In these days of cut-backs & recession all new theatre companies should be welcomed with open arms. The Ghost Room was founded by Kathryn Jones and Lisa Osmond back in August and their first venture opened on Thursday in the unlikely surroundings of The Boiler Room, Llandaff.
Do Not Go Gentle reports of mysterious disappearances all over the country. Small villages have been entirely wiped out and there are growing fears that this may reach more populated areas and even cities. This is not the basis for some cosy theatrical experience, no we are ushered through corrugated iron gates into a dark open-air area where the audience are huddled together round warming braziers, a welcome source of heat ( & light) on a cold December evening( thankfully dry).
Immediately you realise this will not be an ordinary evening as you get a tiny feeling of what it would be like to be outcasts with nothing. This feeling of unease is soon increased
as a desperate woman unexectedly charges through the gates imploring us to enter the safety of The Boiler Room.
Here ( as the temperature begins to drop) you encounter the graffiti covered interior as you are welcomed(?) by the survivors of whatever has caused such devastation. This is the premise of the piece and the remainder of the evening revolves around whether they ( & us) will survive becoming victims of the nothingness.
On paper the plot may sound thin but the atmosphere created by the venue, cast and production values was incredibly tense. The sound balance was perfect and the dialogue remained clear while a variety of noises seemingly seeping through the walls. The lighting again was spot on with constantly changing visibility keeping you permanently on edge. Impressively, the most frightening moment was caused by pure silence and darknesss. Absolutely terrifying.
The cast are all exemplary though I must commend Jon Holcroft in the "father figure" role. In what could be tricky surroundings to hear the dialogue his delivery was exemplary and his concern for our wellbeing helped us to feel we were in safe hands.
So,if you are fed up with reality television and want to experience some reality theatre rush to the Boiler Room as it ends on Saturday or look out for further productions from The Ghost Room. A very impressive debut.
It may only have lasted forty-five minutes but that was all our fast-beating hearts could cope with and there was no need to extend our discomfort any further. As one of my friends exclaimed on the way " oh, crikey". Enough said.
Saturday, 3 December 2011
Tuesday, 29 November 2011
Driving Miss Daisy - 26th November 2011
Entertainment and theatre takes many different shapes. Already this week I had witnessed a script-held performance ("Orange" at Chapter Arts centre, Cardiff), a very loud rock band ( Alterbridge - Motorpoint Arena-Cardiff) and last night a re-working of Edgar Allan Poe's horror writing at a church he frequented in Stoke Newington.
In contrast with these tonight was a more traditional production, a revival of Alfed Uhys " Driving Miss Daisy" at Wyndhams Theatre. This show contrasts the current trend of transferring successful films into less successful plays as this started as a play. When first staged in London in 1988 it starred Wendy Hiller and Clarke Peters before Bruce Beresford's film won Oscars for the writer, film and Jessica Tandy.
Tonight, we were in the presence of two international theatrical heavyweights, Vanessa Redgrave and from across the pond, James Earl Jones. Together with Boyd Gaines they had originally staged it on Broadway last year.
This is a circular play with Daisy Werthan's long-suffering son packing up his mother's house before we revert to 1948 when her time to convince his mother to accept a chauffeur as she is no longer safe to drive herself. From this simple premise ( as the best stories tend to be) the playwright invites us to enter a world where time allows two people from different ages, race, social classes and money gradually embarking upon a true friendship.
Normally you would expect the driver to be younger than his back-seat companion but this production reverses that trend as James Earl Jones is 6 years ( and 13 days older) than his co-star. Great actors, though, can overcome this potential problems and although Miss Redgrave was occasionally hesitant with her lines she came movingly into her own in the final scene.
For me the star of the night was Mr Jones who produced a seamless masterclass of acting. From a man desperate to get a job, to locking horns ( but knowing his place) with his employer's mother, to explaining the race issue from his experiences ( moving, without resulting in melodrama) with an angry acceptance as well as coming to terms with the ageing process on them both, it seemed real. And this from a man in his 9th decade!
As you would expect the theatre was packed but at key moments you could hear a pin drop & when she announces " you are my best friend" the spontanteous " ah" emerging from the audience was pure theatre.
Credit must also go to Boyd Gaines in the vital yet unshowy role of Boolie Werthan. If he had been over-shadowed by his more illustrious co-stars it would have unbalanced the play. He wasn't. A delightful evening.
In contrast with these tonight was a more traditional production, a revival of Alfed Uhys " Driving Miss Daisy" at Wyndhams Theatre. This show contrasts the current trend of transferring successful films into less successful plays as this started as a play. When first staged in London in 1988 it starred Wendy Hiller and Clarke Peters before Bruce Beresford's film won Oscars for the writer, film and Jessica Tandy.
Tonight, we were in the presence of two international theatrical heavyweights, Vanessa Redgrave and from across the pond, James Earl Jones. Together with Boyd Gaines they had originally staged it on Broadway last year.
This is a circular play with Daisy Werthan's long-suffering son packing up his mother's house before we revert to 1948 when her time to convince his mother to accept a chauffeur as she is no longer safe to drive herself. From this simple premise ( as the best stories tend to be) the playwright invites us to enter a world where time allows two people from different ages, race, social classes and money gradually embarking upon a true friendship.
Normally you would expect the driver to be younger than his back-seat companion but this production reverses that trend as James Earl Jones is 6 years ( and 13 days older) than his co-star. Great actors, though, can overcome this potential problems and although Miss Redgrave was occasionally hesitant with her lines she came movingly into her own in the final scene.
For me the star of the night was Mr Jones who produced a seamless masterclass of acting. From a man desperate to get a job, to locking horns ( but knowing his place) with his employer's mother, to explaining the race issue from his experiences ( moving, without resulting in melodrama) with an angry acceptance as well as coming to terms with the ageing process on them both, it seemed real. And this from a man in his 9th decade!
As you would expect the theatre was packed but at key moments you could hear a pin drop & when she announces " you are my best friend" the spontanteous " ah" emerging from the audience was pure theatre.
Credit must also go to Boyd Gaines in the vital yet unshowy role of Boolie Werthan. If he had been over-shadowed by his more illustrious co-stars it would have unbalanced the play. He wasn't. A delightful evening.
Monday, 28 November 2011
Orange - 22nd November 2011
"It's a theatrical scam" stated a friend upon discovering that Chapter were charging £4 to watch a script held performance, " let's see how they get away with it". This exchange led us to see Michael Kelligan's latest "On The Edge" production, a revival of "Orange" by Alan Harris.
The piece is set in a Cardiff flat occupied by two brothers, Chippie & Viv who are holding Saleem hostage. This is a tit-for-tat kidnapping to mirror an Islamic group holding aid worker Susan Ross. The plan (concocted by Chippie) is to force her release or revenge her death.
As this is a play, nothing goes smoothly and this becomes a character study between the three men. With Chippie disappearing regularly for long periods a relationship begins to grow between Viv and Saleem. Gradually we understand more about each person and as the conclusion nears we are generally concerned about the outcome will reveal.
For those audience members expecting the actors to have little connection with the material or with each other this was a revelation. The script was used but mainly as a prop and this did not prevent genuine rapport between the cast. Naturally the staging was minimal but once you get used to mimed pasties ( Greggs, of course) it was barely noticed.
At the end we congratulated ourselves that for such a small sum we had witnessed a full theatrical production, so credit must go to an impeccable cast, Alan Humphries, Dean Rehman and Sule Rimi and director Michaal Kerrigan for creating such an impressive and enjoyable evening.
One criticism, though, I did find there were too many short scenes, especially as Chippie's absences were never really explained and this just disjointed the flow of the piece.
However, in these days of increasing theatre prices and certain venues only producing safe shows it was reassuring to see such a bold approach to creating theatrical events. I shall therefore eagerly await their next venture Garry Owen's " Free Folk" on December 13th.
The piece is set in a Cardiff flat occupied by two brothers, Chippie & Viv who are holding Saleem hostage. This is a tit-for-tat kidnapping to mirror an Islamic group holding aid worker Susan Ross. The plan (concocted by Chippie) is to force her release or revenge her death.
As this is a play, nothing goes smoothly and this becomes a character study between the three men. With Chippie disappearing regularly for long periods a relationship begins to grow between Viv and Saleem. Gradually we understand more about each person and as the conclusion nears we are generally concerned about the outcome will reveal.
For those audience members expecting the actors to have little connection with the material or with each other this was a revelation. The script was used but mainly as a prop and this did not prevent genuine rapport between the cast. Naturally the staging was minimal but once you get used to mimed pasties ( Greggs, of course) it was barely noticed.
At the end we congratulated ourselves that for such a small sum we had witnessed a full theatrical production, so credit must go to an impeccable cast, Alan Humphries, Dean Rehman and Sule Rimi and director Michaal Kerrigan for creating such an impressive and enjoyable evening.
One criticism, though, I did find there were too many short scenes, especially as Chippie's absences were never really explained and this just disjointed the flow of the piece.
However, in these days of increasing theatre prices and certain venues only producing safe shows it was reassuring to see such a bold approach to creating theatrical events. I shall therefore eagerly await their next venture Garry Owen's " Free Folk" on December 13th.
Sunday, 27 November 2011
Macabre Resurrections
American horror writer Edgar Allan Poe amazingly was brought up in Stoke Newington exactly two hundred years ago. This is the basis for Second Skin Theatre company to adapt 6 of his most famous writing pieces at the Old St Mary's Church which he attended.
The setting is perfect. An old compact church with choral music playing and pew seats prepare you to expect the unexpected, a familiar event (theatre) in unfamiliar surroundings.
We are greeted by a kindly preacher ( Stephen Gonnery Brown) to guide us through whatever the evening will provide. He is then confronted by the Raven ( a sinister-looking David Hugh), in Rob Johnston's re-working of the classic poem.
No time to rest in our uncomfortable seats, we are soon on the move for Richard Allden's take on " The Cask of Amontillado". Site specific theatre has its flaws and bonuses. On the plus side, it gives you the opportunity to get truly involved in events you can't get from proscenium theatre. Conversely, if you get in the wrong position you can't see what is happening. Fortunately, I had the clarity of the author's words to convey the pictures I was lacking.
I was, however, better-placed for Jacob Hodgkinson's " The Pit & the Pendulum". Again, modern interpretations of classic drama have benefits and drawbacks. By setting this gothic horror with the current American rendition culture, it immediately connects with a modern audience. However, the repetitive use of swear words which is obviously authentic but it only serves to emphasize that great writers do not need such obvious shock tactics to create menace. Despite a great performance by Priyank Morjaria this was an opportunity missed and left a bad taste in the mouth.
Having neatly compartmentalised this evening into traditional "re-working good, up-dating bad" categories then Rob Johnston's " Premature Burial" made me revise my knee-jerk reaction. Soon we were outside and although I was in the wrong place to see the theatrical coup of the night, but this didn't matter. The story of Jake, a soldier, based in Helmond province who suffers from re-curring nightmares of being buried alive, was truly moving and haunting, with beautiful acting from all 3 performers.
Safely returned to our seats we were then unnerved by Mia Zara's impressive solo turn in Mike Garter's " The Black Cat". Disturbing, but this piece should have been shorter.
Like any good concert Second Skin held Poe's greatest hit " Masque Of The Red Death" for last. This was the most visual play of the night, cleverly bringing all the actors together for the 1st time.
Not quite finished until we discover the fate of the Preacher and then we are back out into the cold, dark Stoke Newington night, a lot more unnerved than when we arrived. Anyone expecting to shriek and jump like " Ghost Stories" or " The Woman In Black" will be disappointed. This is an evening about atmosphere and leaving with images (visual & verbal) that may account for future distured sleeps.
It is not a perfect evening. Not all of the acting is of high quality, you may not be able to see everything and it is too long. Stoke Newington is not an easy place to get to and from, so, if you have a show that last two hours and forty minutes, start at 7.30pm, not 8.
However, if you are bored with over-priced, over-blown, safe West End productions and want a rare theatrical event you can feel a part of, head to Macabre Resurrections. Arrive early and enjoy the impressive shops & restaurants that Church Street provides.
The setting is perfect. An old compact church with choral music playing and pew seats prepare you to expect the unexpected, a familiar event (theatre) in unfamiliar surroundings.
We are greeted by a kindly preacher ( Stephen Gonnery Brown) to guide us through whatever the evening will provide. He is then confronted by the Raven ( a sinister-looking David Hugh), in Rob Johnston's re-working of the classic poem.
