Ross-on-Wye's Phoenix Theatre. Moving to Bromyard gives the cast a much bigger stage on which to perform, particularly the many dance routines expertly choreographed by Destiny Dawe (who herself plays Fairy Bow Bells) and, heavens above, a live band this time too! Chris Corcoran, Derek Brown and Josh Crivelli provide the musical accompaniment to the story of poor boy Whittington and his travels to London to find his fortune. This is in fact the only panto story based on actual real events, although the original Dick Whittington was by no means poor, being the son of a Sir but hey, never let the truth get in the way of a good panto tale!
Everything you expect from a panto is there (though no-one gets wet!) with Dick played by company founder Ben Mowbray, Dick's potential future wife Alice (will there be a wedding?!) played by Eleanor Catherine Smart and Ava Weetman as the rather feisty and streetwise cat with her very useful Cat Nav. The energetic dance routines are performed by the little rats (Amalie Down, Emonie Huckle, Natalie Seyler, Ellie Walker and Sophie Watkins) along with the rest of the cast, giving this the feeling of a wonderful ensemble piece which they are all enjoying doing together (just add Katisha Harris to ensure the vocals are great too).
That is not the entire cast of course. Every panto has a Dame and a baddy and this is no exception. This year, playing King Rat is the responsibility of Daniel Davis (an Our Star and Malvern Theatres Young Company regular) who whips up the audience to provide the necessary booing and hissing and back in his role as Dame Sarah comes Toby Edwards. Toby makes this role his own, with all the make-up, costume changes and a script - sometimes ad-libbed - which kept adults and kids thoroughly entertained.
And that is exactly what Panto is all about. Family fun and pleasing two different audiences - the adults and the kids - on different levels. The title itself is enough to get the adults giggling every time it is mentioned and the section involving Dick, Dame and Cat performing "what would I be if I wasn't a..." was as hilarious as expected. After all, if you can't sing a song all about the Dame "polishing the knobs" and "trimming the little bush", it's not really panto, is it?!
There are matinees and evening shows this weekend so get along while you can.
www.ourstartheatrecompany.com
www.conquest-theatre.co.uk
29th Nov - Dec 3rd 2022
Alexandra Theatre
An Inspector Calls
⭐⭐⭐⭐⭐ A stunning re-imagining of a classic play
When an Inspector calls, you listen to what he has to say. Right?
Well, it's certainly true in the case of the Birling family and what they are obliged to listen to has major repercussions for each of them. Patriarch Arthur is a hard-headed businessman and was something of a high flyer in local politics - Lord Mayor no less (and is more than happy to tell anyone who cares to listen) - and his daughter Sheila has just got engaged to Gerald, with Arthur keen to put it out there that a potential knighthood might be coming his way to help things along. Until an Inspector calls, that is, and the apple cart is well and truly upset.
Set in 1912, the family have no inkling of the momentous events which will unfold in a couple of years. At the same time, Bradford-born J. B. Priestley introduces themes of class, age, social injustice and even homelessness, implying that factory boss Arthur may be indirectly responsible for the chain of events which are about to be revealed concerning a worker who was sacked for asking for a pay rise.
An air of mystery surrounds the story - and indeed the Inspector - and this is transferred to the set, bleak and very rainy to start with, kids playing around what looks like a large doll's house with a view through the windows of the family inside, toasting their daughter's engagement. The walls cleverly open out for the remainder of the play (until one event dramatically changes that) as the family come to terms with the Inspector's revelation that a young girl has committed suicide. All the characters deny that they knew her but little by little their involvement is revealed…
There is excellent acting from the cast (Liam Brennan is Inspector Goole, Jeffrey Harmer and Christine Kavanagh are the Birling parents, ably supported by Evlyne Oyedokun and George Rowlands as the young siblings, Simon Cotton as the suitor and Frances Campbell as Edna, the (almost) silent help. The special effects, including the rain and mist and the surprising and sudden fate of the house itself, are extremely well done (the latter definitely making the audience jump!). The cast is supplemented by 3 children and six supernumeraries ("extras") playing the crowd.
In this version, directed by Billy Liar's Stephen Daldry, the play runs through to its thought-provoking conclusion without an interval and, given the huge number of school-age children present and coaches delivering them to the venue, it is a favourite on the school curriculum giving many of those present the chance to see, no doubt, their first professional production - certainly the huge and enthusiastic applause at the end of the show showed that they thoroughly enjoyed it and, for the cast, that must have meant a lot.
28th Nov - 3rd Dec 2022
Malvern Theatres
Rocky Horror Show
⭐⭐⭐⭐⭐ Wonderfully, gloriously camp!
Malvern is certainly showing its sleazier side this week if the first night of Rocky Horror Show is anything to go by. A night out in fishnet tights and high heels for some - and that's just the men - all assembled to celebrate the return of those alien trans-sexuals from Transylvania.
If there is one musical which continually re-invents itself, bringing its energy and charm to a brand-new audience as well as retaining its hard-core fans, then it must be Richard O'Brien's show. Opening in June 1973, O'Brien's story of a pair of lovers who unexpectedly find themselves in a completely different world headed by Frank N Furter and his motley bunch of friends/workers/lovers/Phantoms has been a perennial favourite on the touring circuit for years and as such, with clever and varied casting particularly in the main roles of Frank and The Narrator, continues to draw a huge and very involved audience. Indeed, the involvement of the audience is as important an element as the story itself and tests every Narrator to the extreme.
In the past, these narrators have been as varied as Nicholas Parsons, Steve Punt, Dom Joly and Alison Hammond and for this part of the nationwide tour, it is Motherland star Jackie Clune's privilege to hold the big book and wait for the audience's jibes (which she responds to pretty well, including even a mention of Matt Hancock!). She is no stranger to musicals, having been in Mamma Mia and the West End production of Billy Elliot and being asked to be the narrator must be a feather in any actor's cap. The jibes come from an audience well-used to pre-empting the script, something which probably comes as a surprise to any newbies watching!
In this show, the muscular Frank is played by Stephen Webb with Richard Meek as clean-cut Brad and alongside this pair is Haley Flaherty as Brad's other half Janet (dammit!). The pivotal role of Riff Raff is still the domain of Kristian Lavercombe who has basically made the role his own, incredibly having done it now for well over 2000 performances. Kudos too for the very energetic and acrobatic Ben Westhead on his first professional UK tour outing, obviously much-loved in the title role of Rocky and expertly carrying out his aerobics perfectly on the Malvern stage.
The whole cast worked brilliantly as, to be fair, did the audience! The musical accompaniment from the live band hidden away at the top of the stage was superb. The spectacular and colourful ending using smoke and lights was also beautifully done and had the audience on their feet doing the Timewarp along with the cast.
It certainly seems that the show, forever being refreshed with new casting and effects, is set to continue for many years to come. And in June next year it will be 50…
So Malvern - Dress to suit. No-one will bat an eyelid!
22nd - 26th November 2022
Alexandra Theatre
Saturday Night Fever
⭐⭐⭐⭐⭐ A stunning spectacular show - so many great hits!
A bit of Jive Talkin', a few Nights on Broadway, a lot of Night Fever and most definitely Stayin' Alive - it can only mean one thing. Saturday Night Fever is back in town!
This is a show which comes around every few years (2018, 2015…) and never ceases to excite. Impressive as a touring show, this version is a very enjoyable and energetic adaptation of the original film which was given, and still has, an X (18) Certificate. And some of the elements which caused that rating back in 1978 (yes, that long ago!) remain in this production, many of which are (hopefully) "of the time" and not representative of today's attitude to relationships, pregnancies and minorities….
Adult themes and language aside, it is the music which counts here and the 20-strong cast are lead by Jack Wilcox in the iconic lead role of Tony Manero with Rebekah Bryant playing Stephanie Mangano by his side. Well, some of the time anyway, for this is a flawed man who does not know what he wants out of life and love except that working in the paint store is more like a prison sentence than a career. His true love lies in dancing but he hardly has the support of his family with an abusive father and a brother who is the "golden boy" with his position in the church. Until he decides to leave the faith.
Also on stage are the members of the excellent live band and three guys (Drew Ferry, Oliver Thomson and AJ Jenks) representing the Bee Gees - their presence as a central part of the show rather than hidden away really lifts this musical to another level as they accurately portray the very distinctive sound and compositions of Barry, Maurice and Robin, particularly so in the first act's closing number You should be Dancing, making it truly indistinguishable from the original.
The well-crafted Bee Gee tunes were very much at the pinnacle of disco fever in the 70's and early 80's (and so may hits came from just this one film) and certainly the crowd at the Alex enjoyed what they were seeing and hearing. Apart from all the well-known disco tracks, three songs in particular resonated with them (ironically neither of which were in the actual film) - Tragedy (given an extra significance considering what was to follow…), If I Can't Have You and the very much quieter and contemplative Immortality.
The finale had everyone up on their feet as the entire cast plowed through three of the show's biggest hits, Disco Inferno, Night Fever and You should Be Dancing. Well, we were so that worked a treat!
So flares on everybody whilst the Alex becomes Disco Fever Night till Saturday!
21st - 26th November 2022
Malvern Theatres
Darker Shores
⭐⭐⭐⭐ Scary stuff for a dark autum night!
It was a suitably cold, wet, dark night for the first night of Michael Punter's Darker Shores at Malvern Theatre. This was an atmosphere which continued on stage where the set was the somewhat intimidating interior of an old house, one of course which had history…
Ghost stories are nothing new to British audiences. Macbeth, Scrooge, Hamlet all encountered them, Noel Coward has one in Blithe Spirit, then there's The Woman in Black and Ghost Stories and today, their popularity continues unabated with the brilliant tv comedy Ghosts (which has even been adapted for American audiences).
Darker Shores takes the standard situation - a haunted house - and builds a story around how it came to be so. It is Christmas 1875 (or more accurately "Advent" as the midnight bells have not yet tolled) and the setting is Sea House, a rambling Victorian mansion on the East Sussex coast, whose owner "disappeared" leaving only the housekeeper Mrs Hinchcliffe (Juliet Mills) in charge, a Northern woman who takes no prisoners. A room is rented out to Professor Stokes (Maxwell Caulfield) who lost both his wife and son in a shipping disaster and the show starts with a conversation between him and Tom Beauregard (billed as being played by Michael Praed but, on the first night, it was the more than capable understudy Will Beynon who took the role (no explanation given). The other character is Florence Kennedy (Chipo Kureya) who helps out at the house after being taken in when she was left as a single mother with her son and no support. Stokes is a Christian natural historian (and therefore not a fan of the paranormal) and his friend Beauregard is an American spiritualist (from some dodgy-sounding church as they tend to be). The two set about trying to unravel the mystery of the smells, noises and apparitions in the house whilst Stokes is attempting to write his masterpiece in his rented room (and not enjoying kippers for breakfast!)
Needless to say, there are some clever - and startling - special effects throughout (you can always tell when these work as the audience gasps and then chuckles!) but to give more details would be to give away too much of the plot. By the end of the evening, you might just know more about the fate of the house's owner, why Mrs Hinchciffe really shouldn't turn the place into a hotel and why there footsteps of a boy in the loft…
15th - 19th November 2022
Alexandra Theatre
Noughts & Crosses
⭐⭐⭐⭐⭐ A stunning adaptation of the Blackman's book
Noughts & Crosses is a love story unlike any that you will have seen on stage before. This adaptation is based on author Malorie Blackman's 50th book from 2001 and it is something which has already been adapted elsewhere, most notably perhaps for BBC TV.
It is based in a world of role-reversal, where apartheid is endemic but is it an apartheid where dark-skinned people rule over the white-skinned. Adherence to class is the norm, colour separation is strict and the "blankers" (Noughts) perform menial tasks and are not allowed passports. It is a world where the Noughts begin to revolt, armed and angry. It is a world where white members of the audience will feel very uncomfortable, seeing things from the "other side". Love. Revolution. A World Divided. These are the themes addressed here.
Love conquers all, as they say. But does it? In this story, two families are highlighted - that of Callum (superbly played by James Arden, transforming from boy-next-door to freedom fighter) and his mother, father and brother (who both revolt against the system) and sister - all Noughts - and the Crosses, Sephy (Effie Ansah, quietly portraying a daughter and sister at odds with the world), her sister, her drink-loving mother and politician father. The young naïve innocent lovers have known each other for years (Callum's mother works for Sephy's family) but it is when Callum gets the opportunity to be the first Nought to attend a Cross school that things begin to erupt. It is through Callum that she learns how the world really is, rather than from the script provided by her mother and father. And it is here that she realises that love cannot conquer all.
The staging for the play is quite simple but very effective, allowing video to be used as TV news stations broadcast their version of events, in doing so giving the father politician his means of explaining events which, at various points in the show - not to give too much away - become very dramatic indeed, the bombing and the scenes following the death sentence particularly so.
On opening night, there was a very large percentage of young adults - refreshing to see in a theatre - who gasped at some of the events being portrayed (and equally whooped at an impending love scene!). Pilot Theatre, whose production this is, specialises is creating theatre for younger audiences and consequently this may be the first time many of the audience will have seen a live show. This one has so many contentious elements in it for them to take away and discuss amongst themselves and hopefully work towards a future which is less divided, having seen the catastrophic results which may occur if things remain unchanged.
For the whole audience, this was a superb show, stunning and shocking in equal measure, and kudos to the younger members who led the well-earned standing ovation at the end.
14th - 19th November 2022
Malvern Theatres
The Mirror Crack'd
⭐⭐⭐⭐⭐ A really entertaining murder mystery
There are, of course, two characters created by Agatha Christie who stand out and who have been played by an illustrious series of actors over the years: Poirot (Albert Finney, Peter Ustinov and, of course, David Suchet) and Miss Jane Marple (Margaret Rutherford, Joan Hickson, Julia McKenzie…).
The latest actor to take on the coveted role of Miss Marple is Susie Blake in Rachel Wagstaff's new adaptation of The Mirror Crack'd. Director Philip Franks (Cedric "Charley" Charlton in The Darling Buds of May) says that theatre had become lazy, doing run-of-the-mill productions of her stories knowing that the audience would always turn up because they "love a mystery". And so with Wagstaff's adaptaion, he set out to present something different and this starts with the set which is basically an enormous glass box which is rolled onto the stage and revolved as it is used for different locations.
There is a story to tell of multiple murders at Gossington Hall but Miss Marple is somewhat incapacitated by a foot injury. She does, however, get a visit from Chief Inspector Craddock (Oliver Boot) and her friend Dolly Bantree (Veronica Roberts) - the latter having sold her house to a sophisticated American couple - film star Marina Gregg (Sophie Ward) and her husband/director Jason Rudd (Joe McFadden).
The story is cleverly told in seamlessly-performed flashbacks involving the rest of the cast as the murders take place and Miss Marple attempts to unravel the mystery. She does this, however, to the increasing despair of the Chief Inspector who should really be in charge and this lends to an undercurrent of unexpected humour throughout the show (and a couple of laugh-out loud moments too). As in any good mystery, it is not just the" who" but also the "how" which is important and red herrings play their part in distracting the audience from the real killer.
Susie Blake brings a light touch to the role as she quietly, imperceptibly and knowingly gets the information she needs to identify those responsible for the murders as well as helping to resolve some other longstanding issues too. Oliver Boot is great as the Chief Inspector who tries his hardest to be take control but knowing that anything he tries to do will be overshadowed by actions of "Auntie Jane", the real sleuth in this case. "You're a spinster, not a detective!" he exclaims at one point, much to the amusement of the audience.
Given a fresh new approach to Agatha Christie's novels (as evidenced already with Sarah Phelps's re-imagined stories for BBC TV), it seems that, in addition to the long-running The Mousetrap (coming to Malvern next year), theatre is also playing its part in keeping her stories alive for a new generation of theatre-goers.
11th - 12th November 2022
Vesta Tilley Studio Theatre
An Improvised Murder
⭐⭐⭐⭐⭐ A clever, funny audience-driven evening of entertainment
There is something unique at the Vesta Tilley Studio Theatre this week. In fact, each performance of the show is unique for this is An Improvised Murder presented by Foghorn Unscripted.
Hailing from Birmingham, each show is different because whilst there will always be a murder, it is the audience who decides who will be murdered and who will be the murderer. Not only that, but where the murder takes place is down to the audience as well.
At the start of the show, the members of the audience are given a slip of paper on which to write either a possible location, the name of a character or a phrase from a recent text message. On the first of two nights in Worcester, the chosen location was a chocolate factory-cum-museum. And immediately the cast were set to devise a completely random scenario involving various characters (a couple of twins working in the museum, the factory owner, the HR manager and others) culminating in a scene which led to death of one of them. During the interval, a further set of questions were prepared by the audience relating to the second half's questioning of the 3 remaining suspects by Detective Henry VIII (another name chosen by the audience).
As the slips of paper were pulled out of pockets, the cast had no idea what was written on them but nonetheless had to use the words on them in the ensuing conversation. Luckily none of them were attributed to anyone in the audience as everything was kept totally anonymous.
There is something very special about a team who can improvise in this way (as a point of reference, you may remember Clive Anderson's Whose Line Is It Anyway on Channel 4 which did a similar thing). The enjoyment is mutual - for the audience, seeing the cast sometimes squirm at having to say their very words and for the actors to be able to create a totally new, unrehearsed and unique piece of theatre for every performance. Who knows where the next murder may take place… it's all down to the audience to decide on Friday night!
And as every show is different, hopefully it won’t be long before they return to Worcester.
https://www.facebook.com/foghornunscripted
7th - 12th November 2022
Malvern Theatres
The Lavender Hill Mob
⭐⭐⭐⭐ An ageless comedy brought to life on the stage
It is a curious thing that so-called heist movies are often turned into comic capers where the British are involved. Think The Ladykillers and The Italian Job as opposed to the rather more serious Bonnie & Clyde and Reservoir Dogs. And this is certainly the case with another movie about small time crookery which came from the famous Ealing Studios way back in 1951. The all-star cast of Alec Guinness, Stanley Holloway, Sid James, Alfie Bass and even Audrey Hepburn created a classic which, bizarrely, even made it into the Vatican's Top 15 films in the "Art" category alongside the likes of Citizen Kane and 2001: A Space Odyssey.
The Lavender Hill Mob takes an ostensibly honest, hard-working bank employee, Holland (Miles Jupp) who was passed over for promotion because he was so, well, ordinary and turns him into a lovable rogue who we first see apparently enjoying the fruits of his labour celebrating New Year's Eve with his partner-in-crime Pendlebury (Justin Edwards) and his new found friends and living the high life in Rio De Janeiro.
The ensemble cast of eight then take us through the story of how he came to be there for the benefit of Farrow (Guy Burgess) who, Holland claims, is going to turn his capers into a movie and needs to know the full story. This is a tale which begins with him transporting gold bullion around the streets of London (with seemingly little extra security!) during which he has the crazy idea that these could be turned into the little Eiffel Towers which Pendelton is already producing - in fake gold - for visitors to Paris.
This leads to some very funny escapades, particularly across the channel, as the cast play an array of different characters - and accents - in the pursuit of the bullion. There is also a very clever reconstruction of the Eiffel Tower itself on stage and the stage itself is packed with British memorabilia to remind the pair of home. Without exception, the cast take on their different roles perfectly, producing the sound effects themselves such as creaking doors and birds over the white cliffs of Dover (and their very funny, much sexier, French counterparts in Calais!) and the urgent taxi ride from Paris to Calais is hilarious, as the driver decides to stop for his déjeuner (a baguette, obviously!) en route. That might be stereotypical but also not far from the truth!
The show is a delight to watch (regardless of whether you have seen the original film) and it is great that a comedy first performed seven decades ago can still entertain modern audiences with a script by Phil Pulman which makes the most of what can be done on a stage with a team of talented performers.
7th - 12th November 2022
Alexandra Theatre
Shawshank Redemption
⭐⭐⭐⭐⭐ A clever atmospheric adaptation of the movie
The Shawshank Redemption is horror writer Steven King's 1982 story (a novella actually called Rita Hayworth and Shawshank Redemption) of a group of men incarcerated for their typically murderous deeds and was, back in 1994, made into a film starring Morgan Freeman and Tim Robbins. In this touring version of the play, those roles are played by Ben Onwukwe as Ellis "Red" Redding and Joe Absolom as Andy Dufresne. As this takes place in a male penitentiary, all the characters, inmates and staff, are male and the play covers 20 years of their lives.
