Despite living in Cardiff this is my 3rd visit to the Bridewell Theatre, to be found just off Fleet Street. Lunchbox Theatre regularly produce little-known restoration plays between one and two o'clock week-day afternoons purely designed to entertain an office lunchtime clientele. I make no apologies for repeating my claim that this simple idea is nothing short of inspired and deservedly receives large and appreciative audiences.
Their current offering is the 300 year old " Man Of Mode" by George Etherege revived quite recently by the National Theatre with Tom Hardy in the lead role. Most restoration comedies are extremely complicated and naturally out-dated. This version took the simple yet brilliant step of up-dating the references and language where appropriate. This immediately involves a modern audience as well as providing a lot of humour with our current obsession with lap-tops, mobile phones, " giving skin" ( sadly by selecting a front row I was required to touch hands & then kiss them better) and modern patois etc.
The plot basically revolves around Dorimant, a notorious ( and not very secretive) womaniser, his attempts to seduce as many women as possible and the exploits of Bellair betrothed by his father when he naturally loves another woman. There are no surprises that that by the end everything is ( speedily) resolved and all are conveniently happy with their lot.
But you don't want doom and gloom over lunch, you want to be entertained and this company fully succeeds in that respect. Gavin Harrison is suitably swaggering and self-confident in the main role with all the supporting roles doing well in their parts. Easily the showiest part is the title character, Sir Fopling Flutter as an over-excited Michael McIntyre with an American accent, which frankly has to be seen to be believed.
Cramming a full-length play into less than an hour allows director Jo Kennedy to use her initiative with asides delivered to the audience, whilst actors on stage are frozen in hysterical poses and using the moments when people are finding their seats to allow the actors to show their characters silently.
Sadly, the play ends on Friday but if you fancy a fun lunch-hour head to the Bridewell Theatre, you won't be disappointed.
Wednesday 22 June 2011
Sunday 5 June 2011
Old Hands - 2nd June 2011
As one of Europe's fastest growing cities Cardiff attracts visitors for its history and beauty as well as its major sporting and concert stadiums. Sadly, home-grown theatre companies are not generally recognised by the locals, let alone tourists.
This is a shame as groups like Hijinx Theatre deserve a wider following, especially as the Arts council will no longer support their community tour. A lot of companies are suffering similar cutbacks but what seperates Hijinx from other companies is their inclusion of actors with learning disabilities.
This summer's production " Old Hands" revolves around the failing Skidbury-on- Sea little theatre. Set in 1935 they are struggling to keep afloat against more popular rival venues and manager Gus Delamere hires former star Miss Florrie Labelle. The drama of the piece comes from the revelation that she has smuggled in her brother who he describes as " a mong", an acceptable term in that era.
I thoroughly enjoyed their safe Christmas show " Silent Night" but the decision to face this still sensitive issue head on was both brave and impressive. It was also enlightening to see how this issue was dealt with historically. If we feel that anyone "different" is treated harshly nowadays this opened out eyes to how far society has travelled in the right direction since then. As the villain of the piece Gus pointed out "Baby" should have been locked away in Bedlam especially as
his discovery would have destroyed Florrie's career.
This is an unexpected plot but as usual it needs good actors to make it interesting and believable. Here, the company was well served bu all members of the cast. Adam Timms
beautifully encapsulated the sleazy aspect of some 1930's comic turns, Gareth Wyn Griffiths showed combined acting and musical talents to perfectly portray the sympathetic accompanist, but for me the star of the night was Eloise Williams. Not only did she brilliantly capture a woman lovingly trying to protect her brother from a cruel world but she delivered her songs and comic material in the true style of a top class 1930's act, an impressive feat.
Credit must also go to Andrew Tadd and Gareth Clark who both played their parts well and showed excellent chemistry together. They also provided the comic highspot of the evening by reacting brilliantly to the unexpected sight of the set collapsing around them at the end of the play.
Again, Hijinx have produced a bold and highly enjoyable piece which deserves a wider audience.
This is a shame as groups like Hijinx Theatre deserve a wider following, especially as the Arts council will no longer support their community tour. A lot of companies are suffering similar cutbacks but what seperates Hijinx from other companies is their inclusion of actors with learning disabilities.
This summer's production " Old Hands" revolves around the failing Skidbury-on- Sea little theatre. Set in 1935 they are struggling to keep afloat against more popular rival venues and manager Gus Delamere hires former star Miss Florrie Labelle. The drama of the piece comes from the revelation that she has smuggled in her brother who he describes as " a mong", an acceptable term in that era.
I thoroughly enjoyed their safe Christmas show " Silent Night" but the decision to face this still sensitive issue head on was both brave and impressive. It was also enlightening to see how this issue was dealt with historically. If we feel that anyone "different" is treated harshly nowadays this opened out eyes to how far society has travelled in the right direction since then. As the villain of the piece Gus pointed out "Baby" should have been locked away in Bedlam especially as
his discovery would have destroyed Florrie's career.
This is an unexpected plot but as usual it needs good actors to make it interesting and believable. Here, the company was well served bu all members of the cast. Adam Timms
beautifully encapsulated the sleazy aspect of some 1930's comic turns, Gareth Wyn Griffiths showed combined acting and musical talents to perfectly portray the sympathetic accompanist, but for me the star of the night was Eloise Williams. Not only did she brilliantly capture a woman lovingly trying to protect her brother from a cruel world but she delivered her songs and comic material in the true style of a top class 1930's act, an impressive feat.
Credit must also go to Andrew Tadd and Gareth Clark who both played their parts well and showed excellent chemistry together. They also provided the comic highspot of the evening by reacting brilliantly to the unexpected sight of the set collapsing around them at the end of the play.
Again, Hijinx have produced a bold and highly enjoyable piece which deserves a wider audience.
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