No time to rest in our uncomfortable seats, we are soon on the move for Richard Allden's take on " The Cask of Amontillado". Site specific theatre has its flaws and bonuses. On the plus side, it gives you the opportunity to get truly involved in events you can't get from proscenium theatre. Conversely, if you get in the wrong position you can't see what is happening. Fortunately, I had the clarity of the author's words to convey the pictures I was lacking.
I was, however, better-placed for Jacob Hodgkinson's " The Pit & the Pendulum". Again, modern interpretations of classic drama have benefits and drawbacks. By setting this gothic horror with the current American rendition culture, it immediately connects with a modern audience. However, the repetitive use of swear words which is obviously authentic but it only serves to emphasize that great writers do not need such obvious shock tactics to create menace. Despite a great performance by Priyank Morjaria this was an opportunity missed and left a bad taste in the mouth.
Having neatly compartmentalised this evening into traditional "re-working good, up-dating bad" categories then Rob Johnston's " Premature Burial" made me revise my knee-jerk reaction. Soon we were outside and although I was in the wrong place to see the theatrical coup of the night, but this didn't matter. The story of Jake, a soldier, based in Helmond province who suffers from re-curring nightmares of being buried alive, was truly moving and haunting, with beautiful acting from all 3 performers.
Safely returned to our seats we were then unnerved by Mia Zara's impressive solo turn in Mike Garter's " The Black Cat". Disturbing, but this piece should have been shorter.
Like any good concert Second Skin held Poe's greatest hit " Masque Of The Red Death" for last. This was the most visual play of the night, cleverly bringing all the actors together for the 1st time.
Not quite finished until we discover the fate of the Preacher and then we are back out into the cold, dark Stoke Newington night, a lot more unnerved than when we arrived. Anyone expecting to shriek and jump like " Ghost Stories" or " The Woman In Black" will be disappointed. This is an evening about atmosphere and leaving with images (visual & verbal) that may account for future distured sleeps.
It is not a perfect evening. Not all of the acting is of high quality, you may not be able to see everything and it is too long. Stoke Newington is not an easy place to get to and from, so, if you have a show that last two hours and forty minutes, start at 7.30pm, not 8.
However, if you are bored with over-priced, over-blown, safe West End productions and want a rare theatrical event you can feel a part of, head to Macabre Resurrections. Arrive early and enjoy the impressive shops & restaurants that Church Street provides.
Tuesday, 1 November 2011
Shudders - 31st October 2011
In recent years Cardiff based group Inky Quills Productions have been synonymous with providing high quality comedies but this autumn they have branched out into more dramatic territory. Last Wednesday and Halloween evening they produced 2 short "horror" plays under the heading of "Shudders". These ten minute pieces were performed in atmospheric venues, the basement of " Ten Feet Tall" and upstairs at Dempsey's.
Limiting the audience to a maximum of 14 persons sitting per show , this was intimate theatre at its most compelling. "The Photographer" involved the Victorian practice of arranging for a dead body to be captured on film for posterity. This simple, if macabre premise was brought to life by the quality of the acting. A softly spoken Laura Jeffs played the widow ( not quite as happily married as we originally expected) and the terrifying Alan Humphreys as the title character. As well as his previous comedy roles his recent performance as Mercutio with Bare Knuckle Theatre proved he is a truly versatile actor and how he can add scary to his CV. Bethany Seddon's male-up took full advantage of his tall, thin frame, which when combined with a wheeze that came from the grave, created a truly ghostly figure.
"Dust" revolves around the hanging of Mrs Harkness for allegedly murdering her lover in Pennsylvania. We see the grieving husband camped at her unmarked grave, befriended by a Mrs Peel who has bought a house overloooking the grave of her deceased husband. The plot is provided by announcements of the trial and the subsequent hanging of Mrs Harkness but again it is the intensity of the performances that draw the audience into the story. George Goding ( more animated than his performance in " The Photographer") is menacingly hypnotic while (Inky Quills newcomer) Claire Hovey creates an emotional intensity that is quite alarming.
Both of these pieces work because the writer and director allow time for the characters to breathe. The shortness of the plays does not encourage writer Rick Allden to fill the time with constant dialogue and first-time director Jon Holcroft allows the silences and pauses to speak more than continual conversation.
In these days of over-blown productions it is good to know that less than can still be more. Also, in the current recession climate cost is important and for £1 a show this was a bargain. It could be the way forward and I was encouraged to hear of a student who came as they loved theatre but generally couldn't afford to go.
Fortunately, these low-key shows received large and enthusiastic audiences. Those who came may have witnessed the future of theatre.
Limiting the audience to a maximum of 14 persons sitting per show , this was intimate theatre at its most compelling. "The Photographer" involved the Victorian practice of arranging for a dead body to be captured on film for posterity. This simple, if macabre premise was brought to life by the quality of the acting. A softly spoken Laura Jeffs played the widow ( not quite as happily married as we originally expected) and the terrifying Alan Humphreys as the title character. As well as his previous comedy roles his recent performance as Mercutio with Bare Knuckle Theatre proved he is a truly versatile actor and how he can add scary to his CV. Bethany Seddon's male-up took full advantage of his tall, thin frame, which when combined with a wheeze that came from the grave, created a truly ghostly figure.
"Dust" revolves around the hanging of Mrs Harkness for allegedly murdering her lover in Pennsylvania. We see the grieving husband camped at her unmarked grave, befriended by a Mrs Peel who has bought a house overloooking the grave of her deceased husband. The plot is provided by announcements of the trial and the subsequent hanging of Mrs Harkness but again it is the intensity of the performances that draw the audience into the story. George Goding ( more animated than his performance in " The Photographer") is menacingly hypnotic while (Inky Quills newcomer) Claire Hovey creates an emotional intensity that is quite alarming.
Both of these pieces work because the writer and director allow time for the characters to breathe. The shortness of the plays does not encourage writer Rick Allden to fill the time with constant dialogue and first-time director Jon Holcroft allows the silences and pauses to speak more than continual conversation.
In these days of over-blown productions it is good to know that less than can still be more. Also, in the current recession climate cost is important and for £1 a show this was a bargain. It could be the way forward and I was encouraged to hear of a student who came as they loved theatre but generally couldn't afford to go.
Fortunately, these low-key shows received large and enthusiastic audiences. Those who came may have witnessed the future of theatre.
Saturday, 1 October 2011
Sarah Ellen Hughes - 28th September 2011
Cardiff is famous for many things, but hot late September evenings and intimate Jazz venues are not high up on the list.
I have lived in Cardiff for over twenty years and although I have eaten many times at Cafe Jazz, sadly I have never seen any Jazz there. I have seen Jazz elsewhere, Tony Bennett, Cleo Laine and Johnny Dankworth, Carol Kidd and Larry Adler (all at St David's Hall) , though none of those gigs were full.
I was therefore a little apprehensive to see plenty of seats available when Sarah Ellen Hughes started her set. Fortunately, a steady flux of Jazz afficiandos soon filled up the bar which was just as well as what we witnessed deserved to be seen by as many people as possible.
There is nothing like watching a live performance. Songs on YouTube may give you an idea of a voice and the type of music you may hear but it does not reveal the whole story. Jazz is about the rapport between musicians and I have never seen it better exemplified than tonight. Miss Ellen Hughes is in the early stages of a major tour ending in Liverpool in December. Most nights she performs with different musicians and this evening it was a joy to see her leading Dave Collett ( piano), Alan Vaughan ( bass) and Tom Collett ( drums) to produce the sound she wanted. ( I loved her statement to the band at the start of a tricky number " See you at the end").
A singer is generally only as good as the songs they select and tonight we were greeted with a mixture of standards, " Honeysuckle Rose", " Lady Be Good" with some self-penned songs and a few surprises alone the way. The tone of the evening was set with an unexpectedly lively version of Rodger's and Hammerstein's " My Favourite Things" before being followed by the title number of her latest album " The Story So Far" and a moving song about her late mother, " Darning That Dream".
As well as Sarah Ellen Hughes possessing a beautiful voice and great musicianship, she allows the song to tell its story without oversinging. What came as an unexpected bonus was how relaxed and funny she was between the songs, talking naturally to the audience about her life and the songs.
The danger of mixing self-penned new songs with classics is that they don't always survive the comparison with the great song-writers. Tonight, though was the exception as she proved she is also an impressive writer, for me " Working Hard" and " Busy Bee" were the highlights of a two hour set.
My wife and I came along open-minded and left converted fans and with a copy of her latest CD. If you like Jazz and want to see a performer on the way up, catch one of her remaining dates.
I have lived in Cardiff for over twenty years and although I have eaten many times at Cafe Jazz, sadly I have never seen any Jazz there. I have seen Jazz elsewhere, Tony Bennett, Cleo Laine and Johnny Dankworth, Carol Kidd and Larry Adler (all at St David's Hall) , though none of those gigs were full.
I was therefore a little apprehensive to see plenty of seats available when Sarah Ellen Hughes started her set. Fortunately, a steady flux of Jazz afficiandos soon filled up the bar which was just as well as what we witnessed deserved to be seen by as many people as possible.
There is nothing like watching a live performance. Songs on YouTube may give you an idea of a voice and the type of music you may hear but it does not reveal the whole story. Jazz is about the rapport between musicians and I have never seen it better exemplified than tonight. Miss Ellen Hughes is in the early stages of a major tour ending in Liverpool in December. Most nights she performs with different musicians and this evening it was a joy to see her leading Dave Collett ( piano), Alan Vaughan ( bass) and Tom Collett ( drums) to produce the sound she wanted. ( I loved her statement to the band at the start of a tricky number " See you at the end").
A singer is generally only as good as the songs they select and tonight we were greeted with a mixture of standards, " Honeysuckle Rose", " Lady Be Good" with some self-penned songs and a few surprises alone the way. The tone of the evening was set with an unexpectedly lively version of Rodger's and Hammerstein's " My Favourite Things" before being followed by the title number of her latest album " The Story So Far" and a moving song about her late mother, " Darning That Dream".
As well as Sarah Ellen Hughes possessing a beautiful voice and great musicianship, she allows the song to tell its story without oversinging. What came as an unexpected bonus was how relaxed and funny she was between the songs, talking naturally to the audience about her life and the songs.
The danger of mixing self-penned new songs with classics is that they don't always survive the comparison with the great song-writers. Tonight, though was the exception as she proved she is also an impressive writer, for me " Working Hard" and " Busy Bee" were the highlights of a two hour set.
My wife and I came along open-minded and left converted fans and with a copy of her latest CD. If you like Jazz and want to see a performer on the way up, catch one of her remaining dates.
Friday, 26 August 2011
The Great Big Sketch-Off - 19th August 2011
So, the best Edinbugh fringe for quality and diversity that I can remember for a long,long time comes to an end. DARKCHAT's festival finishes as I spent most of the week, rushing from venue to venue, mainly thanks to over-running-shows.
For a group of sketch comedy fans what better ending could you have than The Great Big Sketch-Off. Basically, it does what it says on the tin. The best sketch groups split into 9 teams, with 3 teams performing over 3 heats with the winners qualifying for a final on the last Friday of the month. We came on the last heat where a fired up and relaxed audience welcomed host Lee Griffiths from Late Night Gimp fight to welcome the teams, featuring a Penny, an Idiot, a Wit-Tanker, a Sheep, Lady Gardener and another Gimp etc.
Some teams had obviously worked harder than others and it wasn't hard to eliminate the middle group featuring Elliott Idiot, whose set included an over-long sketch about " tiny, tiny weapons".
Initial favourites The Beard Group fell at the final hurdle as their mainly inprovised effort could not compete with the genius idea of Thom Tuck in a kimono playing a geisha hosting the Generation Game. The image of him browsing through a copy of the Fest, raising his eyebrows when reading " Mark Dolan - One Star" has stayed with me for a week and makes me smile when the real world drags me down. Sometimes sketches can be overly honed!
A perfect ending to a fabulous week. Roll on 2012, we have booked our flat already!
For a group of sketch comedy fans what better ending could you have than The Great Big Sketch-Off. Basically, it does what it says on the tin. The best sketch groups split into 9 teams, with 3 teams performing over 3 heats with the winners qualifying for a final on the last Friday of the month. We came on the last heat where a fired up and relaxed audience welcomed host Lee Griffiths from Late Night Gimp fight to welcome the teams, featuring a Penny, an Idiot, a Wit-Tanker, a Sheep, Lady Gardener and another Gimp etc.