The impressive set is designed to give some idea of the conditions in which the men are kept, noisy, cramped and a lack of privacy leading to the inevitable clashes of individuals (though always under the auspices of the guards who can spot most, but not all, of the things going on). Additional scenes are brought in to cover the canteen, library, the prison governor's office and the solitary confinement cell. And all the time, the wardens are watching from high up, armed and perfectly willing to use them. The play doesn't - and shouldn't - shy away from strong language and has scenes of physical abuse and implied male rape as well as the bribery and corruption we would expect in such an environment. That is exactly what Red does - he is a man who can get things for the other inmates. When Andy first arrives, and for a couple of years afterwards, he is quiet, reserved but is befriended by Red. He also has banking skills which are of use to the governor, which could be either his making or his downfall…
Among the threats and actual violence, particularly that meted out by the two "sisters" Rooster (Leigh Jones) and Bogs (Jay Marsh), are moments of humour from Rico (Jules Brown) with his quotes from Lady Chatterley's Lover, pages of which he stole from the library!
Onwukwe is effectively also the narrator of the story, often talking directly to the audience whilst Absolom is well cast as the introvert Andy who manages to have his feet in both camps and is seen as the saviour of new arrival Tommy who has some information about his conviction which could prove useful. The tension remains right to the end regarding the situation for both Red and Andy - plans had been made but could they be achieved?
This stage version quite possibly benefits from being on a static set. Things don’t change much even after 20 years and to be confined for such a length of time must be quite soul-destroying, especially if you consider that you have been wrongly convicted. The show is well worth a visit even if you have seen the film. Live performances will invariably trump what many millions of dollars have been spent on!
1st - 6th November 2022
Alexandra Theatre
The Mousetrap
⭐⭐⭐⭐⭐Great fun right up to the reveal of the culprit!
Rather like any Great British institution, Agatha Christie's The Mousetrap finds itself embedded in the psyche of the nation, as witnessed by the fact that it is now on its 70th Anniversary tour (and retaining its title of the longest running show in history). First staged at the Ambassadors Theatre in London, it opened with Richard Attenborough and his wife Sheila Sim but, curiously, Agatha Christie had no high hopes for the play. She reckoned on giving it a life of just eight months, so this is a pretty amazing achievement and Christie was as baffled as anyone at the show's enduring appeal.
The play was last at the Alexandra Theatre in 2019 and here it is again, with a totally different cast. For this celebratory tour, we have Gwyneth Strong, Todd Carty, John Altman, Joelle Dyson, Laurence Pears, Elliot Clay, Essie Barrow and Joseph Reed. And one of these doesn't even make it to the second half...
The red herrings come thick and fast whilst conceits, secrets and accusations abound as the visitors to and owners of a new snow-bound guest house just outside London try to come to terms with the fact that, to the tune of Three Blind Mice, two of them may be dead by the end and the killer, who has already struck once, is apparently already in their midst.
All the action takes place on a single set with various other rooms mentioned as locations where the characters happened to be when the murder(s) took place so no-one is in the clear and everyone is potentially the killer or the victim.
This is a good robust performance of the play, with more humour than you might expect in a murder mystery. Elliot Clay is hilarious as the "crazy" and somewhat unstable character Christopher Wren as is the unexpected guest Mr Paravicini, played by John Altman whose accent occasionally and amusingly strayed away from the Italian he was meant to be. An unusual sight was seeing Todd Carty impressively portraying a gruff Army Major and Joseph Reed was excellent as the Detective Sergeant Trotter (!) whose job it was to identify the killer… The audience is kept guessing until the end (unless you have seen it before, of course!) when the theme of Three Blind Mice comes to its natural conclusion with the killer revealed as...
So who did do it and why? Well, in the long-held tradition of the play, the audience is sworn to secrecy by the detective before the final curtain falls so there is only one way to find out...
Spare a thought for actress Nancy Seabrooke. On retiring from the show in 1994, she had been understudy for 6,240 performances but was called upon to take the role of Mrs Boyle just 72 times - an average of 5 per year over the 15 years she was involved in the show. Now that is dedication to the cause!
25th - 29th October 2022
Malvern Theatres
SIX
⭐⭐⭐⭐⭐5-star brilliance!
The "six" of the title are, of course, the six wives of Henry VIII with their various destinies described here as Divorced * Beheaded * Live rather than the usual version. For on stage are the living incarnations of the six Queens as you have never seen them before as history - or rather her-story - is given a thorough upgrade to bring it well and truly into the 21st century. Anyone who enjoys the type of education imparted by the talented team at Horrible Histories will already know what to expect - traditional facts and figures neatly wrapped up in cleverly-written songs using modern terminology and expressions, here served up live on stage by the 6 feisty and independent-thinking Queens and their Ladies In Waiting (aka the all-female 4-piece band).
And so it comes to pass that Aragon, Boleyn, Seymour, Cleves, Howard and Parr each have a story to tell and in a competition to convince the audience that they are the most worthy - and hard done by - of the wives, each has a song of their own. Those songs come after the rousing opening number which sets the scene perfectly, as if the audience is participating in a Spice Girls concert rather than a history lesson, which is exactly as it should be as you immediately know this is going to be something very different indeed. And clearly, from the packed theatre and the energetic and vocal response from the audience , this was a much anticipated and welcome show back, in fact, for a second outing as it was first performed here in those old Pre-Covid days (2019!). In addition to the songs, the wives jostle on stage trading insults in their attempt to outdo one other, in particular Boleyn for whom nothing surely can be more dramatic than losing her head.
Not all the Queens are from home-grown stock, of course, with Henry marrying a Spaniard and a German-only speaking German (there were truly weird times, absolutely ripe for mockery!) and the ensemble song "Haus Of Holben", with its Teutonic disco beat, is absolutely hilarious, superbly performed by the entire cast. Reminiscent of the sort of stuff we used to see in TV's Eurotrash and worthy of being a Eurovistion entry for Germany. Indeed to be fair were all the songs - whether they were fast-paced anthems or the slower laments of Seymour and Parr, these Queens can certainly bang out a tune!
After the six individual songs, the Queens are back together again for the rapturous finale - then the encore and the encore's encore with everyone on their feet singing and clapping and giving the show the send-off it truly deserved.
And then it was all over. Leaving the audience drained and wanting more but not getting it (as with all the best shows). Where did those 80 minutes go? Who knows but what you do know is, imperceptibly and with a smile on your face, you came away knowing far more about these ladies than you ever did before and that is very clever of the writers. To the extent that people came away from the theatre muttering "I never knew she did that...". Well now, thanks to this utterly brilliant show, you do! Very, very funny, informative, superbly choreographed and performed - what more could you ask for?
The show only premiered at the Edinburgh Fringe a few of years ago and has already been a massive hit in the West End and in the States - a coup then for Malvern to get a second bite of the cherry. Fortunately - and bravely - the writers and producers of the show have kept to the original premise of having an 80-minute performance about the Queens only, rejecting calls from some quarters to add a second half, increase the length to have a more "standard" theatre running time and, heaven forbid, introduce this Henry character into the mix (who, according to the ladies, wasn't quite as "big" as he might have seemed…!).
So now that we are back to having a male monarch, a word of advice to His Majesty and his successors - beware the females in your lives - they can be a lot more feisty than you imagine!
25th - 29th October 2022
Alexandra Theatre
The Osmonds Musical
⭐⭐⭐⭐⭐ Colourful and full of memories of the 70s!
Judging by the audience reaction, Birmingham loves being taken back to the past!
The past in this case was the late 60's and 70's and the story presented was that of the Osmond family. Hailing from Ogden in Utah state (home of the Mormon Church, to which the family belonged), this large family started their singing careers under the firm, often military, hand of their father George and the somewhat softer approach of their mother Olive. And it is one of the boys, Jay, who both wrote and largely narrates the story of their upbringing, from singing as a local barbershop-style group to raise money for their elder brothers (Virl and Tom, both of who were born with severe hearing difficulties and needed expensive hearing aids) via being "discovered" by Andy Williams' father in Disneyland to opening their own studio/recording/performing complex back in their home state. At the end of which comes the almost inevitable downfall as their financial empire crashes to the ground due to mis-management and the risk of entering Chapter 11 insolvency. But with 100 million records sold and debts of $80 million, it is the father who steps in again to ensure that they do not go under.
This isn't a sugar-coated story either - there were sometimes real power struggles between the boys which are portrayed here regarding who will be lead singer for a particular track and who will determine the financial affairs and the occasional and natural backlash against the father (always called "Sir" by his sons). With a total of 7 offspring actively involved in the singing side, various permutations evolved. In Britain, little Jimmy Osmond achieved 5 weeks at Number One by being a long-haired lover from Liverpool (he was 9 at the time!) and Donny was many a girl's dream pinup (plenty of those in the audience too!). Donny also teamed up with the only girl in the family Marie to have a very successful series of TV shows and hit singles. Each had their own style - Marie's country style, Donny's bubblegum pop, Jimmy being, well, cute and the rest moving to a heavier side of rock, the lyrics of which were not always appreciated by the parents (the word "satisfying" being particularly problematic). And that range of styles was well-represented in the show with a total of 30 songs played and sung live (some unexpected ones too such as Music To Watch Girls By from the popular Andy Williams Show and He Ain't Heavy, He's My Brother which neatly summed up the family's dynamic).
One element which encompassed fandom was the inclusion of "Wendy from Manchester, your No 1 fan" who popped up from time to time to give a young girl fan's eye view of the group and raised a smile every time she did so with her Northern accent completely at odds with the rest of the cast's American twang.
Whilst the main body of songs was performed by the adult Osmonds, we also had - very effectively - their younger selves on stage too. A revolving cast of 6 young lads superbly portrayed Merrill, Alan, Jay, Wayne, Donny and Jimmy, who were obviously having great fun doing it too, sometimes sitting with their older selves during family discussions.
On a stage as colourful as the outfits the brothers wore whilst performing (the whole stage is in fact one big letter O), the songs came thick and fast, all performed faultlessly. If you enjoy the music of the Osmonds (in any of their permutations) or just a well-told story of how a family went from a small town in the American Bible Belt to international fame and stardom, you will definitely enjoy this show, even if you weren't around at the time they were a big pop sensation.
Kudos to the show's team and theatre staff too as, on opening night, the performance had to be stopped and restarted twice for medical emergencies to be dealt with which led to an overrun of around 25 minutes.
27th - 1st October 2022
Alexandra Theatre
South Pacific
⭐⭐⭐⭐⭐An extremely impressive production and a joy to watch!
Chichester Festival Theatre's esteemed touring production of South Pacific arrived at the Alexandra this week and it is big. So much so that the start of the first night's performance was pushed back by 30 minutes to ensure that the stage was working perfectly and safe to perform on. Because this is a massive production in scale on a massive set which not only extends out into the auditorium but also includes a huge revolving stage in the middle, which was crucial to many of the scenes. Any failure there and the show would come to a halt. Fortunately, all that preparation led to a technically faultless production. Big, too, was the cast. More than 30 actors are on stage at any one time and they are backed by an orchestra composed of 16 musicians, not to mention those responsible for the excellent sound and clever projections on the backdrop.
This is Rodgers & Hammerstein's classic tale of life for American troops in the South Pacific (another of their foreign tales arrives at the Alexandra next February - The King & I) which premiered on Broadway way back in 1949 and is based on several stories from James A. Michener's Pulitzer Prize–winning book Tales of the South Pacific. So popular has the musical been that many of the songs have become classics in their own right - Some Enchanted Evening, Bali Ha'i, I'm Gonna Wash That Man Right Out Of My Hair, Younger Than Springtime, I'm In Love with A Wonderful Guy, Happy Talk and, of course, There is Nothin' Like A Dame (which, for many, will forever be associated with Eric & Ernie and the BBC newsreaders!). So many classics from a single musical is impressive and uncommon and it guarantees that the show will be familiar to the audience, even if they have never seen it before.
The main cast are Julian Ovenden who plays Emile de Becque, a Frenchman in self-imposed isolation on the South Pacific island, Gina Beck is American nurse Ensign Nellie Forbush, Joanna Amhil is the flirtatious local girl Bloody Mary and Rob Houchen is another love interest, Lieutenant Joseph Cable. Amongst the rest of the cast, Douggie McMeekin deserves a mention for playing crafty Luther Billis who has his hand in many pies on the island and always despairing of the lack of ladies. The story doesn't shy away from elements of racism either, something which provoked controversy at the time, not just with the interactions with the locals but also between de Becque and Forbush, whose blossoming love is hampered by his past relationship on the island which resulted in his two children.
The singing, as you would expect, is first rate whether from the ensemble cast or from individual cast members and the accents (American, French or local) are effortlessly maintained throughout. The revolving set comes into its own in various set pieces, particularly so when adorned with lamps which greet the men when they arrive on the mysterious island of Bali Ha'i and also on the parts of the show where the front and back of the set can be shown, as in the shower scene (yes, that water is real!) and the part where the troops are themselves putting on a show. And coming from the South Pacific, every opportunity is taken to make it as colourful as possible, in contrast to the drabness of the daily fatigues.
If you are looking for a show which will take you away from all the current depressing issues, this is definitely it. Colourful, lively and with a memorable score and an excellent cast, South Pacific thoroughly deserved the applause and standing ovation. And well done too all the backstage crew who managed to move such an impressive set from its previous location and get it all working perfectly on the night.
20th - 24th September 2022
Malvern Theatres
Shawshank Redemption
The Shawshank Redemption is horror writer Steven King's 1982 story (a novella actually called Rita Hayworth and Shawshank Redemption) of a group of men incarcerated for their typically murderous deeds and was, back in 1994, made into a film starring Morgan Freeman and Tim Robbins. In this touring version of the play, those roles are played by Ben Onwukwe as Ellis "Red" Redding and Joe Absolom as Andy Dufresne. As this takes place in a male penitentiary, all the characters, inmates and staff, are male and the play covers 20 years of their lives.
The impressive set is designed to give some idea of the conditions in which the men are kept, noisy, cramped and a lack of privacy leading to the inevitable clashes of individuals (though always under the auspices of the guards who can spot most, but not all, of the things going on). Additional scenes are brought in to cover the canteen, library, the prison governor's office and the solitary confinement cell. And all the time, the wardens are watching from high up, armed and perfectly willing to use them. The play doesn't - and shouldn't - shy away from strong language and has scenes of physical abuse and implied male rape as well as the bribery and corruption we would expect in such an environment. That is exactly what Red does - he is a man who can get things for the other inmates. When Andy first arrives, and for a couple of years afterwards, he is quiet, reserved but is befriended by Red. He also has banking skills which are of use to the governor, which could be either his making or his downfall…
Among the threats and actual violence, particularly that meted out by the two "sisters" Rooster (Leigh Jones) and Bogs (Jay Marsh), are moments of humour from Rico (Jules Brown) with his quotes from Lady Chatterley's Lover, pages of which he stole from the library!
Onwukwe is effectively also the narrator of the story, often talking directly to the audience whilst Absolom is well cast as the introvert Andy who manages to have his feet in both camps and is seen as the saviour of new arrival Tommy who has some information about his conviction which could prove useful. The tension remains right to the end regarding the situation for both Red and Andy - plans had been made but could they be achieved?
This stage version quite possibly benefits from being on a static set. Things don’t change much even after 20 years and to be confined for such a length of time must be quite soul-destroying, especially if you consider that you have been wrongly convicted. The show is well worth a visit even if you have seen the film. Live performances will invariably trump what many millions of dollars have been spent on!
13th - 18th September 2022
Malvern Theatres
Spike
The 1950's proved to be a bit of a renaissance in comedy at the BBC after suffering from the austerity of the immediate post-war years and the demise of the popular ITMA series following the death of Tommy Handley. It was a time when various writing partnerships came to the fore - Galton & Simpson, Muir & Norden - as well as writers such as Eric Sykes and, the subject of this show, Terence Alan "Spike" Milligan, India-born but of Irish descent.
His most famous collaboration was, of course, with Harry Secombe and Peter Sellers in BBC Radio's The Goon Show. He was inventive and ground-breaking is his approach to comedy. The BBC, however, has a history of issues with entertainers who break the rules (more recently, Kenny Everett who had a continuing love-hate relationship with the corporation) and so it was with Milligan who produced comedy which mocked the BBC and which was not understood by it either, even though vast audiences loved it.
In addition, the BBC considered Secombe and Sellers to be the show's talent, the ones who could be relied upon, whilst Milligan, as the writer and true creative element who repeatedly did not get his scripts in on time, was seen as something of a loose cannon.
The events which took place throughout various series of the show are the basis of this story, written by Ian Hislop and Nick Newman, another long-standing writing partnership which most recently brought The Wipers Times to the Malvern stage. Through the auspices of the satirical publication Private Eye, they are linked to Milligan who regularly provided content for it. The Milligan/Secombe/Sellers Goons are played by Robert Wilfort, Jeremy Lloyd and Patrick Warner who all portray their very individual characteristics with ease. During the first half, the man in charge of comedy at the BBC is Denis Main-Wilson who later moved on from radio to produce many TV comedies, including Till Death Us Do Part. Come part two, a new person is in charge, Peter Eton (both are played by James Mack) who came in from BBC Drama and who decided to change things by requiring, for example, proper rehearsals but luckily rejected a proposal to introduce ventriloquist Peter Brough and his dummy Archie Andrews into the show . In hindsight, it may not have been the best of moves to tamper with the likes of the temperamental Spike, already suffering from the anxiety of writing so many scripts whilst being paid substantially less that the other two and the script, via flashbacks to his army career, to some extent show why he is how he is.
Part of radio shows (then as now) is the use of sound effects - increasingly bizarre in the case of the Goons - especially once tape had been introduced, replacing 78RPM records. At various points in the show, we see these being used courtesy of the special effects engineer (Margaret Cabourn-Smith) who manages to convince us that what is fake sounds true to life… Well, a little anyway!
To be fair, the show is likely to attract an audience who are probably already familiar with either the Goons or Spike Milligan, as there were many references which are only really understandable to that audience. Why would anyone consider bringing a ventriloquist act into a radio show? Well bizarrely that was really a thing, with Educating Archie being very popular. But there are plenty of good one-liners too such as when, at a party, Milligan is asked if June (his wife) is coming. "No, it's mid-winter" comes the witty reply (think about it!). And, in Private Eye, he wrote "Inside the house, the blinds were drawn but the furniture was real". Beautifully-crafted one-liners and it's easy to understand why he would have struggled to keep up the pace of writing new ones.
The man may have been a somewhat tortured and misunderstood individual and the show goes a long way to explain and demonstrate his creative prowess.
13th - 18th September 2022
Alexandra Theatre
Fisherman's Friends
⭐⭐⭐⭐⭐
Fresh yet traditional, a unique and a deserved success!
Fresh from the start of its tour in Plymouth last week, Fisherman's Friends has moved inland to Birmingham. This is a big show encompassing basically three groups of people: the fishermen themselves, the women who support them and the band who provide the music. All three sets of people work seamlessly together on stage making this a piece of theatre which really is all-embracing. And, from the men in particular, you get solos from actors who you may not consider to be singers as the cast includes James Gaddas (most recently seen in Hollyoaks), Robert Duncan (who was the full-of-jargon Gus Hedges in Drop The Dead Donkey) and Susan Penhaligon from Bouquet of Barbed Wire and A Fine Romance. In fact, without exception, all of the cast proved to have the strong voices necessary to accurately portray the Cornish fishermen and their years of singing traditional shanties which described their lives, hopes, trials and tribulations.
Having deliberately not watched the 2 filmed versions of their rise to fame, the musical version can be judged as a standalone piece irrespective of the cinema releases. And as a theatre production, it has some definite advantages. The music, played by 7 very talented musicians led by James Findlay, is live and integrates very neatly into the show, which by extension, allows the singers to perform at their best when an instrumental backing is required. But for much of the time, as in the real world of shanty singers, many of the songs are performed a' Capella, proudly and loudly.
The first half of the show takes place in Cornwall, in the village of Port Isaac which does not always welcome the intrusion of "emmets" (non-locals) - this was, after all the setting for Doc Martin too! The "intruder" in this case is washed up music plugger Danny (James Langley), a real fish out of water, who ends up at the harbour almost by mistake. He promises the world, expecting to take his cut, but promises do not always get realised. County rivalries are also present and one can only guess at the response of the Devon audience to the singers' activities around the Welcome to Devon signpost! As things develop, the action moves to London in an attempt to get these reluctant harmony singers a record contract and maybe an appearance at Glastonbury. Again, promises are broken but, accidentally ending up in a gay bar and performing In The Navy (well it is a song about the sea!) provided one of the most hilarious moments of the show. Apart from that rather unconventional shanty, many of the songs are well known - from "What shall we do with the drunken sailor?" to "When the boat comes in", via "Sloop John B", the latter beautifully sung as a duet in a blossoming love scene. And "Haul Away, Joe" and "Keep Hauling" not only reflect the fishermen's trade but also life in general, especially when disaster strikes. For this is how they deal with life - family, companionship and tradition are at the very heart of this community. All the more so where tragedy occurs - something all fishermen must dread and be prepared for when they lose one of their own.
Aside from the community singing in the local pub and on the quayside, there are also two parallel plots which are that the pub where the singers meet is heavily in debt but can owner and new to fatherhood Rowan (Dan Buckley) find a way to extricate himself from the dilemma by approaching Danny or is he making a pact with the devil? And can Danny ever be accepted into the community and more especially into the heart of Alwyn (Parisa Shahmir)?
The show leans heavily on family, which is strong in these communities and is no bad thing, as the various generations have to work together even though their ideals and aspirations may well be different.
So given that the show gained a rapturous reception in Plymouth (by the sea), how did it fare in landlocked Birmingham (by the canal)? Judging by the reaction (standing ovation and massive applause) the entire cast without exception can be very proud to have brought a little bit of Cornwall to the West Midlands. The only thing missing were those delicious pasties!
For a further insight into how the show was put together, have a listen to my interview with Dakota Starr who plays Ben along with a couple of songs from the show:
https://1drv.ms/u/s!As__InsoO2XBjnJs6tCzFGYaOtI1?e=jG7jpI
6th - 10th September 2022
Alexandra Theatre
Derren Brown - Showman
⭐⭐⭐⭐⭐
Brilliant. Mind-blowing. Impressive. Devious. And very personal.
A true "Showman" with more than two hours of audience-participating spectacular trickery.
Make that phone call - if you dare...
25th - 27th August 2022
Alexandra Theatre
Fame
Given that the last outing for the Alexandra's Stage Experience was back in 2019 with Singing In The Rain, you might think they have had three years to prepare for their latest extravaganza Fame. Not so! This year's show has been put together in record time during August. Bringing together, for their 17th production, a range of young talent aged between 9 and 24 from across the Midlands, the one constant has been choreographer Pollyann Tanner who never ceases to amaze with how she can bring together a motley bunch of youngsters to produce a show in a couple of weeks which would happily grace the West End stage.
Like Stage Experience, Fame is of course all about how kids get to be on the stage in the first place. Based on the film from 1980 (an all-American movie directed by British film-maker Alan Parker), the show tells the story of students at the New York School for the Performing Arts and their bid to get a foothold in the industry. And undoubtedly, some of these young performers will be setting their sights on the same as their American equivalents.
From the very start, we are treated to an ensemble song and dance piece which sets the bar really high, with more than 60 on set to perform an extended routine (Pray / Hard Work) which puts the entire cast through their paces before moving onto a quieter lament with "I want to make magic" performed by one of the leads, Mason Daw, playing the quiet introspective Nick. At the other end of the spectrum is argumentative bad boy Tyrone and drug-taking bad girl Carmen, superbly played by Bradley Mutizwa and Laura Byran (who can really belt out a tune!). Louis Goode plays the cheeky Joe Vegas in his first Stage Experience role (as with many of the cast) and between then, Louis and Bradley have some of the best, funniest and definitely non-pc lines (which can't be repeated here!). Another cool kid in the school is Schlomo played by Cree Henson, trying to get a band together with other leads being Freya Hancox (another with a really strong voice) as Nick's potential girlfriend Serena, Eden Wedgbrow as Mabel, Eva Derbyshire as Grace, Jasmine Gill as Iris and Nathan Wong as the trumpet playing Goody.
As in all the best musicals, the reprise of the finale brings together all the events we have enjoyed throughout the evening - the songs and the extensive dance routines (how do they learn and remember all the complicated moves?!) involving the entire cast on stage before their curtain calls and Laura bringing the show to its rapturous conclusion as Carmen and the show's title song.
There were obviously many delighted and proud mothers, fathers and grandparents in the packed auditorium!
And as is tradition, Pollyann then came into the stage along with producer Becky Peers to congratulate her team of on-stage performers but equally those off-stage members of Stage Experience who were the Technical Team responsible for sound and light. And every year, Pollyann must be thinking "how can next year's show possibly be better than this?!"
24th - 27th August 2022
Vesta Tilley Studio
Happy Families
Set around a dining room table, Happy Families is author John Godber's semi-autobigraphical story of his upbringing in Yorkshire, seen from the eyes of his graduating self in 1978.
Godber, who was Director of Hull Truck Theatre Company for 26 years and is perhaps best known for his brilliant comedies Teechers and Bouncers pulls no punches in his description of life in a close-knit somewhat unadventurous family (as most were at the time, the height of sophistication being a caravan holiday in Filey) across three generations. John (played here by Amanda Blockley who portrays all the characteristics of a sometimes angry young man trying to decide on his future) begins his story when he receives what is perceived to be bad news. He has failed his 11-plus (younger readers, Google it!) and is destined for years in a Secondary Modern school much to the despair and huge disappointment of his parents. With John's previous generations going down the pit, this was seen as way to achieve better things. His dad Vic (Chris Isaac who spends a lot of the time hidden behind a newspaper) and his mum (Michelle Whitfield, always making tea, as they do!) don't have that much in their lives, especially compared with his Aunt Edna and cousin Rebecca (Sue Hawkins and Ellie Davison) who drink Earl Grey tea, have extensive holidays abroad and waste no time telling others about it. A caravan in Filey? No thank you!
At the far end of the family is John's grandad Jack (Frank Welbourne), whose answer to everything is a punch up and who is never afraid to say what he thinks and grandma Liz (Jane Wooton) who together form a doting couple in their twilight years. There is also young neighbour Lyn (Lydia Wotton/Sophia Davkina) but the less said about what they get up to, the better!. And Auntie Doris (Jane Lush, who also directed the play) whose home-made tarts apparently set like "concrete in the stomach". Oh, and there's Doris's husband Ken, who curiously never visits the family…
Throughout the play, John steps forward to address the audience and give little insights into his actions which are particularly effective given the proximity of the audience to the small stage at the Vesta Tilley studio (quite packed with a large table, chairs and a cast of 9). You can easily believe that Amanda is just talking to you.
Whilst his family do not initially understand his desire to do drama, the outcome of the story is obvious as we have in front of us the third most performed British playwright after Alan Ayckbourn and someone called Shakespeare!
Sometime it pays to go against the flow and do your own thing and this group of amateur actors brought the trials and tribulations - and ultimate success - of the young John Godber to life in a drama with many humorous touches and great pathos.
22nd - 24th August
Malvern Theatres
The Tiger Who Came To Tea
Magical things happen on stage when The Tiger Who Comes To Tea comes through the door - things which can't quite be explained like the food on the plates and in the fridge suddenly disappearing!
This is an Olivier Award nominated musical version, direct from the West End, which brings to life Judith Kerr's very popular story and is something which is already no doubt familiar to the children in the audience. There is loads of audience participation here, singalongs with the three cast members (just like in a panto, which is also how the Tiger first appears - "he's behind you!") to various sequences including the ticking of the clock, which is used to show the progression of the day from a typically chaotic breakfast to teatime when the loveable, colourful (and huge!) Tiger appears.
The Tiger soon begins to eat and drink them out of house and home (hence the disappearing food) and when switching on the radio, starts a dance routine which had all the kids - and adults - in the audience up on their feet participating.
It's great to have short shows like this based on stories which children already love - this comes in at around 55 minutes, which is long and lively enough to ensure that boredom does not set in the young audience - and barely a single rush to the loo during the show!
The show runs with two more performances a day on Wednesday and Thursday and is proving very popular as a holiday treat for the kids (and adults!).
www.tigerstealive.com
9th - 12th August
Malvern Theatres
The importance of being Earnest
The 2022 show from the Malvern Theatres Young Company, under the usual expertise of Nic Lloyd, is Oscar Wolfe's The Importance of being Earnest, and with 7 young actors, a table and a couple of chairs, the stage is set for an enjoyable and impressive evening's entertainment.
As in previous years, the play is performed "in the round" in the Forum where the audience is on three or four sides rather like a wrestling ring - this is always an interesting experience as the actors have to perform equally to, in this case, three sets of people.
The age of the actors ranges from 19 to 23 but they already have a wealth of experience both with the MTYC and other companies.
Company stalwart Rhys Harris-Clarke with around a dozen shows under his belt plays the roles of the Rev Canon Chasuble, manservant Lane and butler Merriman (just watch his hilarious facial expressions which tell a story of their own!) and kicks off the show with a little dancing accompanied by, well, no-one really!
Edward Kirby is confident and mature in his role of John (or is it Earnest?) Worthing, a young man from the country who is in love with Gwendolen Fairfax and also is hilarious with his mimicking of his aunt and his attempts to force acceptance of his engagement to someone who will only love a man by the name of Earnest. The other male character - Algernon - is played by the oldest member of the troupe, Henry Pyne, equally at home in the role of another young gentleman from London, this time the nephew of Lady Bracknell and who is in love with Cecily Cardew.
On the female side of the family are, of course, Lady Bracknell (Ellie Ricci in her first MTYC appearance), very much a society lady and dressed accordingly, Elizabeth Anne Jones as her daughter Gwendoline, Lexi Henry plays Cecily and Mia Stevens takes on the character of Miss Prism - all play their roles superbly, even if Lady "a handbag!" Bracknell is a very young 20 years old!
The show is a very pointed satire on Victorian values towards love and marriage and the ways those morals are being tested by the new generation. Had the show been performed by a professional company of actors, they would have done no better than this talented group who were faultless in their rendition of Wilde's play.
The concept of doing this in the round, works very well and allows a flexibility which will be useful in other venues for the show will not only be staged at the Malvern Forum. After the shows here - running until Friday - they are off to Edinburgh to perform at the Fringe, which will undoubtedly give them a mass of useful experience.
So another successful show for the MYTC and especially welcome as it a light satirical comedy. What was also nice to see was participants of previous shows turning up to give their support. Indeed, Toby Burchell will be returning to the Malvern stage over the festive season in A Christmas Carol whilst others continue to perform in Ben Mowbray's Our Star Theatre Company.
One thing to note - the evening shows start at 7pm sharp - something which quite a few people apparently hadn't noticed...
28th July 2022
Swan Theatre
The importance of being Earnest
A version of the classic Oscar Wilde comedy The Importance of being Earnest performed by just three actors? Absolutely - why not?!
The name of the company performing the show - Slapstick Picnic (the stage resembling an outdoor picnic) - maybe gives a clue that this is a cheeky, sometimes irreverent adaptation of the comedy.
With just two main actors - one male, one female - and a plethora of characters to portray, the costume changes are frequent, fast and furious. Sometimes the same character, for example Lady Bracknell, is one minute played by one actor, then with a quick change by the other. And always expertly and deftly done, which is no mean feat given the rapidity of the action. The third actor is there mainly to ensure the costume changes work as planned but does finally get her chance to play The Lady...
The story itself, however, remains true to the original and all the expected themes are there, if in exaggerated form as silliness is key to the show. Cucumber sandwiches abound (and end up in the audience!) and when the all-important handbag makes its appearance, it is hilarious and certainly not what you expect! There are some excellent and unexpected moments of choreography too which always got audience applause. Slapstick by name, definitely slapstick by nature…
This was an early start (6.30pm, even though the official publicity pamphlet for the Fringe stated 7.30pm!) and ran uninterrupted for around one hour and three quarters. Being part of the Fringe, this was a one-off performance but a show by their sister company HandleBards was presented earlier this month at The Fleece Inn in Bretforton. Their USP? The travel from venue to venue by bicycle… Crazy!
For possibly a more traditional version of the play, head for Malvern Theatres from August 9th. But this also comes with a twist - it is presented by their company of young actors before heading to another Fringe - the one in Edinburgh.
19th - 23rd July 2022
Alexandra Theatre
Some mothers do 'ave 'em
70s music greets you as you enter the auditorium - the perfect accompaniment to an era when sitcoms were king, watched by audiences upwards of 20 million. The likes of Dad's Army, Porridge, Rising Damp and Fawlty Towers all have their roots in this era and are still popular today as their comedy seems ageless. Another classic show which enjoyed a 6-year run is now playing to audiences new and old - Some mothers do 'ave 'em.
Perhaps wisely, the production has not been "updated" - the set is very definitely reminiscent of a 70s sitcom, from the garish wallpaper to the music centre and the photos on the wall all perfectly replicating 70s living, at least as seen through the eyes of sitcom writers, in this case a collaboration between Guy Unsworth and creator of the TV series Raymond Allen. Key to the success of the series was, of course, Michael Crawford who played Frank, the hapless, gullible but lovable character with a heart of gold and an apparent inability to carry out any task without turning it into a major catastrophe.
Into the role for the stage version comes national treasure Joe Pasquale who fits into it remarkably well. Luckily for him, the show doesn't include the hair-raising stunts which Crawford was famous for (so no chasing after a London bus on roller skates!) though the sequences with the banister had to be well-rehearsed to avoid injury. Sarah Earnshaw plays Frank's long-suffering wife, desperate to tell him some good news whilst some of the best lines (certainly those which involved a long and rapidly-told story about watches and witches which deservedly got a big round of applause) were given to the wonderful Susie Blake playing Frank's increasingly-intoxicated mother-in-law. The casting was spot on and also included Moray Treadwell, James Paterson and Ben Watson in supporting roles.
Although an article in the show's programme makes the rather dubious claim that "TV sitcoms have been out of fashion for decades" (the author obviously forgetting the likes of Friday Night Dinner (Channel 4), Plebs (ITV) and Outnumbered (BBC) - all future "classics"), there is no doubt that the 70's did provide a wealth of comedy content to counteract everything else that was gloomy at the time (strikes, power cuts, failing governments...) and now seems the perfect time to resurrect them (though maybe not Love the neighbour!). The audience (and especially some of the very vocal ladies in the stalls!) certainly thoroughly enjoyed this blast from the past and even sitting in a 120- year old theatre on the hottest day ever couldn't diminish that!
The show ended with all the cast - and Joe resplendent in a white suit, a million miles from his beige overcoat and cap - dancing to that 70s classic, Mud's Tiger Feet. A perfect fitting to a much-loved, if very silly, comedy.
Oh, and Fun Fact - his catchphrase "Ooh, Betty" was uttered only once during the show's 23 episodes…
15th - 17th July 2022
Dragon Orchard
Murder Mystery
One of the advantages of the current heatwave is that outdoor events are pretty much guaranteed warm summer evenings (for as long as it lasts at least!).
And so relaxing in the open air in the country setting of Dragon Orchard in the small Herefordshire village of Putley near Ledbury to watch a Murder Mystery (albeit a comedy one) is one of life's little pleasures.
Revisiting the unusual venue after their previous productions there, Our Star Theatre Company is putting on a show in the style of those "plays that go wrong"... this time, The Murder at Checkmate Manor (written by David McGillivray & Walter Zerlin Jr and adapted by the company). So effectively a play about a play being put on by a bunch of enthusiastic amateurs from FAT (the Farley-Wallop Amateur Theatre company) which starts with the preparations before the play actually starts - the placing of the props, etc. And at this point, Ava Weetman chats to the audience (all the actors are surprised to actually see us there!), something which she does at various points during the play. Ava is one of the 5-strong cast who, due to the number of characters in the show, both alive and dead, have some quick costume changes to perform as they change from role to role.
Ben Mowbray, the company's director, plays the policeman attempting to nail the murderer as the death toll mounts. Another Our Star stalwart over the years, Rhys Harris-Clarke is, for most of the time at least, the family butler, Katie Balson has a range of family characters to portray and Ava does indeed have other parts to play, including the vital one of a sexy French maid... Newbie to the company Ellie Davison makes an impressive debut too.
The play's ethos is "what can go wrong will go wrong" but there is a skill involved in making a play apparently effortlessly "go wrong", especially in an outdoor production - missed cues, inexplicably and confusingly jumping forward in the script, faulty props, the technical team not doing what they should etc - when in fact everything is going exactly as planned (and to be fair the audience is unlikely to spot any real "accidents" anyway!).
A very funny show and the perfect way to spend a couple of hours on a summer's day, along with Dragon Orchard's own range of products on sale. The show runs over the weekend.
The company continues to play both locally and nationally - over the summer appearing at the Edinburgh Fringe, Bristol, Burton-upon-Trent and Stroud as well as bringing their panto version of Dick Whittington to the Conquest Theatre in Bromyard in December.
www.ourstartheatrecompany.com
5th - 9th July 2022
Malvern Theatres
Boeing Boeing
Generally perceived as a French invention, farce (which gets its name from the French language, more specifically from the French word meaning to stuff(!)) has equally become synonymous with a very British type of slapstick humour. In Boeing Boeing, we get the best of both worlds - a French comedy translated into English. Marc Camoletti's play is a real treat and was first presented to London audiences 60 years ago - a time when attitudes were certainly different from today.
So we have Bernard (John Dorney) as a batchelor with a girl in every port. Or rather all in one port - his flat near Orly airport in Paris - as his trio of adoring ladies are all air hostesses (as they were called then!) each keeping to their tightly-run schedules and never encountering each other. One by one, we are introduced to the staff and coloured uniforms of three different airlines (only one of which still exists today!) - TWA's Gloria (Isabel Della-Porta), Italia's Gabriella (Nathalie Barclay) and Lufthansa's Gretchen (Jessica Dennis) who fly around the world and are each fiancéed to the unscrupulous Bernard. Add the mix Bertha (Jo Castleton), a very down-to-earth British housekeeper and cook and the boy from the sticks (actually Aix-en-Provence), Robert (Paul Sandys) and you have the makings of a situation comedy which pans out over a single day (3 acts - morning, afternoon and evening) as Bernard's carefully constructed plans come crashing down. For as we all know to our cost, schedules can change unexpectedly at the last minute… and you can be sure that all the doors in that swanky apartment are going to be made good use of…
Poor innocent Robert, newly arrived in Paris, is left to try to coordinate the rapid comings and goings of the ladies but can he manage to keep them apart from each other and thereby keep Bernard's little secret going? Well you will know that answer to that obviously!
It's slightly unfair to single out any member of this great cast but Paul Sandys was superb as the rather gullible (less so towards the end as he begins to embrace Bernard's dubious lifestyle!) Robert as was Jo Castleton, whose character and accent gave a very British angle to the play. That said, as an ensemble piece, they all worked very well together and were clearly enjoying themselves as much as the audience was enjoying them.
If farce is entertainment through the highly exaggerated, the extravagant, the ridiculous, the absurd and the improbable, then this show gave everything that is required. Very funny from start to finish and another feather in London Classic Theatre's cap.
Doors to manual…
30th June 2022
Swan Theatre
Watson: The Final Problem
⭐⭐⭐⭐⭐ A concise and enjoyable adaptation of the 1893 story
90s sitcom star Tim Marriott, who played ‘Gavin’ in seven seasons of BBC's The Brittas Empire, has co-written and stars in Watson: The Final Problem, a one-man show about the life and times of Sherlock Holmes's ever-reliable right hand man, John Watson. It covers more than just his friendship with the esteemed yet difficult sleuth though, beginning with when he was involved in and subsequently injured in war in Afghanistan and looking back over his life with Holmes, including how they met, a couple of years after both the detective and his wife Mary have passed away.
With a simple set which includes a chair, a table and a coat-stand, it falls upon Marriot to hold the audience's attention which he does with the aid of a great script and some well-timed special effects, whether they are of fighting during the war, a train passing by with Moriarty on board or the thunderous roar of the Reichenbach Falls, seemingly the ultimate location for Holmes and his nemesis. His aim, in 1894, is simply to put the record straight and to quash the many rumours flying around London, some of which were put about by Moriarty's brother. So is this the "true" story of what happened at the Falls that fateful day? It certainly casts an intriguing view of three of the most famous fictional characters in history.
The show has already garnered good reviews from an outing at the Edinburgh Fringe Festival (and will be appearing there again this year). At around an hour in length and with continued interest in Holmes and Watson on television, Watson: The Final Problem seems perfectly suited to the Fringe's audiences and deserves to do well.
28th June - 2nd July
Alexandra Theatre
Guys And Dolls
⭐⭐⭐⭐⭐ A great night out - colourful and lively, the enthusiasm shines through
It has taken a while, more than two years in fact since they started rehearsals, but BMOS Musical Theatre Company are finally back on stage doing what they enjoy most - presenting an extravagant stage musical to the public. And, as always, it is a production which bears comparison with professional shows.
This time, they have chosen Guys & Dolls, the show based on Damon Runyon's short stories which first saw the light of day on stage in 1950 and which 5 years later became a film starring Frank Sinatra and Marlon Brando. With a Tony Award-winning score, this is the perfect show to test all of the participants skills - singing, dancing, speaking in an American accent - and they do it superbly. And whilst the musicians (the impressive 12-piece Midland Concert Orchestra) and set and may be brought in for the occasion, the rest is pure BMOS - enthusiastic, lively, colourful and thoroughly enjoyable. And it is clearly not just the members of the audience who enjoy it, the cast obviously do too (especially with family and friends watching their every move!).