Some teams had obviously worked harder than others and it wasn't hard to eliminate the middle group featuring Elliott Idiot, whose set included an over-long sketch about " tiny, tiny weapons".
Initial favourites The Beard Group fell at the final hurdle as their mainly inprovised effort could not compete with the genius idea of Thom Tuck in a kimono playing a geisha hosting the Generation Game. The image of him browsing through a copy of the Fest, raising his eyebrows when reading " Mark Dolan - One Star" has stayed with me for a week and makes me smile when the real world drags me down. Sometimes sketches can be overly honed!
A perfect ending to a fabulous week. Roll on 2012, we have booked our flat already!
Barb Jungr - 19th August 2011
Each year the quality and quantity of shows at the Edinburgh fringe is astounding. The only area that seems to be diminshing is music. Just when I thought I wouldn't see anything other than drama and plays up pops Barb Jugr to save the day. ( Where was Patti Plinko this year?)
This is the silver anniversary of my first trip to this festival and the person I have seen the most is Miss Jungr, starting in 1989 with her performances with Julian Clary and guitarist Michael Parker, through to Christine Collister and Ian Shaw and her tentative solo steps to her current position as Britain's foremost female interpreter of song.
In recent years she has followed the trend of themed shows and after the success of 2009's show "Sings Songs Of War and Peace" tonight's is devoted to the works of Bob Dylan. These are great songs not always easy to follow and certainly not a barrel of laughs. The justification ( should there need to be one) is to promote her latest CD based upon the songs of the great singer/songwriter " Man In The Long Black Coat", though a lot of these featured come from her previous tribute album " Every Grain Of Sand".
No-one should be surprised by her ability to inhabit a song and turn a perennial favourite upside down and inside out with a great arrangement and perfect piano accompanyist from Simon Wallace. But it is the patter between songs that lifts her out of the category of a great singer into an all-round entertainer. She tells stories about the songs like a true connoiseur bringing them to life with her sheer enthusiasm, injecting them with great humour and such comic timing that many comedians would envy.
After a disappointing audience in 2009 it was gratifying to see the Queens Hall full of adoring fans. Even though she over-ran by nearly half an hour causing me to haul myself at great speed to my last show of the week I don't begrudge a second of it.
Musical and comedy perfection.
This is the silver anniversary of my first trip to this festival and the person I have seen the most is Miss Jungr, starting in 1989 with her performances with Julian Clary and guitarist Michael Parker, through to Christine Collister and Ian Shaw and her tentative solo steps to her current position as Britain's foremost female interpreter of song.
In recent years she has followed the trend of themed shows and after the success of 2009's show "Sings Songs Of War and Peace" tonight's is devoted to the works of Bob Dylan. These are great songs not always easy to follow and certainly not a barrel of laughs. The justification ( should there need to be one) is to promote her latest CD based upon the songs of the great singer/songwriter " Man In The Long Black Coat", though a lot of these featured come from her previous tribute album " Every Grain Of Sand".
No-one should be surprised by her ability to inhabit a song and turn a perennial favourite upside down and inside out with a great arrangement and perfect piano accompanyist from Simon Wallace. But it is the patter between songs that lifts her out of the category of a great singer into an all-round entertainer. She tells stories about the songs like a true connoiseur bringing them to life with her sheer enthusiasm, injecting them with great humour and such comic timing that many comedians would envy.
After a disappointing audience in 2009 it was gratifying to see the Queens Hall full of adoring fans. Even though she over-ran by nearly half an hour causing me to haul myself at great speed to my last show of the week I don't begrudge a second of it.
Musical and comedy perfection.
The Three Englishmen - 19th August 2011
Devotees of the reviewers of DARKCHAT ( and why wouldn't you be) will know we favour sketch comedy. The Penny Dreadfuls and Idiots of Ants generally battle it out at the top of the league with The Ginge, The Geordie and the Geek leading the chasing pack although Wit-Tank are making a bid to seize the trophy this year.
We do, however, always try to see newer acts with visits this week to Betrayal of Penguins and Late Night Gimp Fight & 88 MPH ( who shall remain nameless). Today it was the turn of The Three Gentlemen to show what they have got.
The bigger names generally inhabit the Pleasance Courtyard but I have a soft spot for The Caves. It's title gives you an idea of the sartorial elegance of the venue but it gives you the chance to see lesser known talent on the way up and more importantly it offers ( and provides) two for one pricing which helps a reviewers pockets at the end of a long week.
A big queue ensured we weren't going to get our usual from row seats but by splitting up we managed to get single seats near the stage, essential for Rick who lost his glasses the night before. I thought that for once I wouldn't be involved in a show until I realised I had a dreaded aisle seat & I was wearing a Monty Python T-shirt which had already been mentioned by one of the Englishmen on the way in. This is an increasing trend, performers greeting the audience before and after the show. It did provide the first laugh of the show that despite appearances " the venue was structurally sound". Not just a funny line but some re-assuring Health and Safety advice.
If you are not aware of The Three Englishmen there are actually four of them, all likeable. They started with a series of quick sketches which often are a bit of a mess but they all struck home, I especially loved the horse with a particular party trick. As the show progressed the sketches lengthened but they bucked the trend of re-occuring characters though I felt there was the opportunity for a further appearance of "Shirley Bassey".
It is odd that despite the effort performers put into honing their material often the biggest laugh occurs when someone goes wrong or corpses on stage. So, it proved here with a hysterical French spy scene especially when he actually eats his cigarette.
Oh, and my involvment? Naturally it occurred when a (huge) eagle escapes from its master to hover over me while an Englishmen constantly yelled at me to soil myself.
They are not the finished product yet, but worth following.
We do, however, always try to see newer acts with visits this week to Betrayal of Penguins and Late Night Gimp Fight & 88 MPH ( who shall remain nameless). Today it was the turn of The Three Gentlemen to show what they have got.
The bigger names generally inhabit the Pleasance Courtyard but I have a soft spot for The Caves. It's title gives you an idea of the sartorial elegance of the venue but it gives you the chance to see lesser known talent on the way up and more importantly it offers ( and provides) two for one pricing which helps a reviewers pockets at the end of a long week.
A big queue ensured we weren't going to get our usual from row seats but by splitting up we managed to get single seats near the stage, essential for Rick who lost his glasses the night before. I thought that for once I wouldn't be involved in a show until I realised I had a dreaded aisle seat & I was wearing a Monty Python T-shirt which had already been mentioned by one of the Englishmen on the way in. This is an increasing trend, performers greeting the audience before and after the show. It did provide the first laugh of the show that despite appearances " the venue was structurally sound". Not just a funny line but some re-assuring Health and Safety advice.
If you are not aware of The Three Englishmen there are actually four of them, all likeable. They started with a series of quick sketches which often are a bit of a mess but they all struck home, I especially loved the horse with a particular party trick. As the show progressed the sketches lengthened but they bucked the trend of re-occuring characters though I felt there was the opportunity for a further appearance of "Shirley Bassey".
It is odd that despite the effort performers put into honing their material often the biggest laugh occurs when someone goes wrong or corpses on stage. So, it proved here with a hysterical French spy scene especially when he actually eats his cigarette.
Oh, and my involvment? Naturally it occurred when a (huge) eagle escapes from its master to hover over me while an Englishmen constantly yelled at me to soil myself.
They are not the finished product yet, but worth following.
Thursday, 25 August 2011
Jamie Blake - 19th August 2011
Looking through the fringe brochure gets harder every year. So many (some might say too many) choices means that it is almost impossible to decide what to see.
Occasionally though even a general blurb in the listings creates a resonance and you have a gut feeling that this is a show worth investing your time and money in. This is how we ended up at Zoo Roxy on our last afternoon following a delightful and unexpected walk around Arthur's Seat in glorious sunshine beforehand.
After joining a surprisingly long queue we entered the venue to hear Rhys Lewis' s dulcit singing voice whilst accompanying himself on guitar. Immediately we meet Jamie Blake struggling to speak on the phone. My first thoughts were that like "Rose" (see yesterday's review) we were watching a man with a stroke but soon I realised it was just the emotions of a dumped lover begging for another chance.
In flashback, we then see our hero meeting the love of his life, Jade, and the events which lead us to the conclusion. Along the way we meet their friends who experience the highs and lows you would expect from free and single twenty-somethings just having fun. It sounds fairly generic theatrical fare but succeeds because the writing and acting is real and believable.
Like a good referee, the control of director Ashley Scott-Layton (also the writer) is not noticed, as although there are a lot of scenes, often quite complicated, they all allow the story to flow naturally.
The large cast are all exemplary but I must single out Rupert Lazarus in the title role. On stage for virtually the whole show you must believe and care about him to get involved in the story. It is a far from easy role as he has to start at a highly emotional state, regress to a level of innocence and naivety and work himself back up into this dramatic ending.
If this sounds heavy and dramatic you couldn't be more wrong. All along the way it is funny with bursts of musical energy, dancing and beat-boxing that are truly life-affirming. Credit must also go to Rhys Lewis who remained on-stage throughout the show, coming alive to deliver his own songs as well as creating a great party atmosphere with cheesy disco favourites.
For anyone suffering Fringe-lag this is the perfect pick-me-up. I can also recommend getting hold of Rhys Lewis's mini-CD as these songs grow on me with each listen.
A company to be enjoyed not just this festival, but hopefully for plenty more to come.
Highly recommended.
Occasionally though even a general blurb in the listings creates a resonance and you have a gut feeling that this is a show worth investing your time and money in. This is how we ended up at Zoo Roxy on our last afternoon following a delightful and unexpected walk around Arthur's Seat in glorious sunshine beforehand.
After joining a surprisingly long queue we entered the venue to hear Rhys Lewis' s dulcit singing voice whilst accompanying himself on guitar. Immediately we meet Jamie Blake struggling to speak on the phone. My first thoughts were that like "Rose" (see yesterday's review) we were watching a man with a stroke but soon I realised it was just the emotions of a dumped lover begging for another chance.
In flashback, we then see our hero meeting the love of his life, Jade, and the events which lead us to the conclusion. Along the way we meet their friends who experience the highs and lows you would expect from free and single twenty-somethings just having fun. It sounds fairly generic theatrical fare but succeeds because the writing and acting is real and believable.
Like a good referee, the control of director Ashley Scott-Layton (also the writer) is not noticed, as although there are a lot of scenes, often quite complicated, they all allow the story to flow naturally.
The large cast are all exemplary but I must single out Rupert Lazarus in the title role. On stage for virtually the whole show you must believe and care about him to get involved in the story. It is a far from easy role as he has to start at a highly emotional state, regress to a level of innocence and naivety and work himself back up into this dramatic ending.
If this sounds heavy and dramatic you couldn't be more wrong. All along the way it is funny with bursts of musical energy, dancing and beat-boxing that are truly life-affirming. Credit must also go to Rhys Lewis who remained on-stage throughout the show, coming alive to deliver his own songs as well as creating a great party atmosphere with cheesy disco favourites.
For anyone suffering Fringe-lag this is the perfect pick-me-up. I can also recommend getting hold of Rhys Lewis's mini-CD as these songs grow on me with each listen.
A company to be enjoyed not just this festival, but hopefully for plenty more to come.
Highly recommended.
Stripsearch - 18th August 2011
For my second one-man show of the day I headed to The Space at North Bridge to see
"Stripsearch" which was written last year by Peter Scott-Presland for the Homos Promos production company.
Daniel Onadeko plays an ex-squaddie who takes us through his life as a youth turning tricks for money, joining the army and then getting into stripping. Cleverly ( and intringingly for certain members of the audience) at each each climactic point ( pun intended) of the piece he would remove a further item of clothing.
I was expecting a play about a stripping ex-squaddie with nudity and gay overtones but this was a highly layered (pun unintended) piece of drama. It is a detailed and true examination of someone gradually dealing with emotions that they had buried within themselves. The writer, director and producer ( amazingly all one person) allowed the Daniel to understand his own nature after the audience had worked it out, which is a brave and difficult feat to achieve.
Having praised the writing I must strongly recommend Daniel Onadeko's performance. No-one man show is easy but he exposes more than just raw emotion.