The four main characters are Guy Masterson (James Gordanifar) and Nathan Detroit (Patrick Pryce) - both small-time gamblers of the crap-game variety, always moving on from one location to the next (which in one scene is the sewers!) - Miss Adelaide, Nathan's long-suffering girlfriend of 14 years who amusingly, in the eyes of her mother, is married to Nathan and have 4 children together and finally, Sarah from the failing Salvation Army Mission who, in spite of her situation, develops more than a fondness for the morally-dubious Sky. All four carry out their roles perfectly but there are other cast members too who are worthy of mention. Phil Saunders (Harry The Horse, who must have spent a long time learning how to neigh!), the always-eating Alex Broadfield (the strangely-named Nicely-Nicely Johnson) and Dave Shaw playing the rather high-pitched Big Jule.
The show has a number of well-known songs, particularly Luck Be A Lady Tonight and Sit Down You're Rocking the Boat, the latter giving the entire ensemble and especially the Hot Box Girls the opportunity to perform a wonderful extended song and dance routine whilst the relocation to Cuba for one scene (part of Sky's bet with Nathan) was another successful element of the show enabling a different type of dance to take centre stage.
All's well that ends well of course with the gamblers enabling the success of the Mission (with the reformed Sky now even working there!) and the two couples finally tie the knot, a happy ending to a colourful and enjoyable show.
A nice touch was having the real Salvation Army playing outside the theatre when we arrived.
BMOS have not made known their next show yet but with well over 100 years of experience and recent summer shows such as Chitty Chitty Bang Bang, My Fair Lady and Calamity Jane under their belt, they can pretty much guarantee they will be putting on another crowd-puller and without a three-year wait!
Prior to the show, I chatted to Patrick Pryce who plays Nathan Detroit. You can hear the chat here:
https://1drv.ms/u/s!AhfUKQX-WLIya0nJCI3r8wfbQVo?e=IecxT3
23rd June 2022
Swan Theatre
Su Pollard: "Oh... and another thing"
Certainly no shrinking violet, Su Pollard burst onto the stage resplendent in a glittery costume through some equally glittery curtains above which was a giant pair of glasses. The show's title "Oh, and another thing" refers to her - thankfully - seeming inability to stop talking, no bad thing in a one-woman show (albeit with her pianist Steve on hand to provide the musical accompaniment). And although she might be best known through her appearances in many TV series, she has been part of many a successful musical too, from Godspell (Jezebel!) to Annie's Miss Hannigan via Me and my Girl. She recounted her life with warmth and humour, thankfully never holding back when a rude word was required, not being woke or politically correct, much to the audience's obvious delight.
The second half of the show was more relaxed as the audience provided the questions (written in advance so necessarily all from that night's attendees), ready by Steve and answered by Su. Some were serious, some were cheeky, some were definitely way out there, such as "Would you prefer to hav bananas as hands or an orange as a head? Quick as a flash came the reply - "I'd rather have melons as tits!". The audience certainly got its money's worth.
However, there were less than 50 people in the audience. How can that possibly be? Well, part of the reason must be because when you arrive at the Swan theatre, it looked completely dead. Not a single indication that there is even a show on that night, let alone one starring the illustrious Su Pollard (this was exactly the same for A bit of a Carry On a couple of weeks ago which had to be relegated to the small Vesta Tilley space due to a lack of sales). Quite honestly, it beggars belief that if the venue wants to be a post-covid success, it is not pulling out all the stops to promote itself to the public.
20th - 25th June 2022
Malvern Theatres
Cluedo
How do you take a classic board game and turn it into a hilarious stage play? Involve the Director of The Play That Goes Wrong for a start and then base it on the screenplay by Jonathan Lynn (who gave us the inimitable Yes Minister and Yes, Prime Minister). Add in some stars - Michelle Collins and Daniel Casey (who have both been in Eastenders) - and a cast of easily-recognisable characters and you have a fun show which keeps you guessing till the very end.
It looks like a very British show, based as it is in a country pile outside London on a dark thundery night but it is in fact a British version of an American play, based on an American film (Clue), based on, you've guessed it, the very British board game which was created during World War Two air raids by an avid but bored crime enthusiast called Adrian Platt - in, of all places, Birmingham. Now famous worldwide, there have been many other interpretations, such as four series on ITV back in the 1990's which starred Joanna Lumley, Stephanie Beecham and Richard Madely amongst others and even a Golden Girls version in the US where there was no murder, just a stolen cheesecake!
There are all the elements of the board game in the show - 6 people, 6 rooms and 6 deadly instruments. And a killer. So we have Miss Scarlet (Michelle Collins), Professor Plum (Daniel Casey), Colonel Mustard (Wesley Griffith), Mrs White (Etisyai Philip), Mrs Peacock (Judith Amsenga) and Reverend Green (Tom Babbage, who has been in many a Goes Wrong production), all of whom have, in the best Agatha Christie fashion, received an unexpected invitation to the ancestral pile of the mysterious Lord Boddy - and all of whom also have secrets to hide - whilst the proceedings are held under the watchful eye of Wadsworth (the brilliant Jean-Luke Worrell), the butler who explains that his job there is to butle!
And so the stage is set for a sometimes frantic escapade, fully utilising the doors leading to the different rooms (which also cleverly open out to become the room itself) as if in a typical British farce with the characters appearing and disappearing as if being pushed around the board game whilst the death toll mounts… And if you get lost in the plot, there is a very funny and superbly-performed recap given by Worrell which fully deserved the round of applause for getting to the end without any mistakes. Although not one of the standard Cluedo characters, Wadsworth often has the funniest lines and the most energetic moves as well. Similarly, each character has the opportunity to "rewind" the action to show what "really" happened from their point of view… But who to believe in this crafty whodunit?
Mark Bell, the Director, hopes to have made a gripping thriller which is also an exciting joyful comedy. It would not be an exaggeration to say that he has successfully achieved both aims if the audience reaction is anything to go by.
17th - 19th June 2022
Three Counties Showground
Royal Three Counties Show
The Royal Three Counties Show is back with a bang and the Gods of Good Weather made sure that the first day of the three-day event was drenched in glorious sunshine on what was the hottest day of the year so far.
As usual, the entire showground was covered in events which are worthy of people's time, from the large events in the main arena - the parade of excited dogs, beautiful shire horses and other livestock and the sighting of the plane carrying the Red Devils indicating that they would be soon be landing in a colourful blaze of glory - to the smaller events involving super-intelligent sheepdogs and birdlife. Plus, of course, stands displaying a plethora of information and goods to buy. But let's not forget that this is first and foremost an event where the farming community from all over the UK come together to be judged by their peers and take home - hopefully - some First prizes and either side of the judging itself, visitors to the show can mingle amongst the many breeds of sheep, poultry, horses, dogs etc and chat to their obviously proud owners. Even if you know nothing about Shetland sheep, chatting to guys like Robbie, one of the exhibitors from South Wales with his very gentle flock, opens up a whole new world of interest and reasons to be impressed. There is a complete timetable of entertainment too, from Worcester's Ukulele band to the Rock Choir, from competitive horse shoeing to creating beautiful creatures such as a large owl out of a lump of wood with a chainsaw in less than 25 minutes (sadly outbid in the auction to buy said owl!)
This time, interviews concentrated not on the celebrities (Kaleb Cooper being the latest to be feted in that way, having taken on Jeremy Clarkson and put him firmly in his place in his recent TV series) but on the some of the people making the Three Counties of Worcestershire, Herefordshire and Gloucestershire great and the perfect destination for locals and visitors alike.
So listen to the following for a glimpse into how are coming out of a devastating couple of years and if you visit the show, have a chat to them yourselves!
https://1drv.ms/u/s!As__InsoO2XBjmzp6QTrSgR6zs-c?e=H5iLqd
Linda Robinson - Visit Worcestershire www.visitworcestershire.org
Claire Rowley Farm Holidays RowleyFarmHolidays.co.uk
Dale - Attwell Farm Park, Redditch www.attwellfarmpark.co.uk/
Lila - Bespoke Brewing Mitcheldean bespokebrewery.co.uk
www.facebook.com/BespokeBrewery
Katie Whitehouse - Oh My Goat Mitcheldean
Caroline & Ailsa Labels Ross On Wye www.labelsshopping.co.uk
16th - 19th June 2022
Alexandra Theatre
Lord of the Dance
⭐⭐⭐⭐⭐ Utterly superb and exhausting to watch!
One thing we can thank the Eurovision Song Contest for (other than Abba, of course) is the interval performance back in 1994. That surprise element showed Irish dancing in a completely new light and was enlarged into the full-blown stage extravaganza that was, and is, Riverdance (which I saw from the front row of the circle at the Hammersmith Apollo in December 1995), with Michael Flatley and Jean Butler as dance leads. Flatley then branched out to create his own show Lord of the Dance and it is this show, some 25 years on, which has been revamped for a UK tour - new performers, new music, new staging, new costumes and choreography plus cutting-edge technology and special effects lighting. In fact, a completely new show for this decade with the aim of achieving Flatley’s belief that “Nothing is impossible. Follow your dreams.”
Whilst it is obviously a pared-back version of the original show (excerpts of which were shown on screen during the show), it is nonetheless a very impressive and spectacular show. Modern technology allows for some amazing full stage projected images to help tell the tale: fiery red burning forests as well as landscapes and other Irish imagery such as a floating 3D Celtic knot. And the tale is the age-old battle of good vs evil. In the dreams of the Little Spirit, the Lord of the Dance represents all that is good. The Dark Lord and his warriors, aided by a Temptress, is at the other end of the scale. And two shall meet and form the basis of a couple of very energetic face-offs.
As you would expect, the dancing is of an incredibly high almost unbelievable standard. It is quite remarkable to watch when all of the dancers are on stage in a line and see that each and every one is in perfect sync with the others, in spite of the complexity of the routines, which is vital to hearing all 17 dancers produce each tap (and there are hundreds in every routine) as a single sound . The multiple encores were well deserved but, as they say, it ain't over till the fat lady sings or, in this case, till Michael Flatley has appeared to perform a dance. Not in person on the stage as this is achieved through the same clever technique as the scenic projections, this time with not one but three Flatleys competing with each other and then merging quite magically into one person and then disappearing in a puff of smoke. Genius. And a great way to end the show (along with more standing ovations as the dancers ended their routines!).
14th - 18th June 2022
Malvern Theatres
A Murder Is Announced
The scene is set by the simple appearance in the personal ads of a local newspaper which states simply that a murder will take place at 6.30pm on Friday at the Chipping Cleghorn home of Letitia Blacklock. From that point on, and with the inclusion of amateur sleuth Miss Marple, we follow one of Agatha Christie's notoriously complex tales of mystery and murder.
A Murder Is Announced comes from Middle Ground Theatre Company and is the latest in a long line of both classic and alternative dramas over the past three decades, ranging from Gaslight and On Golden Pond to Cadfael and The Railway Children.
This time, they are firmly in Christie territory with a tale that has many twists and turns and more red herrings than your local fish counter. Sarah Thomas takes on the role of Miss Marple, quietly analysing the events of the night in question, much to the annoyance of the policeman in charge of the case, Inspector Craddock (Tom Butcher). So who is in on the act? After all, someone present on the evening must be the murderer… It seems that most have a case to answer as relationships unravel before your eyes. And why would anyone arrange for a murder to take place at this particular location, the home of Mrs Blacklock (Barbara Wilshere)? As far as the audience is concerned, it could be anyone but maybe particularly Mitzi, the Eastern European cook (played magnificently, and generating plenty of laughs, by Lydia Piechowiak) who obviously has an axe to grind. And who is the victim anyway? Slowly but surely the tale comes to its conclusion, even if poor Bunny (Karen Drury) doesn't seem to know whether she is coming or going.
There is plenty here to keep you guessing throughout the show over its two acts, each with 3 scenes based in the sumptuous drawing rooms of this Victorian house. And if you don't already know the story, you probably would not guess the culprit and the reason behind the murder. Just sit back and enjoy a tale of mystery and murder with only the irrepressible Miss Marple as the one person telling the truth. Or is she…?
If you need more Agatha Christie fixes, there are other mysteries to solve later in the year.
The Mirror Crack'd (Miss Marple again, this time played by Susie Blake) is staged from November 14th and The Mousetrap in its 70th Anniversary tour runs from January 30th.
And the author herself is the subject of Where Is Mrs Christie? at the Coach House Theatre next door - Chris Jaeger's play about her own mystery disappearance for 11 days which has two performances on November 12th
12th June 2022
Swan Vesta Tilley Theatre Worcester
A Bit Of A Carry On
When your family is in the public eye, you might think that people know all there is to know about you. But even members of the family can discover secrets and that is certainly the case for Tyler Butterworth whose parents were Carry On actor Peter Butterworth and impressionist Janet Brown.
As he explained in his lovely show A bit of a Carry On, his dad had a secret which he took to his grave and which was revealed only when the government de-classified secret war documents and the secret was out. For Peter had spent most of World War Two as a prisoner of war, ensconced in Stalag Luft III and narrowly escaping death on various occasions, after being captured by the Nazis when his plane (he was a Royal Navy Fleet Air Arm lieutenant) was shot down in the summer of 1940 on the occupied Dutch island of Texel.
As Tyler explained, it was during this time that his dad forged a friendship with someone who would change his life completely and ours as well through the Carry On series and TV shows such as Up Pompeii - writer Talbot Rothwell, also a downed pilot. The stories he told about his dad border on the unbelievable and yet are true, with many photographs to prove it. Whilst at the camp, they managed to convince the camp commanders that they should have a 300-seat theatre in which they could perform to inmates twice a day. But equally it could be used to hide the earth which was being excavated as the future escapees created their three tunnels... Ironically, he was subsequently turned down for a role in the escape film The Wooden Horse because he "did not look convincing enough as a POW"! Recounting the fact that some of the German commanders were actually considerate and helpful was rather eye-opening too, giving them bottles of champagne after a failed escape attempt, saying "nice try".
The rest is history, of course, and Tyler was raised in a world where the famous names of the time were regularly presented to him and his sister, Sid James, Kenneth Williams, Joan Sims, Bernard Bresslaw amongst them. On his mother's side, Margaret Thatcher obviously featured greatly too. She also had a military background, having enlisted in the Auxiliary Territorial Service, and was the first female performer to take part in Stars in Battledress.
Both parents were presented with a This Is Your Life tribute by Eamonn Andrews and Tyler brought along one of the famous red books full of photos of the night (not the one presented during the show as that contained only the script!) as well as the original script his father received for Carry On Up The Khyber and a sad reminder of his time spent as a POW - part of a wheelbarrow handle used by his dad and Rothwell to help push each other along during the Long March in winter 1944/45.
This was a fascinating presentation with a question and answer session which revealed much more than expected about two well-loved characters from comedy's golden age.
You can hear my interview with Tyler here:
https://1drv.ms/u/s!AtuaI9OE0AgBgSOBspaIoM2i857n?e=1cqAKh
10th June 2022
Huntingdon Hall Worcester
Joe Broughton's Conservatoire Folk Ensemble
If anyone can stretch the definition of a music genre, Joe Broughton can. Folk, in Joe's eyes, has by no means a narrow definition and his Conservatoire Folk Ensemble includes just about every instrument and style imaginable.
It is also a very fluid ensemble, made up as t is from the members participating in each year's programme. This basically comes from a loose weekly get-together of Royal Conservatoire students who spend the time creating music which ultimately they will get the chance to perform on stage. Sadly, the pandemic put a sudden stop to that for the 2019/20 year who would never get to perform on stage. But things must go on and a new line-up now gets to present their repertoire (but luckily did get to record for an album, just in time). The same number of talented young musicians will crowd onto the stage at Huntingdon Hall and give their all in a concert which includes some of their own pieces along with standards which Joe has been performing with the ensemble for many years.
Whilst most of the songs involve the entire near-50 piece ensemble (yes, really - 50, all with their instruments!), there is always room for some smaller groups to take centre stage. Some of these can be rather surprising - the combination of cello, trumpet and drum, for example, was excellent as was the acapella duet performing a spine-tingling version of Shenandoah, crystal clear voices perfectly carried by the wonderful acoustics of the Hall. All the individual pieces were a joy to watch because not only did the audience enjoy them, but the other musicians clearly did too. The ensemble is, by definition, all of the musicians coming together and you could hardly have hoped for a more joyous and lively evening with the horn section in particular making a real difference to every tune they were part of - folk music, trumpets? Yep! The co-ordinated movements of the musicians is an integral part of the show, jumping up and down in synchronised fashion, leaning or crouching and rising up as the music's crescendo demanded.
Whilst the audience has something very special to enjoy after an enforced lull of more than two years, what made the evening a real pleasure was to see the absolute joy on the faces of the entire ensemble, glad to be back, on our little stage, performing with Joe in front of a live audience, as the ensemble has done for many years (this is their 25th year celebration).
The show did include a number of tracks from their new album (the one delayed because of the pandemic) "Not leaving quietly" (quietly is clearly not a word in their vocabulary anyway!) and one of the duets during the show was from Harry Thorpe and Sean Morrison, marrying guitar and violin, English and Scottish, Guinness and dog (!), with a track called Merlin the Wolfhound and their album Saffron's Well was also available on the night (they have a newer one but it had already sold out!). Oh, and we sang Happy Birthday to Harry's mum who was in the audience.
Definitely an evening to remember for many reasons!
10th June 2022
Swan Vesta Tilley Theatre Worcester
Who Lives Next Door?
Whether you know Worcester-based Vamos Theatre already for their full mask productions or you are new to this type of theatre, you (along with the cast) are in for a treat with their current show. For "Who Lives Next Door?" is not just a brand-new offering but is one which was written from scratch when these talented performers first met earlier this week. They had to design the different scenarios and the characters which inhabit them, all of course without uttering a single work or facial expression. The only sound you hear is the music which effectively sets the scene.
The scenarios chosen are all very familiar to everyone - the charity shop run mainly by older people but frequented by younger ones looking for bargains. The mother, run ragged by her son and daughter after a hard day at work. The new mother whose baby won't stop crying without the intervention of another mother (to say more would spoil that little scenario!). Kids and their video games and pizza deliveries. So you might think that any kind of empathy with the characters would be impossible, as they neither speak nor show emotion via their faces. Not so. The carefully carried out movements of, for example, the old man who sets the table for two but no longer has his wife to sit with him, is genuinely sad. And the ladies in the charity shop show no signs of slowing down and are as active as the young lads playing their video games.
The Wow factor comes at the end when, after the applause, the players de-mask - to even more applause. Without knowing in advance, you would not guess their age range or how close they are, in both age and gender, to the characters they have chosen to portray. The after-show informal discussion is also useful in introducing the actors to the audience and finding out how they went about it in such a short period of time.
It is an amazing achievement to have brought together, for the first time, 14 actors from around the country, concoct and rehearse a play over three days and then dare to present it live to an audience, twice in the same day. It works a treat and they should all be proud of what they have done keeping the name of Vamos Theatre at the forefront of this engrossing type of theatre for a new generation.
The show is on again this evening and one of their other shows - Dead Good - is going to be available to view free online from June 30th to July 14th.
24th - 28th May 2022
Malvern Theatres
Ladies Of Letters
It's been a very long-running radio series voiced by Patricia Routledge and Prunella Scales which was then turned into a successful TV version (albeit only on ITV3) starring Maureen Lipman and Anne Reid so the stakes are high for the new stage version of Ladies Of Letters which sits somewhere between the radio and TV versions and has Tessa Peake-Jones and Gwyneth Strong (both stalwarts of Only Fools and Horses) in the roles of the letter-writing pair of Irene and Vera. The radio series was (obviously) voice only whilst the TV version was filmed largely in different locations (camper van, farm, etc) and with other characters present, but here we are presented with an impressive-looking stage (giant neon-outlined envelopes, huge pens and postage stamps - all the accoutrements needed for writing letters), with on the left Vera and on the right Irene. And never the two shall meet as all communication is done through reading aloud their letters to each other. Which might, let's face it, sound rather monotonous but with the content of the letters and the way they are read is anything but. And the script by Jonathan Harvey, whilst keeping the same story lines as Lou Wakefield and Carole Hayman's original, has been updated to include contemporary references, keeping it fresh and relevant.
Although at the start, the two ladies barely know who the other is, except through a chance meeting at a wedding, they soon get to know each other and that includes their families and their own peculiarities. Irene can be particularly damning and certainly doesn't hold back where her feelings are concerned, alternating between sarcastic and kind in equal measure, leaving Vera to ponder what sort of person she is dealing with. But each also has their own personal tragedies to relate, families who let them down, friends who do much the same, even a spell in prison as a result of taking on a bulldozer at a rally to stop an M&S Food outlet from becoming a Wetherspoons. At times like these, their sympathetic nature and desire to help each other out comes to the fore.