In an hour of surprises ( all pleasant) one of the biggest was hearing a lot of references to Caroline Street and The Kings Cross. As someone from Cardiff these were places I wasn't expecting to be mentioned here, but, even without any Welsh connections this is still worth a visit.
"Stripsearch" which was written last year by Peter Scott-Presland for the Homos Promos production company.
Daniel Onadeko plays an ex-squaddie who takes us through his life as a youth turning tricks for money, joining the army and then getting into stripping. Cleverly ( and intringingly for certain members of the audience) at each each climactic point ( pun intended) of the piece he would remove a further item of clothing.
I was expecting a play about a stripping ex-squaddie with nudity and gay overtones but this was a highly layered (pun unintended) piece of drama. It is a detailed and true examination of someone gradually dealing with emotions that they had buried within themselves. The writer, director and producer ( amazingly all one person) allowed the Daniel to understand his own nature after the audience had worked it out, which is a brave and difficult feat to achieve.
Having praised the writing I must strongly recommend Daniel Onadeko's performance. No-one man show is easy but he exposes more than just raw emotion.
In an hour of surprises ( all pleasant) one of the biggest was hearing a lot of references to Caroline Street and The Kings Cross. As someone from Cardiff these were places I wasn't expecting to be mentioned here, but, even without any Welsh connections this is still worth a visit.
Rose - 18th August 2011
As "Bones" ( see previous review) started twenty minutes late at Zoo I rushed round to Pleasance Forth to see another one word title play. With barely enough time to get my breath bakc, let alone clear my head I wasn't really in the mood to see another harrowing drama.
But the minute "Rose" started I was hooked. It helped to have such an experienced and talented actor as Art Malik to watch ,though it was somewhat disconcerting to see him with a bushy-greying beard, lying in a hospital bed following a stroke.
This is the story of Arthur, an immigrant Muslim struggling to bring up his daughter (Rose) alone as his wife had died in childbirth. To make a better life for them both Arthur made himself more British then the British but drove his daughter away and into a more religious way of life. Scenes alternate between the present day and key moments in Rose's childhood.
His illness is an opportunity for them to repair their broken bridges and ironically, despite his inability to speak clearly, they communicate now better than ever.
This is a beautifully written piece, totally believable and involving with an emotional and surprising ending but it is the quality of the acting that makes it real. You would expect a strong performance from Art Malik but for me the star of the night was his real-life daughter, Keira, who displayed impressive stage-craft in her theatrical professional debut. It would be hard enough anyway but facing your famous father must be doubly daunting.
As well as thoroughly enjoying the play it was also nice to discover that I was amongst the youngest and more agile of the audience. A rarity nowadays.
Forget a cross-dressing Simon Callow go and see the Maliks.
But the minute "Rose" started I was hooked. It helped to have such an experienced and talented actor as Art Malik to watch ,though it was somewhat disconcerting to see him with a bushy-greying beard, lying in a hospital bed following a stroke.
This is the story of Arthur, an immigrant Muslim struggling to bring up his daughter (Rose) alone as his wife had died in childbirth. To make a better life for them both Arthur made himself more British then the British but drove his daughter away and into a more religious way of life. Scenes alternate between the present day and key moments in Rose's childhood.
His illness is an opportunity for them to repair their broken bridges and ironically, despite his inability to speak clearly, they communicate now better than ever.
This is a beautifully written piece, totally believable and involving with an emotional and surprising ending but it is the quality of the acting that makes it real. You would expect a strong performance from Art Malik but for me the star of the night was his real-life daughter, Keira, who displayed impressive stage-craft in her theatrical professional debut. It would be hard enough anyway but facing your famous father must be doubly daunting.
As well as thoroughly enjoying the play it was also nice to discover that I was amongst the youngest and more agile of the audience. A rarity nowadays.
Forget a cross-dressing Simon Callow go and see the Maliks.
Wednesday, 24 August 2011
Paul Ricketts - West End Story - 18th August 2011
Organising 70 shows for 9 different people is fraught with danger. I have yet to survive a week without making at least one mistake and today I ran out of luck. The problems always arise over shows that have a day off and we all duly arrived at Canon's Gait to see DARKCHAT favourite Richard Sandling, who wasn't appearing that day.
The joy of free shows is that if you see something rubbish all you have lost is an hour of your
life, so we entered the venue with the bonus of having absolutely no idea what to expect.
So, what did we get? Well, while the ladies hid at the back we perched on the side seats to see a likeable London stand-up comedian telling stories about meeting a Swedish girl. As neither of them had any money they had to invent stories to encourage other drinkers to pay for their alcohol for the evening.
One of the tales which was the basis of the show involved a legendary musician who shall remain nameless. We were led down such an extraordinary path that we spent a lot of time afterwards debating whether it could possibly be true. If it is, surely the show is slanderous, if it is false what was the point, especially as no-one else in the group had ever heard of this person (although naturally Anne & I had seen him).
It is such an enjoyable and surprising show that I recommend people to deliberately plan to see the show. Good fun.
The joy of free shows is that if you see something rubbish all you have lost is an hour of your
life, so we entered the venue with the bonus of having absolutely no idea what to expect.
So, what did we get? Well, while the ladies hid at the back we perched on the side seats to see a likeable London stand-up comedian telling stories about meeting a Swedish girl. As neither of them had any money they had to invent stories to encourage other drinkers to pay for their alcohol for the evening.
One of the tales which was the basis of the show involved a legendary musician who shall remain nameless. We were led down such an extraordinary path that we spent a lot of time afterwards debating whether it could possibly be true. If it is, surely the show is slanderous, if it is false what was the point, especially as no-one else in the group had ever heard of this person (although naturally Anne & I had seen him).
It is such an enjoyable and surprising show that I recommend people to deliberately plan to see the show. Good fun.
White Rabbit, Red Rabbit - 18th August 2011
This year I have taken the decision to try and see more drama than usual. This has proved a master-stroke as " A Clockwork Orange", " The Dark Philosophers" and " The Ten Plagues" were all stunning in their different ways.
So, despite, the inconvenience of rushing to the other end of town (St George's West) from our flat at an early (ish) start we were intrigued by what would follow. We were greeted by a member of the production team who handed over the envelope containing the script to today's actor, Pip Upton. Although he is known for his one-man shows on the fringe he looked naturally concerned about what he had let himself in for.
It was left to the playwright via the script to explain what we were about to witness. Nassim Soleimanpour wrote the play in Iran but as he refused to join up for National Service he was ineligible for a passport and couldn't travel. However, he was determined to be part of the performance and requested (and was granted) that a seat was left vacant for him.
Similarly, he arranged for the audience to number themselves and get involved. It was up to me
to announce the full date and frankly after six days here I was struggling to remember my name but somehow I got through.
I was more fortunate than others who came on stage to impersonate the rabbits of the title. The crux of the piece revolves around the possibility of the actor drinking a glass of poison, unlikely but as we were ushered out of the theatre by another member of the audience you could have heard a pin drop. Since there has been no mention of Mr Upton's demise in the Scotsman I assume he survived.
This is an outstandingly riveting and disconcerting play. It does make you realise how much we take our freedom for granted, yet conversely it shows how small the world is nowadays. We were all encouraged to contact Nassim by email or Facebook ( assuming he is still alive) to let him know how the show went.
This is the kind of show you can only really see at Edinburgh. GO!
So, despite, the inconvenience of rushing to the other end of town (St George's West) from our flat at an early (ish) start we were intrigued by what would follow. We were greeted by a member of the production team who handed over the envelope containing the script to today's actor, Pip Upton. Although he is known for his one-man shows on the fringe he looked naturally concerned about what he had let himself in for.
It was left to the playwright via the script to explain what we were about to witness. Nassim Soleimanpour wrote the play in Iran but as he refused to join up for National Service he was ineligible for a passport and couldn't travel. However, he was determined to be part of the performance and requested (and was granted) that a seat was left vacant for him.
Similarly, he arranged for the audience to number themselves and get involved. It was up to me
to announce the full date and frankly after six days here I was struggling to remember my name but somehow I got through.
I was more fortunate than others who came on stage to impersonate the rabbits of the title. The crux of the piece revolves around the possibility of the actor drinking a glass of poison, unlikely but as we were ushered out of the theatre by another member of the audience you could have heard a pin drop. Since there has been no mention of Mr Upton's demise in the Scotsman I assume he survived.
This is an outstandingly riveting and disconcerting play. It does make you realise how much we take our freedom for granted, yet conversely it shows how small the world is nowadays. We were all encouraged to contact Nassim by email or Facebook ( assuming he is still alive) to let him know how the show went.
This is the kind of show you can only really see at Edinburgh. GO!
Sodom - 17th August 2011
This year we welcomed a new DARKCHATTER, Chris to the Edinburgh festival. So, arriving in the Scottish capital on a Wednesday night at 10.00pm, what show best sums up what is on offer to a Fringe virgin? A comedian off the television or some late-night music, perhaps. No, I thought we would pick one of the weirder plays on offer, which explains why we headed to Zoo at 11.00pm. Here, Chris immediately heard two of the Fringes most common statements " oh, you want the venue, round the corner" and " it's running a little late".
Soon, we were seated (in the front row, naturally) for The Movement's production of "Sodom". This was never going to be a conventional show with the opening speeches drowned out by a trombone (which never re-appeared) and an Italian sounding musician, who when not performing, retreated into a small fridge. The play revolved around Toby Parker-Rees's (also taking the lead role) re-working (in rhyming couplets of course) of The Earl of Rochester's story about the King and Queen of Sodom.
Raunchy doesn't describe the language. Every speech seems to mention prick and the c word which gets boring once you get past the intial feeling of shock and amusement. You obviously couldn't produce the play any earlier but after a long day at the fringe (this was my 7th show of the day) my exhausted brain wasn't willing or capable of trying to untangle the sub-Shakespearean dialogue or the plot.
I was amused by the sight of two lads taken from the audience to stand (for quite a while) in a crude pose but generally I wanted the show to end so I could head to Pleaseance courtyard for a much needed drink.
Oddly, despite the subject matter ( sex) and language, only the musician exposed any skin and that was presumably because the fridge was so hot. Overall, although this show polarised opinion Chris was happy to lose his Edinburgh cherry here. Result!
Soon, we were seated (in the front row, naturally) for The Movement's production of "Sodom". This was never going to be a conventional show with the opening speeches drowned out by a trombone (which never re-appeared) and an Italian sounding musician, who when not performing, retreated into a small fridge. The play revolved around Toby Parker-Rees's (also taking the lead role) re-working (in rhyming couplets of course) of The Earl of Rochester's story about the King and Queen of Sodom.
Raunchy doesn't describe the language. Every speech seems to mention prick and the c word which gets boring once you get past the intial feeling of shock and amusement. You obviously couldn't produce the play any earlier but after a long day at the fringe (this was my 7th show of the day) my exhausted brain wasn't willing or capable of trying to untangle the sub-Shakespearean dialogue or the plot.
I was amused by the sight of two lads taken from the audience to stand (for quite a while) in a crude pose but generally I wanted the show to end so I could head to Pleaseance courtyard for a much needed drink.
Oddly, despite the subject matter ( sex) and language, only the musician exposed any skin and that was presumably because the fridge was so hot. Overall, although this show polarised opinion Chris was happy to lose his Edinburgh cherry here. Result!
Tuesday, 23 August 2011
Spike Theatre: The Games - Spike Theatre - Edinburgh fringe 2011
Spike Theatre: The Games - Spike Theatre - Edinburgh fringe 2011
Thanks for a great show.
To see your ( and other) reviews please log onto our link:
http://www.darkchat-edinburgh.tk/
Yours is on Monday.
Enjoy
David
Thanks for a great show.
To see your ( and other) reviews please log onto our link:
http://www.darkchat-edinburgh.tk/
Yours is on Monday.
Enjoy
David
Bosum Buddies - 14th August 2011
If you spend a week in Edinburgh there are bound to be some shows you regret seeing in hindsight. Sadly, " Bosum Buddies" was one of them. To be fair it was unlucky to follow shows of such quality as " A Clockwork Orange", " The Dark Philosophers" and " Ten Plagues" in a twenty-four hour period.
We were lured by the opportunity to see one of Jack Klaff's famous one-man shows after we had last seen him here in Robert Llewellyn's " Blue Helmet". But, in contrast to what had gone before this is a bit of a mess. The concept is sound, a variety of real people (some better known than others) talking about their involvement in key moments in history.