The result is a good solid two-hander of a comedy. Tessa Peake-Jones excels as the somewhat bombastic, single-minded widow and mother of a daughter who decides to flee with husband and new-born to Australia (this is a character not in fact a million miles from her most recent role as the determined and headstrong Mrs Chapman in Grantchester) whilst Gwyneth Strong is wonderful as her more mild-mannered counterpart. The on-stage chemistry, even at a distance, is as important as the script when the show revolves exclusively around two characters and here, with a simple but very effective set, it works very well indeed, giving the audience plenty to laugh - and think - about. Just beware of talking about Charlie!
16th - 21st May 2022
Malvern Theatres
Footloose
Not a very auspicious start to this week's long-awaited show. Postponed in both 2020 and 2021, Monday's performance of Footloose had the audience waiting for an hour in the auditorium before the show was abandoned before it had even begun as, apparently, the touring company had not factored in sufficient time to get the set onto the smaller Malvern stage (having seen the production a month ago in Birmingham, it was clear how much of a squeeze it was).
And then on Tuesday and without any prior warning or notification in the foyer (even the box office was unaware), a number of cast replacements were announced on stage. So no Darren Day then.
At least the show itself, once it finally got started, in no way disappointed.
The remaining star name was Jake Quickenden (Dancing On Ice winner) who played Willard Hewitt, the quiet, shy lad who is not sure how to get the girl but the main couple involved in the show are Joshua Hawkins who plays Ren and Lucy Munden as Ariel, the daughter of a Reverend with whom she has a very claustrophobic relationship. Ren is about to change all that. Joshua in particular excelled in the role, with his boyish charm and forming a very believable bromance with Jake as together they take on the town's rules about no dancing and no singing.
Based on the film of the same name starring Kevin Bacon, Footloose tells the story of young Ren who moves with his mother from Chicago to bible-belt America after his father leaves the family home. But Bomont is a town held back by a tragic story which, over 5 years, has had a big impact on the town and on the Reverend himself. Ren unexpectedly finds that he has something in common with the preacher who banned all entertainment (apart from the game of bridge apparently). With hit songs throughout such as Let's Hear It For The Boy, Holding Out For A Hero, the earworm which is Somebody's Eyes and obviously the title track, the show bristles with energy, particularly in the second half, as Ren works to change the opinions of the town's elders and, during a great rendition of Let's Hear It For The Boy, Willard transforms from gangly awkward youth to confident dancer, in doing so predictably getting the biggest cheer from the ladies in the audience…
All the music is played live on stage with the multi-talented cast making this a real ensemble piece and justifiably had the audience on their feet and, during the final extended "megamix" curtain call, singing along to the reprise of songs with Joshua milking the audience response for all its worth.
Footloose, it's been a while. Malvern welcomes you back!
16th - 21st May 2022
Alexandra Theatre
The Play That Goes Wrong
⭐⭐⭐⭐⭐ More than a little Mischief in this wonderfully inventive show
It's the turn of the amateurs at the theatre this week as the Conley Polytechnic Drama Society take to the stage with their version of "Murder At Haversham Manor".
But the show starts well before the performance itself as Winston the dog has gone missing and no-one can find Lighting and Sound Operator Trevor who in turn cannot find his Duran Duran CD...
OK - all is not what it seems. The title, "The Play That Goes Wrong", pretty much explains the riotous evening which is about to unfold. The show comes from Mischief Theatre who, in addition to other stage plays (one of which, Magic Goes Wrong , is playing at the Birmingham Hippodrome next week), have now had two successful series of their TV equivalent, The Goes Wrong Show.
The show within a show starts innocently enough with the Director welcoming the audience but when he starts describing some of their previous attempts, you know full well that this is likely to be another unmitigated disaster. Which, of course, it is. But the true skill here is not just the acting, always professionally amateurish, but the continuous array of stunts and misbehaving stage furniture, all of which must go wrong in dramatic fashion at exactly the right moment (which explains the slight delay to the start on the first night as everything has to be exactly right in order for it to go wrong).
Cue doors that don't open - or close - windows which fall out, shelves that won't stay put, actors mistiming their cues, whisky which is anything but - even a (real) audience member hauled on stage to help out with the misbehaving furniture! And the whole cast bravely plough on through the increasing carnage as if nothing untoward was going on. Only the director believes that things have been even worse in the past!
One of the funniest characters is Max Bennett, brother of the "deceased", who is clearly loving his opportunity to be on stage in front of an audience (even though love scenes are clearly well beyond his abilities) and the same amateur actor reappears later as the gardener. But you can see why he got the parts - the play is financed by a large donation from a recent inheritance of his...
It is definitely worthwhile getting the show's programme as it contains some very funny information about this bunch of lovable but incompetent amateur drama group players (Conley not Mischief, obviously!) and their other productions.
It's not often that a stage comedy has the audience laughing and cheering throughout its entire length but this is certainly an occasion where this is undoubtedly true, even to the point of getting a thoroughly well-deserved standing ovation at the curtain call.
You'll come away glad that amateur productions are never remotely as bad as the play depicted here but very grateful indeed that the genre gave rise to a very inventive comedy!
A hugely enjoyable show which brings together every conceivable fail where, given the complexity of some of the stunts, on the night it was thankfully The Play That Went Right!
14th May 2022
Huntingdon Hall
Chris McCausland
Chris McCausland at Huntingdon Hall managed to do with ease what every comedian longs for - a packed auditorium, downstairs and upstairs, with fans who clearly appreciated his visit. First, however, it was the chance for support act Jon Long to entertain us. And entertain he did, with funny anecdotes about his move from sleepy Lincolnshire to bustling London, his absolute hatred of jogging and his job working in a recycling centre (or tip) showing people around the facility and presenting them with items which really should never end up in the recycling bin (don't ask!). And in one of those moments which will be forever be imprinted on the minds of the audience, we now the sign language for a certain wobbly sex toy… Thanks for that, Jon!
Now, the stage at the Hall is not huge and when Chris came on, his chair was located rather close to the edge which had the people in the front row hoping they wouldn't be having to rescue him if he toppled over and claiming £250 from You've Been Framed (Chris's joke, that!). Chris however was perfectly safe, almost imperceptibly regularly touching the chair behind him to ensure that he had not strayed too far… The lighting makes it very hot on stage and he asked for it to be turned down - something which of course wouldn't affect him as he couldn't see the audience anyway! And that was moment when you realise that he is there to make us laugh regardless of his blindness and indeed that can be used very effectively whist not seeking sympathy, adding something which other comedians lack. Chris is one of those guys who lost his eyesight rather than being born blind so knows what he is missing. And that includes knowing what both his Brazilian wife and young daughter look like, which he mentioned in one of the short sombre parts of the show. But even that element ended with a gag for Chris is a consummate comedian who knows his stuff. He knows his limitations and what he cannot do in life (as his daughter begins to learn that her daddy cannot do certain things, though hide and seek is apparently always fun as she hasn't yet realised that she doesn't actually have to hide anywhere!) but standing there in front of an audience, he is a guy who can regale us with stories about his life in a way which makes you believe that losing one of the senses certainly doesn't prevent you from having a career as a comedian. One of his gags (or rather stories, as he really doesn't tell jokes as such) was the moment he met his downstairs neighbour in his flat. Both thought the other was being extremely rude, but at the time he had not realised his neighbour was deaf and his neighbour had not realised he was blind! Comedy can come from the strangest and most unlikely of circumstances… Chris is a self-confessed geek and uses technology to his advantage (particular products which read him his texts and allow him to choose appropriate emojis) but even those sometimes fail or embarrass him, in doing so adding more humorous stories for him to tell).
Well known now, of course, for many appearances on shows such as Would I lie to you?, Have I got news for you? and the Royal Variety Performance no less, we can be very grateful that instead of hurtling down the M5 to larger venues, Chris took a right at Junction 7 and headed for Worcester. Or, as he would no doubt say, not him but his driver or he would never have got there!
10th - 14th May 2022
Malvern Theatres
Private Peaceful
Set initially in the years running up to the Great War, the first half of Michael Morpurgo's Private Peaceful deals very effectively with the preamble to conflict. Family life for the 3 brothers and their parents is generally tough but, as a close family unit, they look after each other even when confronted by figures of authority such as the overbearing school master and nasty landlord (as well as, later in the play, the army superiors who shockingly refer to the brothers as "vermin" and "useless"). Which implies there is a sizeable cast but with some of the actors taking multiples roles - as many as 10 in the case of John Dougall - this requires the small cast to make some very quick changes of costume and characters.
The family ties are strong and when Charlie (Daniel Boyd) wants to enlist once the request for troops has been put out, Tommo (Daniel Rainford) wants to follow him, even though he is a mere 16 years old. As was the case with many recruits, the checks on age were minimal and Tommo becomes Charlie's "twin" brother for the purpose of acceptance. One problem is that both brothers love the same woman and they go to war with Molly pregnant with Charlie's baby.
The action is, however, done in teasing flashback style, with Tommo recounting in hindsight how things were, at home and in battle, whilst he awaits a court martial and a death by firing squad. This leads to an incredibly tense (and cunning) final scene which holds the audience spellbound.
The set is beautifully designed, allowing it to represent a number of different locations, including the family home, a river and of course most crucially the theatre of war which it becomes at the start of act 2. Off stage there is even a plane which lands hopelessly off course and the special effects, replicating the noise, the explosions and the general disarray of troops fighting in WW1, are impressively done.
As an illustration of a family - and particularly brothers - bonding in difficult but not unusual circumstances, this is an excellent story set in an age where it was truly tested to the limit and it has been creatively brought to the stage. Definitely a show which should appeal to adults and children (advisory age for children is 9+), it is a masterclass in how a relatively simple but effective set can be combined with a talented cast to produce a show which will leave you thinking about courage, devotion, family and friendship. The fact that Michael Morpurgo, who also wrote the amazing War Horse, considers it to be his favourite work should be all the encouragement you need to see it while you have the chance.
7th May 2022
Swan Theatre - Vesta Tilley
JABS
With the early days of the pandemic being brought back into close focus again with police investigations and fines for illegal parties, "JABS - behind the scenes" gives us a hilarious look at those who were actually doing something about the pandemic even without the required PPE protection. In an attempt to not stretch the resources of the NHS beyond breaking point, a vast army of new recruits were taken on to carry out the vaccinations.
Sally Tonge was one such person. Folk singer by trade. Out of work when Covid hit. Retrained as a vaccinator. And JABS is her story.
Chris Eldon Lee turned her texts to him about how her day had gone into a show which, through a series of actual examples (names changed to protect the innocent, of course!) gives a graphic and very comic illustration of her real-life encounters with various ordinary members of the public.
Aided and abetted by Paul Wilkinson (who plays "all the men") and Christina Cubbin ("all the women"), Sally introduces us to the individuals, each with their different characteristics and expectations, who turn up at her pod for their 3-minute slot to hear the words "Hello, I'm Sal and I am your vaccinator today" - words which indeed can fill some people with dread, even though the reality is that few people even feel the jab let alone exit the room to be followed by a thud as they hit the floor…
Sally and John provide the story through music, both playing guitars, and the oft-repeated chorus of "It's the holes in your life that let the light shine in" allows the audience to join in too. And there is a complete range of society coming along for their jab - the posh, the not quite so posh, a Welsh farmer who has struggled to get there due to a lack of public transport, the young who have a different take on the vaccine from the over 50's - all are portrayed sympathetically and mostly come away with that tiny prick in their arm. The one person who does need convincing oddly enough is Sally's husband who uses every trick in the book to avoid getting his…
After all the light-hearted fun, it therefore comes as a sledgehammer out of the blue when the farmer's wife turns up for hers and tells Sally the events which have happened since her husband's dose was given - something which must have hit Sally particularly hard too.
The show takes the everyday experiences of very ordinary people and involved in a (hopefully) once in a lifetime opportunity to get protection from the virus and gives a very funny insight in how the simplest - and yet most serious - of events can induce laughter if taken the right way. JABS comes from Love Lee Productions from Shropshire with the encounters happening in Telford and other towns in the county. Their next new show will be in February 2023 when they present Arthur Ransome's fourth Swallows and Amazon's book "Winter Holiday". After the stress and strains of Covid, any holiday will come as a welcome relief!
Meanwhile, JABS continues its run at small venues. There are three more shows in Shropshire. Oswestry Hermon Chapel on June 8th - book via their website. Rodington village hall (twixt Telford and Shrewsbury) on June 10th - tickets on 01952 770258. And Alveley near Bridgnorth on July 9th - 01746 780478.
3rd - 7th May 2022
Malvern Theatres
Beautiful
Who would have thought that a musical about Carole King would start with a cute rendition of Twinkle Twinkle Little Star?
This one does, because it really goes back to the start of this singer/songwriter's impeccable career. In the early days when she jettisoned Bach to write her own songs as a teenager, this is where she first met and completely fell for her writing partner and future husband Gerry Goffin - a partnership that would flourish and inevitably ultimately flounder, but not before the duo had written some of the most famous and covered songs of the 20th century.
The show starts with one of Carole's gently and emotive solo songs, So Far Away, before the story takes us through a fantastic catalogue of hits, many of which were, in the early days, created specifically at the request of music boss Donnie Kirshner (played here by Garry Robson) for a particular artist, such as Will You Still Love Me for The Shirelles. However, they weren't alone in producing great songs - they were in competition for the Number 1 slot with friends Cynthia Weil (Seren Sandham-Davies) and Barry Mann (Jos Slovick) who did on one occasion win out with You've lost that loving feeling, a hit for the Righteous Brothers.
With the entire cast responsible for playing the music live on stage, everyone in the audience will have their favourites. Up on the roof? The Locomotion? Take Good Care of my Baby? They are all there and more. The second half is notable for two things: the marital issues which led to divorce and the desire for Carole to move away to Los Angeles with her children which sparks the idea for having her own songs sung by herself. The result: her seminal 1971 album Tapestry with its evocative cover of her looking out of her Laurel Canyon house, her cat at her feet. The last few songs in the show are testament to the power of this album and her independence - You've Got A Friend, A Natural Woman and Beautiful, with the final encore of I Feel The Earth Move having the audience on their feet for a great ovation to a great show. Throughout the show, the two leads Molly-Grace Cutler and Tom Milner effortlessly and accurately reproduce bring to life not just the songs but the story behind them.
This is the story of a songstress whose importance and impact cannot be underestimated. One who we can be very grateful for disregarding the advice of her mother to become a teacher, because "the music business isn't for women". And although Geffin died in 2014, a year after the show opened in San Francisco, their legacy to the musical world is truly immense and this show highlights it, well, beautifully.
2nd - 7th May 2022
Alexandra Theatre
Cluedo
⭐⭐⭐⭐⭐ Hugely entertaining with a deadly twist at the end
How do you take a classic board game and turn it into a hilarious stage play? Involve the Director of The Play That Goes Wrong for a start and then base it on the screenplay by Jonathan Lynn (who gave us the inimitable Yes Minister and Yes, Prime Minister). Add in some stars - Michelle Collins and Daniel Casey (who have both been in Eastenders) - and a cast of easily-recognisable characters and you have a fun show which keeps you guessing till the very end.
It looks like a very British show, based as it is in a country pile outside London on a dark thundery night but it is in fact a British version of an American play, based on an American film (Clue), based on, you've guessed it, the very British board game which was created during World War Two air raids by an avid but bored crime enthusiast called Adrian Platt - in, of all places, Birmingham. Now famous worldwide, there have been many other interpretations, such a four series on ITV back in the 1990's which starred Joanna Lumley, Stephanie Beecham and Richard Madely amongst others and even a Golden Girls version in the US where there was no murder, just a stolen cheesecake!
There are all the elements of the board game in the show - 6 people, 6 rooms and 6 deadly instruments. And a killer. So we have Miss Scarlet (Michelle Collins), Professor Plum (Daniel Casey), Colonel Mustard (Wesley Griffith), Mrs White (Etisyai Philip), Mrs Peacock (Judith Amsenga) and Reverend Green (Tom Babbage), all of whom have, in the best Agatha Christie fashion, received an unexpected invitation to the ancestral pile of the mysterious Lord Boddy - and all of whom also have secrets to hide - whilst the proceedings are held under the watchful eye of Wadsworth (Jean-Luke Worrell), the butler (who explains that his job there is to butle!).
And so ensues a sometimes frantic escapade, fully utilising the doors leading to the different rooms (which also cleverly open out to become the room itself) as if in a typical British farce with the characters appearing and disappearing as the death toll mounts… And if you get lost in the plot, there is a very funny and superbly-performed recap given by Worrell which fully deserved the round of applause for getting to the end without any mistakes. Although not one of the standard Cluedo characters, Wadsworth often has the funniest lines and the most energetic moves as well. Similarly, each character has the opportunity to "rewind" the action to show what "really" happened from their point of view… But who to believe in this crafty whodunit?
Mark Bell, the Director, hopes to have made a gripping thriller which is also an exciting joyful comedy. It would not be an exaggeration to say that he has successfully achieved both aims if the audience reaction is anything to go by.
Welcome back home to Birmingham, Cluedo!
25th - 30th April 2022
Alexandra Theatre
Catch Me If You Can
Be warned - this play has nothing to do with the film of the same name which came out in 2002 and starred Leonardo DiCaprio and Tom Hanks.
This play is, in fact, based on a book by French writer Robert Thomas entitled Trap for a Lonely Man, renamed for this stage version, and comes with two American and two British stars, Patrick Duffy and Linda Purl from the States and Gray O'Brien and Ben Nealon from the UK. It must be a bit of a coup to get Bobby Ewing/The Man from Atlantis involved in the play as well as established actress Linda Purl and then adding the familiar faces of O'Brien (a regular in Malvern and one-time Villain of The Year thanks to Coronation Street) and Nealon, still remembered from his role in Soldier Soldier.
The French Alps setting of the book has been replaced by Catskills but the story remains basically the same. Advertising Executive Daniel Corban (Duffy) is on his honeymoon with his wife (Purl) but she appears to have gone missing a few days ago. Then she returns, or at least someone claiming to be her returns, and it is not long before the local police inspector (O'Brien) and priest (Nealon) become involved in trying to find the truth. Corban, however, is the only person to think this woman is an imposter and is convinced that they are all out to get him to allow his wife to claim on his life insurance, in doing so effectively gaslighting him to make him out to be mentally unstable. But just who is fooling who?
Staged on a single set which is the lounge of the chalet rented from Corban's boss (who also makes an unexpected appearance along with his wife and Sidney, the owner of the local sandwich shop, played by Paul Lavers, Chloe Zeitounian and Hugh Futcher respectively), the script has a number of comic moments throughout, particularly from Duffy whose character is perpetually bemused and frustrated by all the goings on - he even falls foul of a good thumping (gently done as he is 73 after all!).
As with other dramas of this type, the moments of humour and levity add to rather than detract from the action - after all, murder (if it is indeed murder) is a serious business and by the final denouement, it becomes clear just who has been fooling who. By this point, you may well have guessed the outcome yourself but no matter, this is still an enjoyable romp through a police procedural with an ensemble cast who are more than welcome to grace the stage.
24th April 2022
Huntingdon Hall
Gigspanner Big Band
In the days when Huntingdon Hall was a chapel, the Sunday Evening Service would have no doubt raised the roof. Now, many years later, a different kind of performance did much the same. Only this time it was due to the visit of Gigspanner Big Band whose music was perfectly suited to the Hall's excellent acoustics.
Gigspanner is legendary Steeleye Span's fiddle player Peter Knight's current incarnation - and a band of three (Knight plus Roger Flack on guitar and Sacha Trochet on drums. Gigspanner Big Band is another beast as it adds to that trio the undoubted talents of Bellowhead co-founder and melodeon player John Spiers and Phillip Henry and Hannah Martin (who themselves have funded their own multi-instrumentalist band, Edgelarks).
Knight tells us that he prefers to play music than to talk so unsurprisingly we are a few songs into the concert before a word is uttered to the audience… No matter, as it is the music that counts and any explanatory comments are kept to a minimum. The inclusion of Hannah Martin gives the band one obvious advantage over the Gigspanner trio - a female voice and, indeed, she is the main vocalist for many of the songs - especially the one sung in the Cornish language (an element from Edgelarks' project Saltlines for the summer).
Doubling the size of the band and "going large" also increases the variety of instruments used with the expert melodeon playing of Spiers adding to Martin's banjo and violin and Henry's horizontally-played guitar and harmonica. Trochet certainly kept the rhythm going especially at the end with a solo segment - how his hands must have hurt after that! - and at times there was almost a battle between the instruments as they took on each other, duelling banjos style.
An excellent Sunday evening's entertainment from gifted, inventive musicians who still hark back to the roots of British music which the audience quickly warmed to and a return visit is surely on the cards.
18th - 23rd April 2022
Swan Vesta Tilley Theatre
Life x 3
With two years of no productions at all, it's been a particularly tough time on amateur companies who have not had the chance to present anything during that period. So it is a pleasure to see the Swan Amateur Theatre Company back on stage with a play which is not home-grown but translated from French.
"Trois versions de la vie" has become "Life x 3" and comes from the pen of Yasmina Reza who gave us Art, a play all about the value - or not - of a blank canvas and its impact on three friends.
Life x 3 concerns two couples. Henry and his wife Sonia and Hubert and his wife Inez. The latter couple arrive a day early for a dinner date, whilst Henry and Sonia are putting their 6 year old son to bed. Or at least trying to, given that they each have differing ideas about how to do this when the boy is crying and demanding food and cuddles. As they have arrived on the wrong day, they have no food prepared for their guests and end up embarrassingly giving them snacks like Wotsits and chocolate fingers. There is however, an abundance of wine and the Sancerre certainly lubricates the evening as it slowly degenerates.
But this is only one scenario. As the title indicates, it is repeated, with subtle differences and outcomes, three times with each character taking on a different hue and therefore a different cause and effect.
The cast of Matt Fearnley, Janet Bright, Nigel Hales and Jane Lush have many years of experience in amateur productions and are at home with this one. Literally, as the set is just a couple of comfortable sofas and tables (and a lot of wine!).
Matt has probably the most complicated script, having to remember a plethora of scientific phrases and cosmic theories and needing the approval of Nigel's character to progress. Janet is his less needy wife and plays the part as a natural, whilst Nigel and Jane both are great in their respective roles as the husband with somewhat meandering hands and a wife who battles to get her opinions heard and, like Henry likes a drink or two. Matt does a particularly good impression of someone getting slowly drunk!
The show is littered with funny moments as, in the three different situations, their marriages are scrutinised in front of the other couple. For a show which does not need a large set, the Vesta Tilley studio is the perfect location for the company's first adult production for this year (later they will be taking on John Pielmeier's Agnes of God.
19th - 23rd April 2022
Alexandra Theatre
Footloose
⭐⭐⭐⭐⭐ A fun and lively romp in Middle America
Last at the Alex in 2016 and postponed from 2020, perennial favourite Footloose The Musical is back on tour and at the Alex this week.
This time the star names are the ever popular Darren Day as the Reverend Shaw Moore and Jake Quickenden (Dancing On Ice winner) as Willard Hewitt, the quiet uncertain lad who is not sure how to get the girl but the main couple involved in the show are Joshua Hawkins who plays Ren and Lucy Munden as Ariel, the Reverend's daughter who feels she is in a very claustrophobic relationship with her father.
Based on the film of the same name starring Kevin Bacon, Footloose tells the story of young Ren, enthusiastically played with boyish charm by Hawkins, who moves with his mother from Chicago to bible-belt America after his father leaves the family home. But Bomont is a town with a tragic story which, over 5 years, has had a big impact on the town and on the Reverend himself. Ren unexpectedly finds that he has something in common with the preacher who has banned dancing in the town. With hit songs throughout such as Let's hear it for the boy, Holding out for a hero, Somebody's eyes and the title track, the show bristles with energy, particularly in the second half, as Ren manages to change the opinions of the town's elders and Willard changes from gangly awkward youth to confident dancer, in doing so getting the biggest predictable cheer from the ladies when he is stripped down to his underwear...
All the music is played live on stage with the multi-talented cast making this a real ensemble piece and justifiably had the audience on their feet and singing along to the reprise of songs during the final extended curtain call.
Footloose, it's been a while. But Birmingham welcomes you back!
18th - 23rd April 2022
Malvern Theatres
The Homecoming
Harold Pinter's The Homecoming certainly portrays a family in need of a few lessons in civility. The play is very much a family affair - Max at its head, with brother Sam and sons Lenny, Joey and Teddy with his wife Ruth completing the ensemble.
That is the family unit which the cast portray (old man Max played by Keith Allen and well-dressed man-about-town Lenny by Mathew Horne) and, from the beginning, it is clear that there is no love lost between any of them. Indeed, the show starts with Max attempting to have a conversation with Lenny, who basically ignores him. That is not really surprising given the way that we subsequently see the way he speaks to each of his boys. The missing character here is his wife, long since passed away, whom he refers to with a mix of bile and hatred one minute and then, as if a switch had been flicked, love and affection the next. One very curious individual indeed, well played by Allen, hobbling around the stage with a stick and someone who in the past, if the rumours are to believed, was once a man feared by his contemporaries - indeed he injures both Joey (Geoffrey Lumb) and Sam (Ian Bartholomew) during the course of events. His venom is at its worst when son Teddy (Sam Alexander) arrives back unexpectedly from America - accompanied by his wife whom they have never met. Ruth (Shanaya Rafaat) is subjected to a torrent of abusive language and name-calling, with Max believing that she is just a common whore bought into the house by Teddy, even though nothing could be further from the truth. Or could it? She admits to a past life as a "model" before meeting Teddy and simultaneously is set up by the others (excluding Sam, whose own sexuality was brought into question) to become a "working girl" in order to pay for her keep, something which she seems happy to go along with as she despatches her husband back to the States on his own.
As a family, there is little to redeem any of them and it is hard, in fact, to have any empathy for them at all apart from possibly Sam, whose taxi driving seemed to keep him on the straight and narrow. The fact that daughter-in-law Ruth seems complicit in the arrangements which the family propose makes it all the more unpalatable. They speak to each other in strange, often repetitive, ways as if they are approaching a total stranger which, in some ways, they are. Long pauses (deliberately prescribed by the author) just add to the sense of a family that cannot communicate effectively. There are, fortunately, a few moments of levity which break through this somewhat dismal family affair though these are few and far between. But as Pinter said - "I have never been able to write a happy play" so the audience should not expect one.
The set itself is quite simple, comprising a few chairs and a table and a stairway leading to the floor above. More impressive is the height of the set with the wallpapered walls disappearing what must be more 30 feet above the stage, which must be a nightmare to erect at each new venue. The lack of furniture concentrates the audience's eye on the acting which, without exception, brings out the nastiness of all of the characters (again, with the exception of Sam, yet even he, at the end, reveals something about Max's wife that no-one knew…).
This is definitely a production worth seeing and not only for the inclusion of two major names, Allen and Horne. The entire cast add to the feeling that, cigars apart, the family have little connect with each other until a woman comes into their collective lives.
14th - 16th April
13th - 14th June 2022
Alexandra Theatre
Diversity - Connected
⭐⭐⭐⭐⭐ A stunning show with a message
If an audience's reception and anticipation are anything to go by, Diversity, on stage with their new tour entitled Connected, had an awful lot to deliver. Fortunately, with a two year lapse imposed by Covid, they had been able to hone and perfect a stage show which impressed and thrilled in equal measure both with their dance routines and the technology used to portray the story of how, in the modern world, we are indeed all connected.
Front-man Ashley Banjo introduced the show against a massive backdrop of a platform with video screens with his trademark ease and geniality, much as he did with his warm-hearted Channel 4 show where he matched two total strangers purely by a shared and silent dance routine. Nothing silent here though - with most dance routines backed up with a heavy beat and accompanying special effects.
Most of the dances involved the entire troupe of 15, looking decidedly more mature than their younger selves when they first hit the big time back in 2009 after 2 years together, winning Britain's Got Talent. They have certainly not lost any of their enthusiasm nor any of their skill in carrying out precise and energetic dance movements in an array of impressive routines, with not only the contemporary references the show was promoting - how we use technology, what the future may hold, etc - but also harking back to the past with skits involving both Charlie Chaplin and Michael Jackson. The biggest surprise, in part one at least, was the finale which had the lads baring their tops and getting very, very wet which had the females in the audience going berserk. Not many shows require the use of industrial driers (and presumably towels and heavy duty hair driers) in the interval…
There was a lovely change of pace at the start of the second half with Ashley pondering on video how to begin this part of the show. The solution - let a group very young kids decide! So the show continues with a very funny routine involving strange costumes, animal suits and large teddy bears. This was followed by another routines which did actually involve the whole audience as elements were sampled and replayed in an off-the-cuff performance - again, very well done.
Not unsurprisingly, given the furore which accompanied their Black Lives Matter performance on ITV which generated thousands of complaints, BLM too unapologetically became part of the show along with Climate Change and the environment. There were also very personal elements with Ashley presenting his son to his mum via a video as an example of how the pandemic affected everyone and how technology assisted.
The show's last two routines were amazing, one involving long ribbons used rather like a very extreme maypole which was not only complicated but also required the whole thing to be "undone" all without a single fault or broken ribbon. And then there was Ashley on stage alone. Well, not quite alone as he was accompanied by 10 illuminated drones, very skilfully controlled and performing acrobatic and aerobatic movements alongside Ashley - this was wonderful to see.
As you might expect, this was not just a dance show. It was a show deliberately conceived to highlight the good things which technology and connectivity brings but also to bring to the fore the elements of societal change which are not at all positive. All of which combined to become a powerful image of where we are today as people in a connected world and how dance has embraced these technological changes.
The show runs until 16th April and then returns for extra shows on 13th and 14th June.
8th April 2022
Huntingdon Hall
Moments of Pleasure
It is no easy feat to pay tribute to one of the UK's most ground-breaking and iconic singer songwriters but that is what Lisa-Marie Walters aimed to do with her show Moments of Pleasure in homage to, of course, the wonderfully distinctive repertoire of Kate Bush. With her 4-piece band (keyboards, bass and lead guitars and drums (and mandolin)) accompanying her, she really has a plethora of songs to choose from, some hits, some less well-known but all with that distinct feel of the expert songstress who wrote one of her biggest hits, The Man with the Child in his Eyes, when she had just entered her teenage years.
Coming on stage dressed entirely in black - with the addition of a hat for one song - and in bright red for the second half, Lisa-Marie had all the right moves to portray Kate's trademark way of performing: balletic, arms flailing, eyes looking around as if searching for something, voice high or deep as required by the song. The range of Kate's songs, especially when sung live and in succession, is a test for any vocalist. Some were beautifully simple ones accompanied by just the piano - the second half started in such a way with This Woman's Work and Moments of Pleasure - then there are those need a much heavier backing such as James and the Cold Gun, Running up the Hill, Sat in your Lap and Hounds of Love (which has one of the best album covers of all time!) and sprinkled amongst them, the definitely more off-beat, left-field and sometimes frankly weird compositions like Breathing (a song about an unborn baby and a nuclear attack), tracks from the Ninth Wave (side 2 of the 1985 Hounds Of Love album) and , of course, the seminal Wuthering Heights - the latter being kept till the very end for the encore. Whatever the song, Lisa-Marie's vocals were spot on and even when the band were pounding away, never for a moment was her voice lost, always rising above the instruments however loud they played.
It is somewhat disconcerting to think that it is nearly 45 years since Kate first arrived so spectacularly on the music scene but equally good to know that we can still hear accurate live renditions of her music today courtesy of the likes of Lisa-Marie.
5th - 9th April 2022
Malvern Theatres
Private Lives
Not content with being in nearly 200 episodes of Coronation Street, hosting The Bidding Room on BBC and starring in many a panto over the year, septuagenarian Nigel Havers has just created his own theatre company called, appropriately enough, The Nigel Havers Theatre Company and the first production, in conjunction with Theatre Royal Bath, is Noel Coward's classic comedy Private Lives.
For this, Havers teams up with Patricia Hodge OBE, a very talented actress herself perhaps best known in recent years for playing Miranda's mother in the TV sitcom. The pair (Elyot and Amanda) play a divorced couple who are starting their married lives with their new partners, Victor (Dugald Bruce-Lockhart) and Sybil (Natalie Walter). Unfortunately they have chosen to spend their honeymoons in the same Deauville hotel and even more unfortunately, in adjoining rooms. So the first thing we see is an impressively large three storey construction of the soft pastel-coloured hotel balconies, overseeing the band who happen to play the former couple's favourite tunes. This is a couple who throughout the show prove that they cannot live with each other, cannot live without each other, fight continuously taking a break only when the safe word is uttered to prevent it escalating to something even more violent and then proceed to make up each time in what could be considered the blueprint for every rom-com since.
Not long after their first unexpected meeting, which neither of their new partners were party to, they decide they must leave together and head for Amanda's Paris apartment, which is the equally impressively-decorated location for the second and third acts and which also introduces the very funny maid Louise (Aicha Kossoko) - especially funny if you understand French as she doesn't utter a word of English whilst she complains about having to go to a different place to get their pain au chocolat! The arrival of Victor and Sybil in the flat turns the tables somewhat, with the bickering transferring to these two whilst Elyot and Sybil smile knowingly at each other and sneak out of the flat…
The play remains in its original time and place where Coward himself played Elyot in 1930. Whilst at the time he would have been much younger - in his 30's - the pairing of Havers and Hodge still works well because they are a believable older couple for whom the scenario of second marriages is, particularly these days, quite realistic.
This is a beautifully staged comedy of manners (or lack of them!), very funny and perfectly suited to the Malvern audience which clearly thoroughly enjoyed it. Based on this first successful outing, the audience can look forward what The Nigel Havers Theatre Company will bring us next.
1st April 2022
Swan Theatre
Revenge
A politician returns home from a trip to Frankfurt to the news that his assistant has died in a car crash. An uninvited stranger arrives at the door of his London apartment and begins to inveigle her way in for reasons which he cannot fathom. Someone clearly wants revenge.
Coming from The Crime and Comedy Theatre Company, this is the premise of Revenge, a play by writer and actor Robin Hawdon, a two-hander starring Nigel Fairs as Bill Crayshaw MP (suave, sophisticated and liking the finer things of life like Meissen porcelain) and Kate Ashmead as Mary Stewart (smart, devious, mysterious and intent on getting what she wants). David Sandham is also cast, intriguingly, as "the Body"…
The plot thickens as secrets are brought to light and the identity of this mysterious visitor is finally revealed. The outcome is by no means certain and there are various twists and turns in the story - right up until the last couple of seconds in fact to keep you on your toes and guessing what will happen, which is probably not what you thought!
They say revenge is a dish best served cold. In this case, that dish is delivered with relish over a couple of hours in a well-acted and believable story of political sleaze with its inevitable twists and turns.
26th March 2022
Huntingdon Hall
Nearly Dan
Some timely anniversaries were being celebrated last night at Huntindon Hall where the music of Steely Dan reverberated through the venue courtesy of Nearly Dan. It is 25 years since this 9-piece band started recreating the brilliant music of Donald Fagen and Walter Becker. But maybe more importantly, and surprisingly, it is 50 years since Do It Again was released (thanks for reminding us how old we are, Steve!) and 40 years since Fagen's solo album The Nightfly was released (thanks again!!). The band treated us to tracks from both band and soloist, including the "scary" to perform title track of the solo effort.
As usual, frontman Steve Hayes took control of proceedings alongside lead guitarist Rob Rolph, obviously happy to be back on stage at the Hall and playing to a very appreciative crowd. All the band are self-confessed "Danoraks", in their spare time trying to make head or tale of the song lyrics and their love of the music shines through. The show's running order covered many of the band's albums - and hits - featuring Do It Again, Ricki Don't Lose That Number, Haitian Divorce, Hey 19, FM and Pretzel Logic. The backing singers Kate & Sarah came to the fore with Dirty Work and perhaps the most impressive part of the line-up - the brass section consisting of trumpet and saxophone - really excelled during the likes of Peg. The inclusion of these two instruments adds another level of interest to the music, the saxophone bringing in elements of smooth jazz and the trumpet giving a big band sound. In fact, they were missed at the start of the second half when they didn’t appear until the third song was played!
Donald Fagen's own album was featured with the tracks IGY, New Frontier and The Nightfly. The songs may have been written decades ago but the lyrics are somehow still relevant. As Steve pointed out in New Frontier, those words still reflect today's threats: "It's just a dugout that my dad built. In case the reds decide to push the button down". And "Is there gas in the car, yes there's gas in the car" Ouch!
With keyboards, 3 guitars, drums and horn section, they are able to perfectly replicate that West Coast Yacht Rock feel that Steely Dan brought so effortlessly with their songs.
Sadly, with Walter Becker no longer with us, the band itself can never again be heard live but thanks to these talented guys, their music lives on and sitting there, eyes closed, you can easily imagine you are listening to the real things (even if the chat between the songs has something of a Northern twang to it!).
The two-hour set culminated with Bodhisattva before it was time for the encore. Without leaving the stage, the guys "returned" with a brilliant version of My Old School. This included a superb "duelling banjos" style battle between trumpet and bass guitar to end the night on a real high. Just the one song to finish with but what do they say? Always leave the audience wanting more…
It's been three years since their last visit in 2019 (and before that in 2017 and 2013) - hopefully (pandemic permitting), they will be back much sooner than that for a return visit.
25th - 26th March 2022
Malvern Theatres
BANFF Mountain Film Festival
Back in its rightful place as a cinematic rather than a virtual event comes the BANFF Mountain Film Festival World Tour for 2022 and as usual, Malvern gets two bites of the cherry with a different set of selected films each night. The red night's chosen films covered skiing, cycling and rock climbing. Sounds fairly easy? Well, the difference here is not just the extent to which the participants go, sometimes over a number of years, but also the quality of the filming where drone footage has really upped the ante in terms of showing what they are capable of.
Follow The Light gave us a glorious view over the mountains of Cappadocia in Turkey with the drone darting in and out of the many hot air balloons as it followed the cyclists riding the peaks and speeding through the ravines.
Action Directe took us where no woman had been before - to take on a cliff face that previously only men had been able to conquer, a feat that took 7 years to film before the final joyful moment of success.
Moving closer to home and the West Highland Way between Glasgow and Fort William was the setting for an endurance test on a mountain bike with the aim of breaking the record by covering the 95 miles in the fastest possible time.
Ultimate Ski Run was exactly that - a gorgeously-filmed sequence of extreme skiing, both on top of and underneath the mountain, all the time performing some mind-blowing tricks in the process.
Proving that disability should be no obstacle to enjoying the outdoors, From My Wiondow took a blind man and a woman with cerebral palsy (and a team of supporters) up a mountainside to experience for the first time the real outdoors in a magnificent show of teamwork and personal effort.
Deep Roots reconnected a father and son in Yosemite with the son attempting to replicate his father's success at overcoming the challenge posed by the rather scary Magic Line, one of the hardest and least successfully-climbed rock faces in the world.
And finally The Farmer followed a skier powering through powder snow and creating the most beautiful patterns - all that at the age of 73. This was a very poignant film as he passed away from cancer at the end of last year.
The films range from 5 minutes to 50 minutes but whatever their length, they perfectly showcase the talents of people who simply don't do the ordinary - they live for the extraordinary and in conjunction with the talented film-makers, provide an evening of films which will stay in the memory for a long time.
The second evening's films - the Blue selection - promises to be just as gripping and include seeing mountain biking through the eyes of pups of all types and sizes following and sometimes leading the riders - with the promise of a welcome belly rub at the end!
See www.banff-uk.com/films for more details
21st - 26th March 2022
Malvern Theatres
Catch Me If You Can
Be warned - this play has nothing to do with the film of the same name which came out in 2002 and starred Leonardo DiCaprio and Tom Hanks.
This play is, in fact, based on a book by French writer Robert Thomas entitled Trap for a Lonely Man, renamed for this stage version, and comes with two American and two British stars, Patrick Duffy and Linda Purl from the States and Gray O'Brien and Ben Nealon from the UK. It must be a bit of a coup to get Bobby Ewing/The Man from Atlantis involved in the play as well as established actress Linda Purl and then adding the familiar faces of O'Brien (a regular in Malvern and one-time Villain of The Year thanks to Coronation Street) and Nealon, still remembered from his role in Soldier Soldier.
The French Alps setting of the book has been replaced by Catskills but the story remains basically the same. Advertising Executive Daniel Corban (Duffy) is on his honeymoon with his wife (Purl) but she appears to have gone missing a few days ago. Then she returns, or at least someone claiming to be her returns, and it is not long before the local police inspector (O'Brien) and priest (Nealon) become involved in trying to find the truth. Corban, however, is the only person to think this woman is an imposter and is convinced that they are all out to get him to allow his wife to claim on his life insurance, in doing so effectively gaslighting him to make him out to be mentally unstable. But just who is fooling who?
Staged on a single set which is the lounge of the chalet rented from Corban's boss (who also makes an unexpected appearance along with his wife and Sidney, the owner of the local sandwich shop, played by Paul Lavers, Chloe Zeitounian and Hugh Futcher respectively), the script has a number of comic moments throughout, particularly from Duffy whose character is perpetually bemused and frustrated by all the goings on - he even falls foul of a good thumping (gently done as he is 73 after all!).
As with other dramas of this type, the moments of humour and levity add to rather than detract from the action - after all, murder (if it is indeed murder) is a serious business and by the final denouement, it becomes clear just who has been fooling who. By this point, you may well have guessed the outcome yourself but no matter, this is still an enjoyable romp through a police procedural with an ensemble cast who are more than welcome to grace the Malvern stage.