The trouble with one person impersonating a number of different characters, male and female, and numerous accents is that it is really hard for the audience to keep up. Jack Klaff is an experienced performer and although he has performed this piece over many years he oddly seemed a little unsure of his material today. Strangely, the only time he seemed in complete control was when he spoke to some late-comers and briefly brought them up to speed with what they had missed.
There is an interesting play here but at seventy-five minutes it is at least a quarter of an hour too long and I feel we caught Mr Klaff on a bad day.
A missed opportunity.
We were lured by the opportunity to see one of Jack Klaff's famous one-man shows after we had last seen him here in Robert Llewellyn's " Blue Helmet". But, in contrast to what had gone before this is a bit of a mess. The concept is sound, a variety of real people (some better known than others) talking about their involvement in key moments in history.
The trouble with one person impersonating a number of different characters, male and female, and numerous accents is that it is really hard for the audience to keep up. Jack Klaff is an experienced performer and although he has performed this piece over many years he oddly seemed a little unsure of his material today. Strangely, the only time he seemed in complete control was when he spoke to some late-comers and briefly brought them up to speed with what they had missed.
There is an interesting play here but at seventy-five minutes it is at least a quarter of an hour too long and I feel we caught Mr Klaff on a bad day.
A missed opportunity.
Ten Plagues - 14th August 2011
After the exhilaration of " The Dark Philosophers" and refreshed by some lovely haggis in the restaurant we were soon raring to return to Traverse One for " Ten Plagues".
You knew from the title that Mark Ravenhill's songspiel depicting one man's attempt to survive the plague in 1665 would not be a barrel of laughs. The choice of Marc Almond to bring these difficult songs to life was inspired as no-one can suffer musically like the former Soft-Cell lead singer.
Any fears I had that this idea couldn't sustain an hour's theatre were allayed as singer and writer beautifully conveyed the different emotions someone living through these extraordinary times would have experienced.
The occasional use of back projection helped to provide a kind of narrative but this is not just a historical drama. There is the underlying presence of the Aids epidemic made even more resonant by Marc Almond's own situation. We all knew he can sing but his voice now seems richer and fuller than ever. He has developed into an old-fashioned torch singer who is now one of the great interpreters of song.
Then just when you think your emotions have been wrung out there is an excellent and unexpected ending which will remain with you long after the show.
Another triumph for the Traverse.
You knew from the title that Mark Ravenhill's songspiel depicting one man's attempt to survive the plague in 1665 would not be a barrel of laughs. The choice of Marc Almond to bring these difficult songs to life was inspired as no-one can suffer musically like the former Soft-Cell lead singer.
Any fears I had that this idea couldn't sustain an hour's theatre were allayed as singer and writer beautifully conveyed the different emotions someone living through these extraordinary times would have experienced.
The occasional use of back projection helped to provide a kind of narrative but this is not just a historical drama. There is the underlying presence of the Aids epidemic made even more resonant by Marc Almond's own situation. We all knew he can sing but his voice now seems richer and fuller than ever. He has developed into an old-fashioned torch singer who is now one of the great interpreters of song.
Then just when you think your emotions have been wrung out there is an excellent and unexpected ending which will remain with you long after the show.
Another triumph for the Traverse.
Sunday, 21 August 2011
Bones - Thursday 18th August
At the Edinburgh festival you can easily forget there is a world outside of the Scottish capital. As we are all aware England in July was not a green and pleasant land, although this event has mainly been ignored by the comedians here.
The fires may be out, order has been re-established with the malcontents behind bars or back in their lives. But we are now in the period of recrimination and trying to understand what went wrong and how to avoid such scenes do not recur in this generation.
A lot of people who come up here want to forget what happened but for those who don't want to avoid difficult subjects " Bones" is a must. Based in Nottingham in 1998, Jane Upton's play revolves around Mark a 19 year old lost soul living in some god-forsaken flat with his mother. No money, no job, no future.
Just in case you didn't know what kind of play you are about to witness the opening line " I never knew how hard it was to kill a baby" sets the scene and certainly kept the audience on their toes.
This forty-five minute monologue isn't an easy watch. It is a fairly relentless state of the nation piece about how life and the system can trap an ordinary nice lad. Impressively the play doesn't moralise, preach, take sides or attempt to offer a solution. But it does attempt to un-demonise the so-called under-class and try to show readers of right-wing newspapers that not all young people are born purely to loot, rape, procreate and kill.
The play, however, only comes alive through the stunning performance of Joe Doherty. He is totally natural and believable and avoids the trap of stereo-typing Mark, allowing you to fully engage with the piece and the playwright. It was also endearing that after another rapturous response from the audience he looked sheepish and embarrassed about the deserved reaction.
Harrowing but recommended.
The fires may be out, order has been re-established with the malcontents behind bars or back in their lives. But we are now in the period of recrimination and trying to understand what went wrong and how to avoid such scenes do not recur in this generation.
A lot of people who come up here want to forget what happened but for those who don't want to avoid difficult subjects " Bones" is a must. Based in Nottingham in 1998, Jane Upton's play revolves around Mark a 19 year old lost soul living in some god-forsaken flat with his mother. No money, no job, no future.
Just in case you didn't know what kind of play you are about to witness the opening line " I never knew how hard it was to kill a baby" sets the scene and certainly kept the audience on their toes.
This forty-five minute monologue isn't an easy watch. It is a fairly relentless state of the nation piece about how life and the system can trap an ordinary nice lad. Impressively the play doesn't moralise, preach, take sides or attempt to offer a solution. But it does attempt to un-demonise the so-called under-class and try to show readers of right-wing newspapers that not all young people are born purely to loot, rape, procreate and kill.
The play, however, only comes alive through the stunning performance of Joe Doherty. He is totally natural and believable and avoids the trap of stereo-typing Mark, allowing you to fully engage with the piece and the playwright. It was also endearing that after another rapturous response from the audience he looked sheepish and embarrassed about the deserved reaction.
Harrowing but recommended.
Late Night Gimp Fight - 18th August 2011
There is an awful lot of comedy ( and a lot of awful comedy) at the Edinburgh fringe festival and generally its style dominates the time of day it appears. Free, gentle and sketch shows normally appear from lunch-time to early evening when the stage (literally) is left to stand-up and more aggressive and risque acts. This usually means that fans of sketch comedy are struggling to see anything after 8.00 pm.
This gap in the market was exploited last year by the arrival of " Late Night Gimp Fight". The title explains why they do not appear at the Pleasance Courtyard before 10.30 pm.
The opening theme song in obligatory Gimp masks sets the scene and we are off into a sequence
of short sketches. Gradually though the early euphoria of the audience dwindles away to polite applause as we see a succession of dismal sketches. One about gladiators is poor but better than one regarding a confused terminal diagnosis that I last laughed at in the 1980's and I won't mention the sequence about milking animals.
Even the clever use of clips showing famous videos with " Late Night Gimp Fight" imposed over classic lyrics began to wear thin. But just when I was mentally preparing to adapt Mitchell & Webb's classic sketch about writing sketches into " Hit, Miss, Miss, Miss, Miss etc" they re-found their form.
An impressive fight scene & enactment of Saving Private Ryan's famous " Sssh" death scene stopped this slide and started the trend of good returning sketches. The video pen pictures of the performers improved the links and suddenly they produced increasingly rare comedy moments, hysterical songs, including a musically brilliant rap and a stunning version of " Riot Cell Tango" from Chicago about how they lost their virginity.
`
The best sketches were cleverer with more impressive word-play than I expected, proving you shouldn't tell a sketch group by its title. The highs they hit made the inclusion of some obviously weak material mystifying and rather annoying. This is a potential 5 star show which disappointingly shot itself in the foot.
This gap in the market was exploited last year by the arrival of " Late Night Gimp Fight". The title explains why they do not appear at the Pleasance Courtyard before 10.30 pm.
The opening theme song in obligatory Gimp masks sets the scene and we are off into a sequence
of short sketches. Gradually though the early euphoria of the audience dwindles away to polite applause as we see a succession of dismal sketches. One about gladiators is poor but better than one regarding a confused terminal diagnosis that I last laughed at in the 1980's and I won't mention the sequence about milking animals.
Even the clever use of clips showing famous videos with " Late Night Gimp Fight" imposed over classic lyrics began to wear thin. But just when I was mentally preparing to adapt Mitchell & Webb's classic sketch about writing sketches into " Hit, Miss, Miss, Miss, Miss etc" they re-found their form.
An impressive fight scene & enactment of Saving Private Ryan's famous " Sssh" death scene stopped this slide and started the trend of good returning sketches. The video pen pictures of the performers improved the links and suddenly they produced increasingly rare comedy moments, hysterical songs, including a musically brilliant rap and a stunning version of " Riot Cell Tango" from Chicago about how they lost their virginity.
`
The best sketches were cleverer with more impressive word-play than I expected, proving you shouldn't tell a sketch group by its title. The highs they hit made the inclusion of some obviously weak material mystifying and rather annoying. This is a potential 5 star show which disappointingly shot itself in the foot.
Colin Hoult - 18th August 2011
Colin Hoult first came to Edinburgh prominence in 2009 with his acclaimed " Carnival of Monsters". Last year he consolidated his position as the quirk-meister of character comedy with "Enemy Of The World" and an impressive tour-de-force song and dance performance in " Gutted".
This year he returns to the Pleasance Courtyard with " Inferno". Even as you take your seat ( front-rowers be prepared to be involved) you are greeted by some Brazilian chill-out mood music. Then you are aware of Mr Hoult wearing a natty blue cap, dancing and extolling the virtues of producer of this pleasant noise " Sant Germain" ( ?) while involving plenty of the audience.
Soon, this amusing interlude takes a darker form when this character reveals that his obsession with this perfomer led his wife to leave him and the general disintegration of his life.
This is the theme of the show, seemingly ordinary people turned into grotesques, including a Welsh poet angry that his bear poem has not received widespread acclaim, a Thor-like figure revealed as living in Leeds and an elderly woman in a home constantly asking for Billy. Much to the audience's amusement ( if not exactly mine) I had to come onstage and make this lady a cup of tea with butter and hundreds and thousands.
Determined to get as many people involved as possible the show climaxes with the first couple of rows creating a circle round the whole audience in a dramatic plea to the gods.
As you may have gathered this is a strange show. Not as funny as I expected but gradually I realised that isn't the intention. Pathos is the name of today's game. You may not particularly want to live next to these people but you care about their wellbeing.
Overall an impressive and unexpected hour.
This year he returns to the Pleasance Courtyard with " Inferno". Even as you take your seat ( front-rowers be prepared to be involved) you are greeted by some Brazilian chill-out mood music. Then you are aware of Mr Hoult wearing a natty blue cap, dancing and extolling the virtues of producer of this pleasant noise " Sant Germain" ( ?) while involving plenty of the audience.
Soon, this amusing interlude takes a darker form when this character reveals that his obsession with this perfomer led his wife to leave him and the general disintegration of his life.
This is the theme of the show, seemingly ordinary people turned into grotesques, including a Welsh poet angry that his bear poem has not received widespread acclaim, a Thor-like figure revealed as living in Leeds and an elderly woman in a home constantly asking for Billy. Much to the audience's amusement ( if not exactly mine) I had to come onstage and make this lady a cup of tea with butter and hundreds and thousands.
Determined to get as many people involved as possible the show climaxes with the first couple of rows creating a circle round the whole audience in a dramatic plea to the gods.
As you may have gathered this is a strange show. Not as funny as I expected but gradually I realised that isn't the intention. Pathos is the name of today's game. You may not particularly want to live next to these people but you care about their wellbeing.
Overall an impressive and unexpected hour.
Jessica Fostekew - August 17th 2011
The Edinburgh Fringe festival is a magificent, huge, sprawling beast. But with over 2,400 shows ( mostly comedy nowadays) how do you choose? Reviews, you-tube clips, awards, venues, cost etc? Well, this reviewer decided to go down the lesser used route of accompanying a friend to see the daughter of someone she works with. It may not work for everyone but it worked for me.
Venues this year finally seem to have discovered that not suffocating your audience in sweltering conditions helps to keep the laughs coming. But the unexpected appearance of a fan on my seat was a welcome bonus.
Jessica Fostekew then bounded on stage to explain why she had named her show "Luxury Tramp". We are in familiar self-annecdotal territory though she quickly pointed out this was not a show about lady parts and food, nicely referencing but not naming this year's Queen of Edinburgh.