21st - 26th March 2022
Alexandra Theatre
Dreamboats and Petticoats
⭐⭐⭐⭐⭐ The jukebox is on and ready to play those hits live on stage!
The last decade or so has seen "Dreamboats and Petticoats" and its follow-up "Dreamboats and Miniskirts" and now it is back to "Dreamboats and Petticoats - Bringing on back the good times!".
And good times they certainly are, especially after the last two years of virtual drought in terms of theatre shows. The cast of 17 consists of both the actors and also the musicians, all on stage. After all, why have a band of 10 musicians hidden away under the stage when you can have them actively taking part in the show? The music is, unexpectedly, chosen from the 50s and 60's classics that we, of a certain age, all know and which even the younger generation would be familiar with, featuring classics such as Sealed with a kiss, Stop! In the name of love and Keep on running. More than 3 dozen songs fill the show like a jukebox on overdrive.
The musical definitely has two aces in the pack in this revamped version. Whilst the younger members of the cast blast out the hits just as they would have done back in the 60s, why not introduce to the story someone who was actually there and had hits of his own. Welcome to the stage Mr Mark Wynter, now approaching his 80th year but who can still show the young upstarts a thing or two in terms of energy and singing ability especially when it comes to the medley of his own hits, including Venus In Blue Jeans, one of 9 hit records that he had. And the second ace? That must be David Benson who brilliantly portrayed Kenneth Williams and his homage to the French language, the hilarious "Ma Crepe Suzette" (a real skit which Williams wrote - google it!). That had the audience cheering and probably wishing that Williams had actually been the presenter on the Eurovision Song Contest show! If only…
Such were the songs of that era that, for whatever the situation or emotion, there was a hit which matched it and authors Laurence Marks and Maurice Gran (phenomenally successful writes of TV shows such as Shine On Harvey Moon, Goodnight Sweetheart, The New Statesman and Birds of a Feather) ran with that to provide a jukebox musical based in the place that they first met - Butlins. The set (if you look closely enough) is also adorned with images of that era - adverts and musicals and films posters abound - "Rice is nice, But Ricicles is twice as Nicicles" places it firmly in the mid-sixties.
The story, such as it is, has all the elements you would expect when it comes to a 60s band scenario. Rivalry, fall-outs, an awful sexist manager (Mark Wynter, who must have had personal experience of a few!), references to females as "crumpet" (thankfully the woke police haven't caught onto that yet!), youth clubs, Butlins and its over-bearing manager, a storyline of boy has girl but almost loses her, etc etc. Every action leads to a song and indeed there is not a lot of talking in the show, given the number of songs that are packed into its 2 hours. Both leads - Elizabeth Carter as Laura and Bobby played by David Ribi (whose boyish looks and charm hasn't diminished since he first played the role more than 10 years ago!) - are excellent as the young lovers separated when Laura has to go for a summer season in deepest darkest Devon, miles away from Bognor Regis where the rest of the band are. And when she unexpectedly turns up at Butlins on her day off… well, you can probably guess what she finds.
The show starts with the discovery in an attic of an old "cassette recorder" and ends with a great medley of songs from that era which had the audience clapping, on their feet and singing along. And you could tell that the cast were absolutely delighted to be there and doing what they do best - entertaining a large crowd.
14th - 19th March 2022
Malvern Theatres
An Hour And A Half Late
The running time for An Hour And A Half Late is, well, an hour and a half - not exactly coincidence as the show unfolds in real time (without an interval). The play comes courtesy of two French writers - Gérald Sibleyras and Jean Dell, with this version adapted by Belinda Lang (yes, she of 2 Point 4 Children fame).
This two-hander stars Griff Rhys Jones and Janie Lee as Peter and Laura, a couple of empty-nesters who find themselves on the point of starting their retirement together with the kids now gone and his business partnership about to be sold for a healthy sum. To cement the deal, all they have to do is take up a dinner invitation with his business partner and wife.
But this is sitcom-land and all is not well. As far as Peter is concerned, he is happily looking towards the future where he can indulge in a comfortable retirement of, basically, eating himself into a cardiac arrest, whilst Laura has decidedly cold feet about this meal, something which Peter cannot grasp as, after all, it is only a dinner invitation. Or is there something more going on here?
Over the next ninety minutes, as the delay gets progressively longer in spite of repeated ignored calls from their would-be hosts, the bickering brings out the truth about their somewhat middle-class lives. Laura feels she has wasted her life simply because everything has been a rush - a rush to have children, a rush to get them schooled, a rush to get them off to college, all done without fulfilling her own politically leftist leanings. Except, perhaps, that one affair she may once have had. His life on the other hand, as a tax consultant, has been spent largely at work - he knows his business partner better than his own wife.
House-proud to the end, she insists on putting down coasters to protect the tabletop, something which becomes rather futile towards the end of the show. Being a white middle-class couple with obviously higher ideals, any mess (and there is plenty) will have to be cleaned up by the foreign daily help in the morning.
The actors work well together, realistically portraying a couple who suddenly discover that each has not quite been understanding the other over the years. It is a situation which many couple face as retirement dawns, realising they will have to spend more time together and deciding what on earth to do with all that extra time. There are some very funny sequences, especially around the food and the squeaking floorboards. So do they finally get to the dinner party or does the delay extend itself further? You'll need to see the show to find out…!
8th - 12th March 2022
Alexandra Theatre
The Lion The Witch & The Wardrobe
⭐⭐⭐⭐⭐ A stunning and beautifully-staged extravaganza for kids of all ages
The new production of C. S. Lewis' The Lion The Witch & The Wardrobe (which first kicked off in 2017 and then Covid struck…) is back on tour and filling the stage at the Alexandra with a magnificently colourful array of performers, special effects, singing, dancing, magic and puppetry - a real feast for the senses, whatever your age.
The story begins as the audience arrive with a sole performer on stage playing wartime tunes on the piano before the children appear, ready to be evacuated to deepest darkest Scotland and placed in the care of the rather dour Mrs Macready. Here we see the first use of puppetry as the toy steam train and 4 carriages are whisked away, back and forth across the stage, the children and other actors moving in rhythm with the train's motion. This really sets the scene for what is to follow - a beautifully-imagined scenario either side of the magical wardrobe as the children take it in turn to cross through to the other side and experience the land of Narnia and its creatures who have not seen humans before and have lived under the spell of the White Witch for far too long.
The White Witch (and Mrs Macready) is played here by Samantha Womack in a role somewhat different from her last show at the Alex which was The Girl On The Train and she is lucky in that she gets to enjoy some of the best special effects, soaring high above the stage in her long flowing gown. She is just one of the massive cast of nearly two dozen actors who, even with such numbers, often have to play different roles. For example, Oliver Grant plays Mr Wilson, Red Squirrel, Head Cruel and is also puppeteer for Schrodinger (the cat!) and Alsan (the rather bigger cat!!). Other stand-out performers were Sam Buttery (hilarious as Mr Beaver) and Jez Unwin as Mr Tumnus. And of course the actors in the pivotal roles of the children (Ammar Duffus, Shaka Kalokoh, Robyn Sinclair and Karise Yansen), all of who perfectly portrayed the evacuees, siblings each with their own characteristics.
Director Michael Fentiman's design is stunning, none more so than when Alsan is introduced in the second half. Rather than having just an actor dressed as a lion, Aslan is both an impressively large puppet which requires 3 men to manipulate with, alongside him, Aslan in human form courtesy of Chris Jared, his flowing fur and long hair emulating the beast. This works very well, as indeed it does with the other puppetry elements where there is no attempt to hide the puppeteers.
The story is, of course, first and foremost, one for children so any stage version must aim to keep their attention throughout. The huge cast allows this to happen very effectively. The entire cast is on stage most of the time, either playing instruments (over and above the excellent pre-recorded music score) or dancing so that whatever the scene, there is always something happening to keep the audience's attention. Add to this the clever scene changes and actors flying high above the stage and you have a spectacle which will have kids - and adults - in awe. Kids will simply be mesmerised by the action whilst adults will be thinking "how on earth did they do that?".
The story is about good conquering evil in a make-believe world, a wicked queen being ousted by a gentle lion and, in the real world, children being moved to safety as war breaks out. There can hardly have been a more appropriate moment for this to be played out on stage…
2nd March 2022
Malvern Theatres
Blood Brothers
Proof that some things just don't need to be re-invented or re-imagined or changed for a different generation is the fact that Willy Russell's stunning Blood Brothers is back in Malvern for the fourth time in a decade and each time the only noticeable change is the actor playing Mrs Johnstone. This is a role which has, rightly, attracted some major stars over the years, from Kiki Dee to Petula Clarke, from Barbara Dickson to Spice Girl Melanie Chisholm and even Carole King. This time that honour goes to Niki Evans, herself returning to the role for this tour. And yet there is something consistent - the role of Micky has, in outings in 2016 and 2019 and now in 2022, been played by the same actor, Sean Jones. He plays the role of Mickey from the age of 7 (nearly 8…) and therefore is playing a character far younger than his own daughter. Also in the cast for this run is a local interest. Playing various roles from husband to teacher to policeman to, most notably, an upstanding judge (!) is Malvern Theatre stalwart, writer and actor Nick Wilkes.
You have to admit that any show that returns to a theatre again and again and is still a sell-out has something going for it. Audiences, many of whom will have seen the show before, genuinely never tire of the show which tells the tale of twin brothers separated at birth after the mother effectively makes a pact with the devil, an act which carries a price which has to be paid later in life.
Indeed unusually the show starts at the end with two bodies on stage before nipping back to happier if more financially difficult times when Eddie (Joel Benedict who was also in the 2016 run), one of the twins, was given away to a childless family on the basis that the secret must never be told. The other twin is Mickey, the shy childish son who remains with his mother, whilst Eddie goes on to live a pampered and privileged life. These must be two of the best roles in show business – who wouldn’t want a part where you can act like a 7 year-old and upwards and both of them do it brilliantly and believably, in spite of them being as tall as their mum!) with perfectly contrived mannerisms and the well-observed knockabout behaviour that kids have. Paula Tappenden is Eddie’s new mother and the ever-present harbinger of doom (or at least the truth) is Robbie Scotcher. All the singing and the orchestration is, as you would expect, superb.
The standing ovation and multiple curtain calls in Malvern no doubt reflect what happens at every venue and deservedly so – Sean Jones in particular looked physically shattered, but happy, when taking the bow - he has the most physically demanding role as 7 year olds have boundless energy!
So why does a musical about a family break-up with absolutely devastating consequences prove to be so popular? Other than the fact that, however many times you have seen it and know exactly what is going to happen at any particular moment, it genuinely pulls at the heart strings, the show’s author Willy Russell describes it perfectly:
"People do see it more than once and one of the reasons is that it is a musical with a strong book, it has got a tale to tell. This might indict it as not being a real musical but if all the electricity fails in the theatre and you can’t light the show or amplify it, you can still do the show with a piano and even if the piano blows, you can still do the show a capella and it will work. It simply relies on the primal, ageless, universal thing of “I’m going to tell you a story”. Your ears prick up and you stay with it and there’s no better experience”
And that is storytelling and theatre at its very best.
Remember. Make a pact with the Devil and the Devil will have your number. Always.
1st March 2022
Alexandra Theatre
Fatal Attraction
It's not that long since Oliver Farnworth appeared on stage at the Alex - 2019 in fact when he starred opposite Samantha Womack in The Girl On The Train. This time he is back playing opposite Kym Marsh, both with American accents, in James Dearden's stage version of his 1987 film Fatal Attraction.
Oliver and Kym play Dan and Alex, two people unexpectedly brought together for a one-night stand (actually 2 nights) with disastrous consequences for all concerned (and that includes his wife of many years, Beth (Susie Amy) and his unseen daughter Ellen. The other participants in the story are Beth's mother Joan (Anita Booth) - who may well know more than she lets on - and his mate Jimmy (John Macauley) who was the unwitting catalyst for the two getting together in the first place.
Having got together for a drink then a meal and then more, that first night of passion goes rapidly downhill with Alex showing a different side to her character once he decides to head home, one which gets increasing extreme over the coming days. By the end of night two, the die is cast. Retribution has begun as Alex plots to wreak a twisted revenge on Dan and his family. And on their pet rabbit, but the less said about that the better!
Set in a Manhattan apartment and a house in the Bedfords, the stage is a large and impressive set of screens which are used effectively to display elements of the locations and live action as it happens on the stage (phone calls happening between the actors, for example). It also allows simple furniture such as a sofa and a bed to be moved effortlessly on and off the stage.
With believable acting, the tension mounts (especially if you have not seen the film) as Alex's becomes more and more engrossed in infiltrating the lives of Dan and his family and one revelation above all seals the deal as far as she is concerned.
Who is most to blame for this situation and its consequences will no doubt be hotly debated and attitudes may be different now from when the film was released.
Is Dan just an innocent bystander who happened to have an unplanned casual fling that goes terribly wrong and doesn't deserve the repercussions or is he a man who cannot control his libido?
Is Alex, who clearly has her demons, manipulated for sex or is she doing the manipulation for her own twisted ends?
Either way, it takes two to tango and no-one in this tale of abuse and the associated mental health and social issues, comes out unscathed.
There are two morals to this story:
Every action has consequences…
Never mess with Alex!
26th February 2022
Swan Theatre
The Adult Panto Little Red Riding...
Poor Doug. Poor Cath. Sit in the front row of an Adult Panto production from Hitchin's Market Theatre Company and you are going to be pounced on, verbally not physically though the effect can feel much the same! But that will come as no surprise to anyone who has seen one of their shows before and for Worcester, that was about half the audience. The other half - Adult Panto Virgins - would not know what was going to hit them…
As with previous shows at the Swan Theatre, main man Nick Hooton tests the water by attempting to discover how low the Worcester audience will go in terms of comedic references by judging the audience reaction to increasingly sleazy jokes. The answer, as expected, is very low indeed. Which is lucky as that sets the scene for the show which follows in which Nick, accompanied by two hastily employed actresses who Nick had found by trawling the city's less salubrious venues (in reality Tilly Howes and Jemma Carlisle who play Big Red and Little Red respectively), re-tell or rather completely re-image the story of Little Red Riding Hood in writer K R S Foster's own inimitable way. Each actor is required to play multiple roles (and the images here give a clue as to what these characters are!), often, especially towards the end, changing from one to another as the climax approaches (ooer, missus!). As in a frenetic farce, the actors disappear through different doors and reappear elsewhere, sometimes in a different costume, at a rapid pace. And, amazingly, do this faultlessly with the sound and lights perfectly controlled by Stage Manager Glyn Doggett.
The story itself is, of course, rather irrelevant and bears only a passing resemblance to the "real thing", which, if memory serves me, does not include anyone playing with a cub scout's woggle! It is the interplay between the performers and with the audience which works so well along with the wordplay which, particularly during the robbers scene, is hilarious. Just about every single taboo word or image is used, often many times, blatantly but not in a way that would offend the audience who had come to watch exactly that. And it all ends with a sing song so what could be better?
It is a couple of years since the company was able to tour due to the pandemic and they certainly have hit the ground again running and are fortunate to have been able to complete the current tour (with one show to go) without a single cancellation.
It is good to see Market Theatre back with another thoroughly entertaining, disreputable and pandemic-beating show which had the audience forgetting all their current woes and fully immersing themselves - especially Doug and Cath - in the fairy tale that thankfully never was!
22nd February 2022
Malvern Theatres
The Ballad Of Maria Marten
Maria Marten is dead. She died after a brutal attack - strangled, shot with a pistol and with a spade embedded in her head. And yet here she is, standing in front of us in all her deathly glory, to recount the tale of how, in 1820's Eastern England, this most callous and hidden murders came about, a true story which has been retold since many times as "popular entertainment" in film, poetry and song but which here, in a version written by Beth Flintoff for Eastern Angles Theatre Company, focusses on the woman herself rather her killer.
With the help of her friends, all traces of her scars and wounds are removed and she returns to her childhood self, playing innocently with other kids who have formed their own secret gang. Growing up, however, things get more difficult with the position of women in the society of the time defined totally by their social class with relationships across the social divide definitely frowned upon and in the case of Maria, with deadly consequences. She is at the very bottom of the social scale, poor, used and abused by menfolk and, as with her friends, becoming pregnant and suffering from all that it entailed. Her death, following her disappearance, sadly becomes almost an inevitability. The story is told through a variety of means with Maria (Elizabeth Crarer) alternating between narrating directly to the audience and seamlessly returning to the scene being depicted. There is dancing and singing, much of it A capella, humour (is there really somewhere called the "Isle of Wight" one of the girls asks?) and some atmospheric music with the cast, all female, taking on a variety of roles (including convincingly a couple of menfolk). The scenes are very cleverly thought out and acted out, such as when one of those men dies by being drowned in a frozen pond.
The set itself, basically a wooden structure representing the fateful barn, is transformed into other locations with some nifty choreographed scenery changes which you barely notice happening. And in the end, the barn becomes the "red barn" as fire engulfs it. Whilst some of the "higher class" women did show some concern for their lower-class counterparts (delivering food and baby necessities, for example), the production concentrates rightly on the fate of the womenfolk like Maria who could do little to improve themselves and whose future, particularly after a relationship with men not at their social level, effectively seals their fate. Eastern Angles Theatre Company
16th February 2022
The Alexandra Theatre
Looking Good Dead
It's so good to be back in the theatre again, not just with a good size audience but also to see a production which hasn't had to be pared back to accommodate social distancing and masks, etc. For Peter James' latest play to hit the stage has a cast of nine, with the full stage incorporating three different locations (including an S&M torture chamber) and there is even some hugging, for goodness sake, which was probably more surprising than the torture chamber!
Looking Good Dead follows his other "dead" novel adaptations - Dead Simple, Not Dead Enough plus The Perfect Murder and The House on Cold Hill. This time, the stars come from the main three soaps - Adam Woodyatt (38 years in EastEnders) and Gaynor Faye (Emmerdale and Coronation Street).
Never one to ignore current trends (indeed, one of the "stars" of The House on Cold Hill was everybody's friend, Alexa), this time the story revolves around a USB stick, live-streaming sites hidden on the dark web, data being stored in the cloud and Bitcoins. Keep up!
Adam Woodyat is the one who finds the USB stick and is therefore responsible for all that follows. But it becomes increasingly clear that the Bryce family business - and indeed the family itself - is on something of a downward spiral. He is virtually bankrupt, his wife is an alcoholic and their son is 17 years old - enough said!
It is therefore down to the police to sort the wheat from the chaff and find out what is really going on with the deaths and kidnappings and who is responsible. Which, of course, in the true manner of these things, is not revealed until the dying moments… All of this is intermixed with moments of humour (and some awful jokes cracked by Grace's sidekick). The inclusion of an American businessman may just give some hint that maybe all is not what it seems…
Detective Superintendent Roy Grace (played this time by Harry Long) features in another enjoyable romp through the darker side of policing, keeping the audience guessing with its plot twists until the very end in a production which certainly doesn't disappoint.
13th February 2022
Huntingdon Hall
Go Now!
They may have sneakily taken the name of one of the band's iconic hits from the 60s but there is definitely more to Go Now! than meets the eye. Because if you thought this was just a tribute band playing the music of The Moody Blues, you could hardly be further from the truth. If the backbone of a band is the drummer, then The Moody Blues lives on as the backbone of Go Now! was the band's drummer for 25 years, Gordy Marshall. So less "tribute" and more "next generation" as the band brought to life all the elements of the decades where they produced an eclectic mix of folk-rock, psychedelic, symphonic - and sometimes very lengthy - tunes, from 3 minute pop songs to minor opuses. Let's not forget that the band were contracted by Decca to show off a new-fangled thing called "stereo", something which they accomplished with flair in conjunction with the London Festival Orchestra with their album Days Of Future Passed (one of many albums with glorious cover artwork). Not that Gordy is alone in bringing the music back - the band was formed with Mick Wilson, lead singer with 10cc for 20 years and he is the main man here too, introducing many of the songs in a charismatic, informal and knowledgeable style. The pair was more than ably assisted in this show by Phil Taylor, Tim Maple and Patrick Duffin who each have a very impressive musical CV and covered guitar and keyboards. So who penned the theme of Come Dine With Me and Loose Women? Patrick did!
Appropriately enough, the set began with "Lovely to see you", so much more meaningful due to almost 2 years of enforced isolation from the live audiences that these bands thrive on. The first half included other classics such as The Story In Your Eyes, Isn't Life Strange, the fast-paced Question and Go Now (rather oddly placed as the last-but-one song of part one rather than the encore song at the end of the show.