Instead we heard how her attempts to try & please all the people all the time led her into therapy " not just for mental people". We got to meet more of her family, literally as her Nana was in the audience, ensuring any potentially raunchy material was whispered or mouthed. We learned about her street-savvy young nephew who would only get involved in the show for £2000 and her mother who on discovering an unexpected teen-age smoochy party had occurred in her house threw out the testosterone fuelled youths while offering them lifts home.
This amusing show also contained my favourite line of the week ( impressive as I watched 41 shows) regarding a kebab. To hear it complete you need to rush to buy a ticket.
It was good to see Jesscia Fostekew effortlessly fill an hour's material alone after seeing her with Dan Thompson in " Pecker and Foosh save the world " as part of the Free Fringe in 2009.
Good fun and this hot reviewer got a free fan!
Venues this year finally seem to have discovered that not suffocating your audience in sweltering conditions helps to keep the laughs coming. But the unexpected appearance of a fan on my seat was a welcome bonus.
Jessica Fostekew then bounded on stage to explain why she had named her show "Luxury Tramp". We are in familiar self-annecdotal territory though she quickly pointed out this was not a show about lady parts and food, nicely referencing but not naming this year's Queen of Edinburgh.
Instead we heard how her attempts to try & please all the people all the time led her into therapy " not just for mental people". We got to meet more of her family, literally as her Nana was in the audience, ensuring any potentially raunchy material was whispered or mouthed. We learned about her street-savvy young nephew who would only get involved in the show for £2000 and her mother who on discovering an unexpected teen-age smoochy party had occurred in her house threw out the testosterone fuelled youths while offering them lifts home.
This amusing show also contained my favourite line of the week ( impressive as I watched 41 shows) regarding a kebab. To hear it complete you need to rush to buy a ticket.
It was good to see Jesscia Fostekew effortlessly fill an hour's material alone after seeing her with Dan Thompson in " Pecker and Foosh save the world " as part of the Free Fringe in 2009.
Good fun and this hot reviewer got a free fan!
Sunday, 7 August 2011
4 Dogs & A Bone
"Nobody knows anything" William Goldman once famously wrote about Hollywood. Not only is this double Oscar-winning screenwriter name-checked throughout John Patrick Shanley's play but it remains the premise for this seventy-five minute play.
The piece opens in the office of producer Bradley discussing the progress of his latest film with
wannabe starlet Brenda. Naturally the film is in trouble, he wants cuts to save money and she is cunningly trying to get herself a bigger part. Cut to a seedy bar where we meet the previously unseen but mentioned writer and lead actress. More drama unfurls as he gets drunk to recover from the sudden death of his mother and being yet another insecure actress she wants him to re-write the script to increase her part further.
Basically this is familiar Hollywod territory. No-one can be trusted, everyone is obsessed by money, being over-shadowed by fellow actors, having their script decimated whilst lying, cheating and doing whatever is necessary to get themselves on top.
We are not a million miles away from David Mamet's " Speed The Plow" here and again we have the problem that when surrounded by all these grotesques it is hard to care about any of them and their predicament. The only saving grace was the writer but by the end his innocence and naivety has (for no real reason that I could follow) joined the others in their relentless quest for power and control.
Despite these reservations there is still much to enjoy here. The dialogue is crisp and increasingly funy. The battle of the two desperate women is hysteriacally bitter, especially when Collette deliberately misinterprets Brenda's chanting mantra and when the producer suffers worsening pain from the boil on his bum.
But the main reason for coming is the quality of the acting. Despite a hesitant start Daniel O'Meara played Bradley convincingly as a particularly manic Al Pacino ( which as any film goer knows is very manic indeed).
Amy Tez and Laura Pradelski both beautifully capture the differing insecurities that their particular actresses possess. But amongst these horrible characters the role of the writer Victor is vital. Joe Jameson is completely convincing as the innocent lamb trying to avoid being eaten by the pack of scavenging wolves surrounding him. He is the sole character you identify with although he is ultimately and ironically let down by the playwright.
The biggest credit I can give them all is that their accents were so convincing I was surprised to discover in the programme that none of them were actually American! I must also congratulate the Phoenix Artists club on creating such an accessible space. I used to frequent "Fino's" and " Shuttleworths" in the late 1980's & was pleased to have a reason to return after all these years. It is good to have "fringe" venues right in London's glittering West End.
This may not be a great American comedy but it is still worth watching in great surroundings.
The piece opens in the office of producer Bradley discussing the progress of his latest film with
wannabe starlet Brenda. Naturally the film is in trouble, he wants cuts to save money and she is cunningly trying to get herself a bigger part. Cut to a seedy bar where we meet the previously unseen but mentioned writer and lead actress. More drama unfurls as he gets drunk to recover from the sudden death of his mother and being yet another insecure actress she wants him to re-write the script to increase her part further.
Basically this is familiar Hollywod territory. No-one can be trusted, everyone is obsessed by money, being over-shadowed by fellow actors, having their script decimated whilst lying, cheating and doing whatever is necessary to get themselves on top.
We are not a million miles away from David Mamet's " Speed The Plow" here and again we have the problem that when surrounded by all these grotesques it is hard to care about any of them and their predicament. The only saving grace was the writer but by the end his innocence and naivety has (for no real reason that I could follow) joined the others in their relentless quest for power and control.
Despite these reservations there is still much to enjoy here. The dialogue is crisp and increasingly funy. The battle of the two desperate women is hysteriacally bitter, especially when Collette deliberately misinterprets Brenda's chanting mantra and when the producer suffers worsening pain from the boil on his bum.
But the main reason for coming is the quality of the acting. Despite a hesitant start Daniel O'Meara played Bradley convincingly as a particularly manic Al Pacino ( which as any film goer knows is very manic indeed).
Amy Tez and Laura Pradelski both beautifully capture the differing insecurities that their particular actresses possess. But amongst these horrible characters the role of the writer Victor is vital. Joe Jameson is completely convincing as the innocent lamb trying to avoid being eaten by the pack of scavenging wolves surrounding him. He is the sole character you identify with although he is ultimately and ironically let down by the playwright.
The biggest credit I can give them all is that their accents were so convincing I was surprised to discover in the programme that none of them were actually American! I must also congratulate the Phoenix Artists club on creating such an accessible space. I used to frequent "Fino's" and " Shuttleworths" in the late 1980's & was pleased to have a reason to return after all these years. It is good to have "fringe" venues right in London's glittering West End.
This may not be a great American comedy but it is still worth watching in great surroundings.
The Hired Man - 5th August 2011
I must start by saying " The Hired Man" is one of my favourite musicals. I can remember shivering in the long closed Astoria Theatre watching Howard Goodall play piano on the day it closed in 1985. A few years later I was at the Palace Theatre when the cast re-united for a charity performance.
I was therefore pleased to see it was to be revived at the Landor Theatre, Clapham. However, this excitement was tempered with apprehension that a poor production would destroy fond memories or perhaps I'd discover it didn't fulfil the expectations of a 21st century audience.
Fortunately, from the opening bars from the four piece orchestra and the evocative first scene unleashing wonderful voices I could relax, we were in safe hands.
The show tells the story of John and Emily Tallentire with all of life's ups and downs. But 'The Hired Man' is much more than that. It opens up the virtually unknown world of farm labourers at the turn of the century touting themselves for hire.
The premise may be historical but the problems are timeless. A man immerses himself in his work so his wife is tempted by the affections of another. A job market where the number of applicants far outweigh the vacancies allowing the bosses to exploit their workers, though unions promise much but deliver little. Families are destroyed as men are sent away to fight a war no-one understands. Sounds familiar? 'The Hired Man' shows that little changes.
When it opened in 1984 it survived only a few months despite good reviews, though a show about mines and unions was unlikely to prosper during the miners' strike. Nearly thirty years later on its opening Friday night the Landor Theatre was sparsely attended which is a shame as this show is as good as the previous productions I have seen. In many ways it is better, as this intimate space allows you to join the characters on their physical and emotional journeys.
The whole cast is outstanding but the three leads are exceptional. Joe Maxwell and Catherine Mort make their characters utterly believable and as well as possessing glorious voices you fully understand the reasons for their actions. Similarly, the charismatic Ian Daniels makes you care about Jackson Pennington who could easily become the villain of the piece.
Director Andrew Keates helps by adding little touches to keep the action real. Casting men who look as if they have worked on farms & in a pub wrestling scene the women instinctively grab the glasses to avoid breakages etc.
Melvyn Bragg's book was based on his grand-father experiences but everything is brought to life by Howard Goodall's music and lyrics. Written at the age of 26 his understanding of universal truths and human emotions is extraordinary.
My only regret is that this masterpiece is never likely to receive the commercial success it deserves. There is as much drama and a score to match 'Les Miserables' which has run ever since 1985. Oh well, you have until the end of the month to head to the Landor Theatre to prove you are a true theatrical officienado as well as having a great night.
Prove there is more to London than over-priced, over-amplified, soul-less jukebox-musicals. Go!
I was therefore pleased to see it was to be revived at the Landor Theatre, Clapham. However, this excitement was tempered with apprehension that a poor production would destroy fond memories or perhaps I'd discover it didn't fulfil the expectations of a 21st century audience.
Fortunately, from the opening bars from the four piece orchestra and the evocative first scene unleashing wonderful voices I could relax, we were in safe hands.
The show tells the story of John and Emily Tallentire with all of life's ups and downs. But 'The Hired Man' is much more than that. It opens up the virtually unknown world of farm labourers at the turn of the century touting themselves for hire.
The premise may be historical but the problems are timeless. A man immerses himself in his work so his wife is tempted by the affections of another. A job market where the number of applicants far outweigh the vacancies allowing the bosses to exploit their workers, though unions promise much but deliver little. Families are destroyed as men are sent away to fight a war no-one understands. Sounds familiar? 'The Hired Man' shows that little changes.
When it opened in 1984 it survived only a few months despite good reviews, though a show about mines and unions was unlikely to prosper during the miners' strike. Nearly thirty years later on its opening Friday night the Landor Theatre was sparsely attended which is a shame as this show is as good as the previous productions I have seen. In many ways it is better, as this intimate space allows you to join the characters on their physical and emotional journeys.
The whole cast is outstanding but the three leads are exceptional. Joe Maxwell and Catherine Mort make their characters utterly believable and as well as possessing glorious voices you fully understand the reasons for their actions. Similarly, the charismatic Ian Daniels makes you care about Jackson Pennington who could easily become the villain of the piece.
Director Andrew Keates helps by adding little touches to keep the action real. Casting men who look as if they have worked on farms & in a pub wrestling scene the women instinctively grab the glasses to avoid breakages etc.
Melvyn Bragg's book was based on his grand-father experiences but everything is brought to life by Howard Goodall's music and lyrics. Written at the age of 26 his understanding of universal truths and human emotions is extraordinary.
My only regret is that this masterpiece is never likely to receive the commercial success it deserves. There is as much drama and a score to match 'Les Miserables' which has run ever since 1985. Oh well, you have until the end of the month to head to the Landor Theatre to prove you are a true theatrical officienado as well as having a great night.
Prove there is more to London than over-priced, over-amplified, soul-less jukebox-musicals. Go!
Wednesday, 27 July 2011
Humanzee - 23rd July 2011
What is there to do in Cardiff in July? No football, no rugby, Glamorgan are not worth watching, the castle is full of tourists and the shops full of schoolchildren. Well, thank gooodness for the Cardiff Comedy festival.
After a quietish start it is attracting bigger names, Ardal O'Hanlon. Richard Herring, Craig Campbell and others trying out their pre-Edinburgh material. However, it also gives you the chance to support some potential stars of the future with lesser known, more local acts. Enter Inky Quill productions.
This Cardiff based group was formed in 2009 with the intention of bringing comedy to a non-theatre-going audience. The success of last year's "Death & the Monster" allowed writer Rick Allden to produce a sequel "Humanzee" featuring the two main protagonists.
Again, the audience was warmed up nicely by Dan Mitchell, showing why he is currently fighting his way through ITV's " Show Me The Funny". Even if some of his material was used last year, it was still funny.
Soon we were back in the safe hands of eminent surgeon Tobias Flavian ( who Dr Who-like has re-generated into the body of Jon Holcroft) and his trusted side-kick Colin. Flavian's fall from grace resulted in their removal to the other side of the pond allowing the writer to transfer jokes at the expense of the Scots to our American cousins.
Macho feminist,vegan and animal lover Betsy convinces Flavian to pursue the American equivalent of the Loch Ness monster, Bigfoot. Along the journey they encounter the might of the American army and Flavian's long-lost brother Jebediah, as well as Bigfoot himself, when Dan Mitchell re-appears showing what a method actor he is by growing a hairy back for the part.
If this sounds a lot of plot don't be alarmed. As you would expect from a Rick Allden play there are laughs, big and small throughout the ninety-minute piece.
Whilst Jon Holcroft and Alan Humphries deftly create the best fictional double-act since (whisper it) Sherlock Holmes & Dr Watson, Laura Jeffs showed her versatility once more. In the previous play she perfectly played a mute fat woman and last month she beautifully played Juliet at the Gate Theatre with Bareknuckle Theatre.
But it was whenever George Goding and Chris Earnshaw entered that you could feel the audience relax as they knew big laughs were on the way. The former played the archetypal gun-toting Uncle Sam until he opened his mouth and produced a voice that made Allen Carr seem butch. Definitely a 'kiss first, ask questions later" kind of guy.
Last year Chris Earnshaw grabbed your attention with a huge beard and a broad Scottish accent. This year it was his eyebrows and evil laugh which dominated proceedings.
Not a huge amount of big set-pieces but I particularly enjoyed the unexpected brief musical moment, Flavian's regression into his childhood with Colin in a dress (& relishing it) & Jebediah in a bee costume.
It definitely stands alongside last year's play and it deservedly puts Inky Quills into the Cardiff Comedy festival spotlight. Plenty more to come from this group, catch them in small theatres while you can.
After a quietish start it is attracting bigger names, Ardal O'Hanlon. Richard Herring, Craig Campbell and others trying out their pre-Edinburgh material. However, it also gives you the chance to support some potential stars of the future with lesser known, more local acts. Enter Inky Quill productions.
This Cardiff based group was formed in 2009 with the intention of bringing comedy to a non-theatre-going audience. The success of last year's "Death & the Monster" allowed writer Rick Allden to produce a sequel "Humanzee" featuring the two main protagonists.
Again, the audience was warmed up nicely by Dan Mitchell, showing why he is currently fighting his way through ITV's " Show Me The Funny". Even if some of his material was used last year, it was still funny.
Soon we were back in the safe hands of eminent surgeon Tobias Flavian ( who Dr Who-like has re-generated into the body of Jon Holcroft) and his trusted side-kick Colin. Flavian's fall from grace resulted in their removal to the other side of the pond allowing the writer to transfer jokes at the expense of the Scots to our American cousins.
Macho feminist,vegan and animal lover Betsy convinces Flavian to pursue the American equivalent of the Loch Ness monster, Bigfoot. Along the journey they encounter the might of the American army and Flavian's long-lost brother Jebediah, as well as Bigfoot himself, when Dan Mitchell re-appears showing what a method actor he is by growing a hairy back for the part.
If this sounds a lot of plot don't be alarmed. As you would expect from a Rick Allden play there are laughs, big and small throughout the ninety-minute piece.
Whilst Jon Holcroft and Alan Humphries deftly create the best fictional double-act since (whisper it) Sherlock Holmes & Dr Watson, Laura Jeffs showed her versatility once more. In the previous play she perfectly played a mute fat woman and last month she beautifully played Juliet at the Gate Theatre with Bareknuckle Theatre.
But it was whenever George Goding and Chris Earnshaw entered that you could feel the audience relax as they knew big laughs were on the way. The former played the archetypal gun-toting Uncle Sam until he opened his mouth and produced a voice that made Allen Carr seem butch. Definitely a 'kiss first, ask questions later" kind of guy.
Last year Chris Earnshaw grabbed your attention with a huge beard and a broad Scottish accent. This year it was his eyebrows and evil laugh which dominated proceedings.
Not a huge amount of big set-pieces but I particularly enjoyed the unexpected brief musical moment, Flavian's regression into his childhood with Colin in a dress (& relishing it) & Jebediah in a bee costume.
It definitely stands alongside last year's play and it deservedly puts Inky Quills into the Cardiff Comedy festival spotlight. Plenty more to come from this group, catch them in small theatres while you can.
Sunday, 3 July 2011
On-Stage 2nd July 2011
This evening of two new one-act plays was based upon the intriguing and adventurous premise of both unconnected pieces being fuelled by an off-stage character.
First up was " Hello Mrs Silverstone". This simple idea of a persistently wrong number started off interesting and amusing but easily could have been dull and repetive.
We meet the Parker family at a typically busy breakfast table with mother and father frantically preparing themselves and their teenage daughter to get ready for their day ahead. The regular calls from the forgettable, lonely, sad woman desperately hoping to contact her son are seen as nothing more than an unnecessary interruption.
As the story unfolds we learn more about the unseen woman but more importantly it helps us to understand more about the characters of the Parkers as they all deal with her in their different ways. The arrival of John's brother Will changes the atmosphere as we discover that an old, sick woman seeking her son Johnny has emotional resonnances with both brothers.
The writer can only do so much and you need the actors to bring the characters to life. Here she is well-served by all the performers, in particular Chris Williams and James Sidwell as the brothers with Carly Kavanagh providing comic relief as a typically difficult teenager dealing with dual troubles of a first boyfriend and and auditioning for " Cordelia".
However, the triumph of the play is due to the writer Natralie Stone. The concept of using two seperate stories, the Parkers & the phone-call to create a 3rd story sound easy but is notoriously difficult to achieve. Truly, an exceptional piece.
A brief interlude to grab some much-needed fresh air as the theatre was heating up and we were back. The second piece " A Sunday Roast" was set at a dinner table where Welsh parents expectedly await the arrival of their son & his new girlfriend. As this unfolded I had a feeling of deja-vu until the penny dropped that I had seen this scene before as part of a Script Slam final Sherman a couple of years ago.
Again, we are in familiar territory of the routine of a weekly family get-together for food with all the tension, boredom and repetition that can entail. Fairly quickly though the cosiness of this gathering is shattered and we get to see what the outsider to the Perkins family, Adelaide, truly thinks and feels. This heralds the appearance of a 2nd Adelaide who reveals herself through a variety of monolgues to an unseen psychiatrist. Gradually we become aware that her one true love was the unseen Catrin from an idyllic holiday a million miles away from the stifling Welsh
life in which she was now trapped. However, with all the drama this story contains I found the additional story of the mother's descent into Dementia an unnecessary addition to the plot.
Again, the writer is aided by exemplary performances, in particular Maeve Scullion as the "real" Adelaide, Charlie Hammond her long-suffering husband and Christopher Cale who provided some much-needed humour. Special mention must also go to Emma McNab who as well as dealing with 2 large roles in both plays displayed a beautifully and unexpected sense of dance with impressive poise and balance at the end of what must have been a tiring evening.
This was my 1st visit to the YMCA theatre, a gem of a theatre, literally hidden away on the outskirts of Cardiff. Definitely worth a return visit. This was an evening where a lot of thought had been put into it by the organisers, especially the glorious touch of offering Ginger Snaps and Jelly, both of which became integral parts of the play.
We may have left hot & tired but with a lot to discuss as both plays were enjoyable and thought-provoking. Congratulations to all concerned. I eagerly await hearing more from " Empty Pocket" theatre.
First up was " Hello Mrs Silverstone". This simple idea of a persistently wrong number started off interesting and amusing but easily could have been dull and repetive.
We meet the Parker family at a typically busy breakfast table with mother and father frantically preparing themselves and their teenage daughter to get ready for their day ahead. The regular calls from the forgettable, lonely, sad woman desperately hoping to contact her son are seen as nothing more than an unnecessary interruption.
As the story unfolds we learn more about the unseen woman but more importantly it helps us to understand more about the characters of the Parkers as they all deal with her in their different ways. The arrival of John's brother Will changes the atmosphere as we discover that an old, sick woman seeking her son Johnny has emotional resonnances with both brothers.
The writer can only do so much and you need the actors to bring the characters to life. Here she is well-served by all the performers, in particular Chris Williams and James Sidwell as the brothers with Carly Kavanagh providing comic relief as a typically difficult teenager dealing with dual troubles of a first boyfriend and and auditioning for " Cordelia".
However, the triumph of the play is due to the writer Natralie Stone. The concept of using two seperate stories, the Parkers & the phone-call to create a 3rd story sound easy but is notoriously difficult to achieve. Truly, an exceptional piece.
A brief interlude to grab some much-needed fresh air as the theatre was heating up and we were back. The second piece " A Sunday Roast" was set at a dinner table where Welsh parents expectedly await the arrival of their son & his new girlfriend. As this unfolded I had a feeling of deja-vu until the penny dropped that I had seen this scene before as part of a Script Slam final Sherman a couple of years ago.
Again, we are in familiar territory of the routine of a weekly family get-together for food with all the tension, boredom and repetition that can entail. Fairly quickly though the cosiness of this gathering is shattered and we get to see what the outsider to the Perkins family, Adelaide, truly thinks and feels. This heralds the appearance of a 2nd Adelaide who reveals herself through a variety of monolgues to an unseen psychiatrist. Gradually we become aware that her one true love was the unseen Catrin from an idyllic holiday a million miles away from the stifling Welsh
life in which she was now trapped. However, with all the drama this story contains I found the additional story of the mother's descent into Dementia an unnecessary addition to the plot.
Again, the writer is aided by exemplary performances, in particular Maeve Scullion as the "real" Adelaide, Charlie Hammond her long-suffering husband and Christopher Cale who provided some much-needed humour. Special mention must also go to Emma McNab who as well as dealing with 2 large roles in both plays displayed a beautifully and unexpected sense of dance with impressive poise and balance at the end of what must have been a tiring evening.
This was my 1st visit to the YMCA theatre, a gem of a theatre, literally hidden away on the outskirts of Cardiff. Definitely worth a return visit. This was an evening where a lot of thought had been put into it by the organisers, especially the glorious touch of offering Ginger Snaps and Jelly, both of which became integral parts of the play.
We may have left hot & tired but with a lot to discuss as both plays were enjoyable and thought-provoking. Congratulations to all concerned. I eagerly await hearing more from " Empty Pocket" theatre.
Saturday, 2 July 2011
Romeo & Juliet - 1st July 2011
Having enjoyed Bareknuckle Theatre's previous productions " A Midsummer Night's Dream" and ( to a lesser extent) " Twelfth Night" I was anticipating their version of "Romeo & Juliet". I was concerned, however, that the problem of the Gate Theatre's stage and accoustics might spoil this most intimate of tragedies. I am pleased and relieved this was not the case.
Director Simon Riordan wisely employed vocal coach Clare Hovey to ensure that most of Shakespeare's beautifully poetic language was intelligible. (Sadly, though the noisy Air Conditioning units made certain passages indecipherable).
The director is passionate about trying to connect to a modern audience more used to watching "X Factor" type shows, producing no frill theatre eg no props, quick scene changes with a lot of dialogue delivered on the way to or from the stage. Similarly, unnecessary scenes and speeches are cut to ensure the action is continuous and more relevant to an audience with an apparently
short attention span.
The purist may object to certain choices, having an interval before Romeo kills Tybalt, an Irish dancing sequence and Juliet awaking for one last kiss with Romeo before he dies. But, that is the point of the company. If you want a more traditional version go to the Royal Shakespeare Company, but with Bareknuckle you never know what is coming next, good, bad or indifferent it is not dull.
Firstly and foremostly it is a tragedy which only works if you care about the characters. Fortunately, the two leads were well cast and believable together. What Tom Barker (Romeo) lacked in the more poetic, romantic first half he more than made up for with vigour and passion in the second half. You truly believed Juliet was the love of his more experienced life.
In contrast the innocent ( not quite) 14 year old Juliet is a notoriously hard role for any actress. For me Laura Jeffs was the triumph of the night beautifully capturing the joy of a girl's first love, rebelling against parental control and completely convincing as a deflowered virgin after her wedding night.
Special mentions must also go to Alan Humphreys as Mercutio ( proving again he is the clearest speaker, best-equipped to deal with the sound problems of the Gate), Laurence Patrick as the bullying Capulet and Matt Humphries under-stated as the under-written and unfortunate Paris.