But then the most unexpected thing happened at the start of the second half with Mick narrating the opening words of Jeff Wayne's The War Of The Worlds - "No one would have believed in the last years of the nineteenth century…" - before the band launched into The Eve Of The War". What's going on here then? Have we wandered back into the wrong concert? Who cares? It was utterly brilliant! In fact, it transpires that Gordy has been on 4 world tours with the musical and, well, the guys like to play music which they have been involved in. Good for them and good for us too. There is, of course, a tangible link with The Moody Blues with band member Justin Hayward providing the beautiful hit single from the show, Forever Autumn, which was also in their set with Mick really strong on vocals. In fact, starting the second half in the way they did took the show up a notch, allowing them to give renditions of many more of the band's tracks - Dr Livingstone I presume, Legend Of A Mind (about Timothy Leary) and, of course, the inevitable and welcome Nights In White Satin amongst others. After a short pause, the encore was quick and brief - just Ride My See Saw but then what do they say? Leave the audience wanting more. And they did...
The quality of the sound was exceptional, probably the best of any concert at the Hall, perfectly matching its own wonderful acoustics. Crisp and clear for instruments, vocals and speech and where the drums needed to pulled back in favour of quieter instruments, it was. There were even a couple of purely acoustic tunes, beautifully played by all 5 members. All in all, it was an absolute delight to listen to. And you just had to go home and put those classic platters on the stereogram…!
2nd February 2022
Malvern Theatres
Groan Ups
If you have seen any of Mischief Theatre's productions (The Play That Goes Wrong and its variants on stage or TV), you know you are in for a treat and a show of finely-crafted mayhem.
Groan Ups is their latest offering and in a sense goes back to basics or at least, goes back to school. All the way back to a 1990's primary school in fact as the 5 actors start the show with a hilarious rendition of what every teacher must dread - "what we did at the weekend". The kids, very perceptively portrayed, reveal in all innocence and in graphic detail, what they got up to and what their parents said, much of it rather inappropriate for a school assembly! The action then moves to the chaotic classroom where their individual characters begin to take shape and where the subtle politics of schoolkids begins to take shape and natural winners and losers emerge. And, of course, at that age, they can say and do pretty much anything and get away with it - they are obviously all such darlings! At the bottom of the pecking order is poor downtrodden Simon - brilliantly played by Matt Cavendish - but maybe he will surpass himself in years to come. All this is done in a totally believable fashion as the enormous furniture make the actors seem as small as they need to be and there are references made to the time period (for example, Opal Fruits ("made to make your mouth water"!) have become Starburst…)
Move on a few years and the children are now teenagers with all that that implies. Hormones have kicked in and relationships formed, boobs and pubes are discussed. Mocn (Yolanda Ovide) is obviously a force to be reckoned with and Spender (Dharmesh Patel) really needs to keep away from that hamster cage, a theme which repeats itself with hilarious consequences right up to the end of the show. Meanwhile Katie and Archie (Lauren Samuels and Daniel Abbott) seem to be getting along fine together but you already get the impression that Archie's feelings lie elsewhere….
In the second half, the actors are now their adult selves, attending a class of 2004 school reunion and it is here that we learn that, in spite of what he claims, poor Simon is still the runt of the litter. But it does give us a chance to see one of the funniest characters in the show - the absolutely dreadful but hilarious "Chemise" (Jamie Birkett), ostensibly now Simon's glamourous wife, and who, for someone who claims to be French, has a very strong Geordie accent! The final character is Paul (Killian Macardle), who spends most of his time trying to convince the others that they do really know him and playing a walrus (!). Both Jamie and Killian also play a husband and wife pair of teachers, who prove that it is not only the kids who can say inappropriate things to the school assembly!
Secrets and lies abound in this part of the show and it goes to some dark and sad places whilst not forgetting that it is still a comedy. The entire company does well in convincingly portraying the innocence and unintended nastiness of children which is carried through to some extent into adulthood, where the choices of how they act are far more a decision they explicitly make.
This is a very, very funny show and in truth, you barely have to suspend belief that these young schoolkids are really being played by adults, so well and enthusiastically do they do it. All you have to do is remember what you were like when you were their age… Ah, the innocence of youth!
1st February 2022
Alexandra Theatre
School Of Rock
"Stick it to the man" is the oft-used phrase in this show (an American slang term basically meaning rebel against authority) and where better to show this than in an American school with a "teacher" who doesn't follow the rules?
This is the premise of both the "School of Rock" film from 2004 and the current stage show, the latter being a full-blown musical version created by Andrew Lloyd Webber, adapted from a book by Julian Fellowes (yes, Mr Downton himself). So the show has an excellent pedigree and compared with Jack Black's film, the musical leans heavily on the songs (not surprising, given that the film only had a couple of musical numbers in it) and it proves to be the perfect vehicle for the cast to show off what they do best - entertain their audience.
And a huge cast it is too. With the main role of the reprobate Dewey Finn played by Jake Sharp (mirroring and equally as good as Black's version of a teacher, with an updated script giving him more singing and more ways to fool around) and the school principal Rosalie Mullins is played here by Rebecca Lock (who clearly has a beautiful voice on the occasions it was allowed to shine through). This pair is backed up by Matthew Roland as the "real" Ned Schneebly who Finn impersonates to get himself a job and Nadia Violet Johnson as Ned's girlfriend Patty Di Marco.
There are more than a dozen adult actors in the cast, many taking multiple roles, a "grown up" band of eight and, of course, the school kids themselves. Pretty much central to the show, 12 kids are chosen for each performance, taken from an incredible total of 42 who have been fully trained to take to the stage. Each one has their own character just as in a real school, from the quiet one (Tomika) who needs to be brought out of her shell to the overly-confident one (Summer) who has no qualms about putting Finn in his place. And, of course, all the parents are aghast at the education their kids seem to be getting (as their homework seems to be exclusively listening to CDs of classic rock artists). These are not older children pretending to be youngsters - these really are an incredibly talented bunch, all aged between 9 and 12, who can sing, act, dance and play instruments (electric guitar, bass, keyboards and drums) which, as Webber points out in a pre-show announcement, are all played live on stage (obviously in conjunction with the band hidden away in the orchestra pit).
The script itself is very funny (and obviously kept updated, given the reference to "office parties"!) and allow Jack Sharp to go into the character of Finn full-pelt and with an amazing energy, which is exactly what is needed.
Oh, no spoilers but unlike in the film, there is not just one but two kisses…
Note that Alex Tomkins plays the role of Finn at certain performances
27th January 2022
Malvern Theatres
Same Time Next Year
The title kind of says it all. Same Time, Next Year refers to the meeting between two people on the anniversary of when they first met. They are, however, married to different people…
For their first new show in two years (due to the unmentionable…), London Classic Theatre have chosen Malvern Theatres as the venue to kick off their 10-theatre tour of the show. And first night showed that all the work necessary to stage the play had paid off.
The author, Canadian Bernard Slade, already had form when it came to writing comedies, having been responsible for The Partridge Family and scripted various episodes of Bewitched on TV), and for this play, he placed the events across three decades, with each of the 6 meetings taking place approximately 5 years apart, starting in 1951 and ending in 1975 (the year he wrote it, in fact). The first of these comes about as a result of an encounter in a restaurant which led the pair (Doris & George) to spend the night together and it is the morning after where the play commences, as guilt and embarrassment (he gets her name wrong for a start!) begin to hit home.
In American society as elsewhere, these decades were a period of dramatic change - the fight for women's rights, anti-war campaigns and home life changing forever as people became more prosperous. The music which introduced each segment cleverly reflects this, ending with 1975's disco era. We experience these changes exclusively through the eyes of Doris (Sarah Kempton) and George (Kieran Buckeridge) and whilst George's conservative fashion sense does not change much over 25 years (although he does at least sport some bell bottom jeans and a very 70's moustache at one point!), each appearance of Doris is accompanied by a complete change of fashion, especially evident in the 60's hippy era). It is as if a different woman presents herself to George, which is indeed the case as her home life, marriage and a desire for self-improvement evolve. Apart from George's attire, the other thing which doesn’t change much, if at all, is the décor of the hotel room which they use each year, which probably says something about the American hotel or "country inn" industry! (although given that the actors have to reset parts of the stage themselves between episodes, it is not surprising that not much changes). Designer Bek Palmer did well to convey these changes in a simple way, complementing the script and there is just a simple "Happy 5th, 10th etc" board strung up made it clear which year we were watching (although the 19th board was still there for the 25th - the only first night glitch as far as I could see).
These annual meetings are, of course, totally illicit, neither partner back home knowing what the other is up to during these days away. They are short enough to not be noticed as anything other than the business meeting/religious retreats that they are made out to be so no suspicions are raised. Until one day…
The humour runs across all 6 short episodes as the details of their respective families are slowly revealed - apart from this one meeting per year, life goes on very much as normal - though less so in the final episode where it is revealed that tragedy has struck. As the pair do not communicate at all throughout the rest of the year, this is the only time they can catch up and a lot can happen in a year, not all of it to each other's liking.
Both actors play their roles very well and are totally believable with their American accents and their romantic connections, albeit brief, with one another. It is a gentle, perceptive and naturally nostalgic comedy where the audience can decide for themselves whether what this pair is doing is right or wrong, livening up or killing their respective marriages and the question remains, at the point at which both are inevitably left without their partners, will they, after 25 years, get together themselves…?
25th January 2022
Alexandra Theatre
Chicago
"Murder, greed, corruption, exploitation, adultery and treachery… all those things we hold near and dear to our hearts“.
Curious words with which to start a show maybe but aficionados will know instantly that, yes, these are opening words of Chicago and the first murder occurs even before the first song - the classic All That Jazz - has finished...
As with previous runs of this show (it was the Alexandra's Christmas offering back in 2016), there are some big names filling some big roles. For this tour, the show stars musical stalwart Darren Day as Billy Flynn, Faye Brookes (who played Kate Connor in Coronation Street) as Roxie Hart, Sinitta as Matron ‘Mama’ Morton, and Djalenga Scott as Velma Kelly, all of whom are well up to the task of bringing the story of nightclub singer Roxie Hart's fight to keep herself off death row as it was indeed she who pulled the trigger and killed her lover whilst passing the blame onto her husband, the mostly ineffectual Amos, played by Joel Montague (who played the part so well, he got everyone's sympathy!). Helping her in her trial is the slimy, selfish lawyer Flynn, whose only interest is how much money can be gained from his actions rather than any care or thought for his clients and who moves from one to another with impunity, depending on how much their fame will benefit him.
Not only does the main cast deliver the goods, they are able to rely on a very talented and energetic group of singers and dancers (in particular, B E Wong as Mary Sunshine - no spoilers here!).
And central, literally, to the show is the excellent 10-piece band which is permanently on stage in a banked area which in fact takes up a good two-thirds of the available space, an almost unheard of luxury for an orchestra, which is normally hidden away under the stage. As a result, there is very little other ornamentation, nor is it needed - just a couple of tall ladders and some chairs. The available space gives the dancers sufficient room to do their stuff and there are even a couple occasions when music director Andrew Hilton can really let his hair down, to great effect! The trial itself is hilarious and gives the cast a great opportunity to let their hair down too and enjoy themselves.
This tale of sleazy seduction and corruption in the 1920's Midwest America works perfectly in the 2020's with aspects of behaviour which clearly haven't changed a bit over the last 100 years!
20th January 2022
Malvern Theatres
The Dresser
"Murder, greed, corruption, exploitation, adultery and treachery… all those things we hold near and dear to our hearts“.
Curious words with which to start a show maybe but aficionados will know instantly that, yes, these are opening words of Chicago and the first murder occurs even before the first song - the classic All That Jazz - has finished...
As with previous runs of this show (it was the Alexandra's Christmas offering back in 2016), there are some big names filling some big roles. For this tour, the show stars musical stalwart Darren Day as Billy Flynn, Faye Brookes (who played Kate Connor in Coronation Street) as Roxie Hart, Sinitta as Matron ‘Mama’ Morton, and Djalenga Scott as Velma Kelly, all of whom are well up to the task of bringing the story of nightclub singer Roxie Hart's fight to keep herself off death row as it was indeed she who pulled the trigger and killed her lover whilst passing the blame onto her husband, the mostly ineffectual Amos, played by Joel Montague (who played the part so well, he got everyone's sympathy!). Helping her in her trial is the slimy, selfish lawyer Flynn, whose only interest is how much money can be gained from his actions rather than any care or thought for his clients and who moves from one to another with impunity, depending on how much their fame will benefit him.
Not only does the main cast deliver the goods, they are able to rely on a very talented and energetic group of singers and dancers (in particular, B E Wong as Mary Sunshine - no spoilers here!).
And central, literally, to the show is the excellent 10-piece band which is permanently on stage in a banked area which in fact takes up a good two-thirds of the available space, an almost unheard of luxury for an orchestra, which is normally hidden away under the stage. As a result, there is very little other ornamentation, nor is it needed - just a couple of tall ladders and some chairs. The available space gives the dancers sufficient room to do their stuff and there are even a couple occasions when music director Andrew Hilton can really let his hair down, to great effect! The trial itself is hilarious and gives the cast a great opportunity to let their hair down too and enjoy themselves.
This tale of sleazy seduction and corruption in the 1920's Midwest America works perfectly in the 2020's with aspects of behaviour which clearly haven't changed a bit over the last 100 years!
19th January 2022
Malvern Theatres
The Addams family
For those of, ahem, a certain age, The Addams Family is a well-loved if somewhat bizarre early 1960's black and white American TV comedy. In the 90's, it was made into a couple of movies and now that same cast of kooky characters is back at it, this time on stage and in a glorious musical version.
Each member of this family is a character in its own right and the story here revolves around the daughter Wednesday Addams deciding she wants to marry a "normal" boy, Lucas and even going to the extent of ditching her usual black attire for something more suitable - in yellow! Both sets of parents are understandably horrified by this prospect, as is her sibling Pugsley, who will lose the sister who enjoys torturing him. Uncle Fester decides he is in love with the moon (because a quarter of a million miles is a good distance to start a relationship) and Grandma is the oldest family member. Except that she is not because also in the cast are eight different ancestors, ranging from a Madam, a Matador, a Viking and Emperor. The Ancestors are also all understudies for the main roles so they have a lot to learn. There is also the grunting Lurch and, once you add in Thing, you have exactly the same family characters as in the TV show.
Without exception, the cast play their roles exceptionally well. Remember also that this is a musical version - which inevitably will involve dance - and they must also show off their singing and dancing skills. So having Strictly Come Dancing winner Joanna Clifton on board as wife Morticia is an added bonus and there are some excellent dance routines in the show. She and hapless husband Gomez (Cameron Blakely) must decide whether Lucas Beineke, the boy chosen by Wednesday is in any way suitable (Ahmed Hamad and Kingsley Morton play the lovestruck couple, neither of whom really know what they are getting themselves into). The bald Uncle Fester (Scott Paige) engages with the audience by directing various comments to them (the script even includes references to the likes of Trump) whilst Valda Aviks as Grandma (but whose Grandma is she exactly?) keeps us entertained with her various potions. Grant McIntyre somehow just looks like Pugsley without having to be made up to look like Pugsley!
Lucas' parents are played by Sean Kingsley and Kara Lane - similar to Brad and Janet in the Rocky Horror Show, this couple have another side to their respectable image which needs to come out…
Alongside Uncle Fester in the comedy characters, Lurch (played with a quiet emotionless air by Dickon Gough - until he roars like a lion!) says nothing but is just hilarious in doing nothing and doing it very, very slowly… At 6'4", he rightly towers of the rest of the cast without managing to reach the height of the original Lurch, Ted Cassidy, who was 6'9"! And he definitely has an unexpected talent which he shows towards the end of the play!
The set is suitably gothic - and very unwelcoming at first for the visiting Beinekes, being a place where "all the money has been spent on the rent with nothing left for furniture". And there are constant set changes incorporating a graveyard, the playroom (definitely for adults!), Morticia's boudoir and the Grand Hall amongst others. The music is provided by an excellent 8-piece band hidden, as is often the case, under the stage. They even played the original theme tune at one point, with the iconic clicking fingers - classic!
Regardless of whether you are a fan of the original TV series or the subsequent films and animated versions or even if you don't already know the family at all, this is a really hilarious and superbly-performed show which fully deserved its standing ovation.
The fact that, 60 years on, this family is still entertaining audiences must have Charles Addams laughing in his grave!
19th January 2022
Phoenix Theatre
Dick Whittington
Proof (if proof were needed) that you don't need a big venue and a big budget to put on a family-friendly pantomime comes in the form of Our Star Theatre Company's seasonal production of Dick Whittington at the rather lovely Phoenix Theatre in Ross-on-Wye, which runs until January 15th. On a stage which easily reaches the front row and on which you could barely swing a cat (much to the relief no doubt of Dick's cat, whose name was chosen by a member of the audience), the 7 cast members retold the story of poor boy Whittington and his travels to London to find his fortune. This is in fact the only panto story based on actual real events, although the original Dick Whittington was by no means poor, being the son of a Sir but hey, never let the truth get in the way of a good panto tale!
All the necessary panto elements are there (with the exception, thankfully, of water cannons, which would have flooded the place!) with Dick played by company founder Ben Mowbray, future wife Alice (after all, there has to be a wedding!) played by Eleanor Catherine Smart, Ava Weetman as the rather feisty and streetwise cat. The dance routines (and little rats) are provided by Destiny Dawe and Catherine Donativo, with Katisha Harris as the show's musical director.
Then there are the big two (literally!) - Jacob Buckley as King Rat and Toby Edwards as Dame Sarah, both of whom are perfectly cast for their characters. And it is these two in particular who had the audience - kids and adults - in stitches throughout the two hour show, both of them showing their ability to go off script and ad lib where necessary. Highlights were Jacob's rapid run through of the story of Titanic the Movie and Toby desperately (and failing) to reach the high notes in his hilariously elaborate costumes which must have used up most of the budget. Unless of course they were his own... They didn't quite manage to hide his hairy chest though!
As far as the script is concerned, there were enough "Dick" jokes to keep adults entertained whilst shielding the little 'uns from the double-entendres, exactly what panto does best, working at different levels for the different age groups. And the scene where Dick, Dame and Cat go through their "what would I be if I wasn't a..." was hilarious.
We had to wait a year for the show to be staged (for obvious reasons!) so it was no doubt a relief for all concerned for it to finally go ahead. And getting the appreciation of a packed, if masked, audience is the icing on the cake for these young actors, many of whom have come through various "young" acting groups such as the Malvern Theatres Young Company. It might be small scale but it is certainly big-hearted and proved to be a very enjoyable way to spend a wet Saturday afternoon.
The company will be back on tour later this year with Sherlock's Excellent Adventure and Toby is also working on writing his own musical so there may well be chance to see that too, costume fitting permitting!
5th January 2022
Alexandra Theatre
Bat Out Of Hell
Just mention Bat Out Of Hell and it is instantly acknowledged as one of the key albums of the 1980's - after all, it sold more than 50 million copies so clearly Jim Steinman and Meatloaf were doing something right. It took another 16 years before Bat Out Of Hell II was released, adding to the litany of hit songs from the first album with I Would Do Anything for Love (But I Won’t Do That). Quite a catalogue of songs then to form the basis of a musical - and what a musical it is too with the book, lyrics and music all written by Steinman.
Set in some bleak dystopian underworld (there is a huge tunnel entrance on stage as well as a cliff face) which is inhabited by a group of ne'er-do-wells called The Lost, none of whom age beyond 18 and one of whom is called Tink (and you thought the panto season was over!), the story itself is the age-old one of girl fights against parental control and goes off with a bad lad to prove her point. So Bat Out Of Hell is a love story? Well, yes, and plenty more besides.
The well-to-do Mum and Dad, that's Falco (Rob Fowler) and Sloane (Sharon Sexton), live high up in an apartment block, of which the daughter's bedroom is on stage and this and other elements of the set are displayed through the clever use of a hand-held camera which is used throughout the show to project onto a massive screen. The other two main cast members are gang member Strat (Glenn Adamson) and the rebellious daughter Raven (Martha Kirby). And boy, can these four sing! Which is essential really as they have a plethora of great rock songs to work with.
The songs can be hard rocking tunes - the likes of the title track (which ended Act One is great style), Dead Ringer For Love and You Took The Words Right Out Of My Mouth - or quieter more reflective songs - never a ballad, always a power ballad - such as Objects In The Rear View Mirror May Appear Closer Than They Are and It's All Coming Back To Me Now (both of which got really beautiful renditions on stage). And there were moments of levity outside of the songs - Sharon Sexton's portrayal of mum Sloane was often very funny and there was even a nod to the current pandemic when, after Falco shook hands with Tink, out came a bottle of sanitiser…! Indeed, after the show had ended, Rob Fowler spoke directly to the audience to thank them all for coming, hammering home the importance and precarious nature of live theatre with the cast and musicians numbering around 30.
As a legacy to the man who brought so much to "symphonic rock", there can be no better tribute than this exciting, loud and impressive show.
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