It is good to see this company back on track and looking forward to tackling the little performed
blood-bath that is " Titus Andronicus" next Spring. I shall be there.
Director Simon Riordan wisely employed vocal coach Clare Hovey to ensure that most of Shakespeare's beautifully poetic language was intelligible. (Sadly, though the noisy Air Conditioning units made certain passages indecipherable).
The director is passionate about trying to connect to a modern audience more used to watching "X Factor" type shows, producing no frill theatre eg no props, quick scene changes with a lot of dialogue delivered on the way to or from the stage. Similarly, unnecessary scenes and speeches are cut to ensure the action is continuous and more relevant to an audience with an apparently
short attention span.
The purist may object to certain choices, having an interval before Romeo kills Tybalt, an Irish dancing sequence and Juliet awaking for one last kiss with Romeo before he dies. But, that is the point of the company. If you want a more traditional version go to the Royal Shakespeare Company, but with Bareknuckle you never know what is coming next, good, bad or indifferent it is not dull.
Firstly and foremostly it is a tragedy which only works if you care about the characters. Fortunately, the two leads were well cast and believable together. What Tom Barker (Romeo) lacked in the more poetic, romantic first half he more than made up for with vigour and passion in the second half. You truly believed Juliet was the love of his more experienced life.
In contrast the innocent ( not quite) 14 year old Juliet is a notoriously hard role for any actress. For me Laura Jeffs was the triumph of the night beautifully capturing the joy of a girl's first love, rebelling against parental control and completely convincing as a deflowered virgin after her wedding night.
Special mentions must also go to Alan Humphreys as Mercutio ( proving again he is the clearest speaker, best-equipped to deal with the sound problems of the Gate), Laurence Patrick as the bullying Capulet and Matt Humphries under-stated as the under-written and unfortunate Paris.
It is good to see this company back on track and looking forward to tackling the little performed
blood-bath that is " Titus Andronicus" next Spring. I shall be there.
Wednesday, 22 June 2011
The Man of Mode - June 21st 2011
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.
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.
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.
Thursday, 3 March 2011
Queen: Stormtroops In Stillettos - 26th February 2011
How old do you have to live before your life becomes historical? This was a question that kept recurring to me as I wandered around this impressive free exhibition celebrating the 40th anniversary of Queen.
Uncovering some fascinating memorablia from Brian May and Roger Taylor's involvement with Smile, an incredible poster when Freddie Mercury invited people to the market stall etc all takes you back to when it all started.
I was at school in Kingston in 1970 so a poster showing Queen supporting Yes at Kingston Poly in 1971 ( with tickets on sale in pre-decimal money) brought memories of my youth flooding back.
Naturally at the age of 12 my tender ears had yet to be attuned to the joys of Prog Rock so I did not get to see Queen live for another 9 years.
Fans of the band will be aware of their history so there are no great surprises but it is still fascinating to see all the old singles, costumes. early photographs, fan magazines etc.
Considering that they seem more popular now then ever it is not surprising it was very well attended ( especially with foreign visitors). Huge credit must therefore go to the organisers for resisting the temptation to make a charge and try and make a profit.
I have just one small criticism. For an exhibition based upon the albums of Queen it was disappointing that the background musis was not the albums in their entirety but the obvious Greatest Hits Cds. However, if you have any interest in seeing how a band prepare for a long career rather than the current trend of immediate pop stardom this is worthy of a trip to Liverpool Street. Recommended.
Uncovering some fascinating memorablia from Brian May and Roger Taylor's involvement with Smile, an incredible poster when Freddie Mercury invited people to the market stall etc all takes you back to when it all started.
I was at school in Kingston in 1970 so a poster showing Queen supporting Yes at Kingston Poly in 1971 ( with tickets on sale in pre-decimal money) brought memories of my youth flooding back.
Naturally at the age of 12 my tender ears had yet to be attuned to the joys of Prog Rock so I did not get to see Queen live for another 9 years.
Fans of the band will be aware of their history so there are no great surprises but it is still fascinating to see all the old singles, costumes. early photographs, fan magazines etc.
Considering that they seem more popular now then ever it is not surprising it was very well attended ( especially with foreign visitors). Huge credit must therefore go to the organisers for resisting the temptation to make a charge and try and make a profit.
I have just one small criticism. For an exhibition based upon the albums of Queen it was disappointing that the background musis was not the albums in their entirety but the obvious Greatest Hits Cds. However, if you have any interest in seeing how a band prepare for a long career rather than the current trend of immediate pop stardom this is worthy of a trip to Liverpool Street. Recommended.
Tuesday, 1 March 2011
The Chidren's Hour - 26th February 2011
One of the disadvantages of growing old is that most revived plays have been produced within my theatre-going life-time. I do not remember the original 1934 version but I can vividly recall the stunning Howard Davies production at the National Theatre in 1995. Despite then featuring 3 female luminaries in Harriet Walter, Clare Higgins and Emily Watson the current incarnation at the Comedy Theatre is even more star-studded.
While most people flocked to see Keira Knightley I was keener to see the Hollywood legend Ellen Burstyn as the matriarchal Amelia Tilford. This classic Lillian Hellman play involves 2 young female teachers struggling to make their dream of running their own school a reality.
Unfortunately, a malicious rumour from a spiteful spoilt child brings their world crashing around them as her grand-mother takes the side of her offspring and allows the lie to be circulated. In small-minded America society in the 1930's a lesbian affair was not to be tolerated in polite society.
The only problem I had with this play was the staging of the denouement. When the " reveal" comes it should be a thunderbolt ( as in the version I had seen before) but here director Ian Rickson and Elizabeth Moss sign-posted it right from the start. This is Miss Knightley's big moment but she was angled away from the audience so we couldn't see the full impact of this news on her face.
Despite these reservations this is still an excellent evening's entertainment and certainly better than some reviews would have you believe. The acting is of a very high standard with film and television performers showing impressive diction and clarity with the English members of the cast providing impeccable American accents. Apart from the opening children's scene you could hear every word.
For me star of the evening was Keira Knightley as Karen Wright, who I found totally convincing ( and mesmerising), bringing a depth of emotion I had found lacking in her screen performances.
Elizabeth Moss was in rampant form in the seciond act with fine support from Miss Burstyn, the sublime Carol Kane and Tobias Menzies.
The most tender and heart-breaking scene was when Karen's fiancee tried desperately to move this strange threesome to a new town but despite his best efforts couldn't prevent destroying the relationship by asking the unaskable question.
The best role of the piece is undoubtedly the instigator of the lie, Mary Tilford. Bryony Hannah relishes every moment of this manipulative character but I think it is to the credit of the other actors that she didn't steal the stage which would have unbalanced the play.
Highly recommended.
While most people flocked to see Keira Knightley I was keener to see the Hollywood legend Ellen Burstyn as the matriarchal Amelia Tilford. This classic Lillian Hellman play involves 2 young female teachers struggling to make their dream of running their own school a reality.
Unfortunately, a malicious rumour from a spiteful spoilt child brings their world crashing around them as her grand-mother takes the side of her offspring and allows the lie to be circulated. In small-minded America society in the 1930's a lesbian affair was not to be tolerated in polite society.
The only problem I had with this play was the staging of the denouement. When the " reveal" comes it should be a thunderbolt ( as in the version I had seen before) but here director Ian Rickson and Elizabeth Moss sign-posted it right from the start. This is Miss Knightley's big moment but she was angled away from the audience so we couldn't see the full impact of this news on her face.
Despite these reservations this is still an excellent evening's entertainment and certainly better than some reviews would have you believe. The acting is of a very high standard with film and television performers showing impressive diction and clarity with the English members of the cast providing impeccable American accents. Apart from the opening children's scene you could hear every word.
For me star of the evening was Keira Knightley as Karen Wright, who I found totally convincing ( and mesmerising), bringing a depth of emotion I had found lacking in her screen performances.
Elizabeth Moss was in rampant form in the seciond act with fine support from Miss Burstyn, the sublime Carol Kane and Tobias Menzies.
The most tender and heart-breaking scene was when Karen's fiancee tried desperately to move this strange threesome to a new town but despite his best efforts couldn't prevent destroying the relationship by asking the unaskable question.
The best role of the piece is undoubtedly the instigator of the lie, Mary Tilford. Bryony Hannah relishes every moment of this manipulative character but I think it is to the credit of the other actors that she didn't steal the stage which would have unbalanced the play.
Highly recommended.
Monday, 28 February 2011
The Heretic - 15th February 2011
The Royal Court theatre has always been a bit of a mystery to me. I saw a couple of plays upstairs in the late 1970's & 1980's, " Red Saturday" and " Salonika" but had never previously seen anything in the main house. But, thanks to the wonders of the Internet I managed to get hold of virtually the last seat ( amazingly in the front row) for Richard Bean's new play.
It always astonishes me that most theatre-goers avoid the front row like the plague. To me they are the best seats ( & rarely the dearest) as you have an unemcumbered view of the stage allowing you the perfect opportuntity to see (hopefully) great acting at close range.
The author's previous play " English People Very Nice" caused controversy at the National Theatre recently by tackling the thorny topic of racism. Tonight we saw him address another tricky modern topic, Climate change.
Juliet Stevenson plays Dr Diane Cassell a lecturer at York University, specialising in rising sea levels. Despite her line manager Professor Kevin Maloney running the Faculty of Earth sciences based on the principles of Climate change she is becoming increasingly sceptical and putting further valuable funding at risk.
This basic premise sounds very dry but the triumph of this writing is that I have rarely heard such genuine and regular belly laughs from any audience. It helps that they are joined by four beautifully crafted different characters, two youngsters both ( almost literally) driven to death by the concept of their planet collapsing around them, a zealous Security operative and a typically officious Human resources representative. They border on being stereo-types but Richard Bean manages to keep them real.
As the set changes in the second act from the confining domain of Diane's office to her home kitchen so the emphasis of the play alters. Following the consequences of her actions we are now in a domestic environment and watching a mother struggling to cope with her daughter growing up and moving out and her ex-lover trying to re-create a lost passion. They are all united by the climate change cause but it is now coming second behind the home drama unfolding about it.
The problem for any playwright is knowing how to end. For me the only draw-back to the whole evening was the rather old-fashioned, if crowd-pleasing ending. Following all the disturbing scenes that had proceeded it I found the finale belonged to a different era.
This was a pity as this had been a terrific state of the nation piece worthy of being mentioned in the same breath as another Royal Court theatre force of nature " Jerusalem". As ever a script is only as good as its cast and director Jeremy Herrin is fortunate to get Juliet Stevenson in tremendous form ( it must be written into her script that she must have at least one crying scene) and James Fleet proving an impressively strong foil to her in the dramatic scenes.
For me,though, the surprise of the evening were the blistering performances of the two youngest actors, Lydia Wilson and Johnny Flynn both passionately concerned about the planet, equally inept at dealing with other people but ultimately perfectly suited to living together in their unreal world.
Overall, this was an enjoyable play but not quite as hard-hitting as the subject deserves or possibly demands.
It always astonishes me that most theatre-goers avoid the front row like the plague. To me they are the best seats ( & rarely the dearest) as you have an unemcumbered view of the stage allowing you the perfect opportuntity to see (hopefully) great acting at close range.
The author's previous play " English People Very Nice" caused controversy at the National Theatre recently by tackling the thorny topic of racism. Tonight we saw him address another tricky modern topic, Climate change.
Juliet Stevenson plays Dr Diane Cassell a lecturer at York University, specialising in rising sea levels. Despite her line manager Professor Kevin Maloney running the Faculty of Earth sciences based on the principles of Climate change she is becoming increasingly sceptical and putting further valuable funding at risk.
This basic premise sounds very dry but the triumph of this writing is that I have rarely heard such genuine and regular belly laughs from any audience. It helps that they are joined by four beautifully crafted different characters, two youngsters both ( almost literally) driven to death by the concept of their planet collapsing around them, a zealous Security operative and a typically officious Human resources representative. They border on being stereo-types but Richard Bean manages to keep them real.
As the set changes in the second act from the confining domain of Diane's office to her home kitchen so the emphasis of the play alters. Following the consequences of her actions we are now in a domestic environment and watching a mother struggling to cope with her daughter growing up and moving out and her ex-lover trying to re-create a lost passion. They are all united by the climate change cause but it is now coming second behind the home drama unfolding about it.
The problem for any playwright is knowing how to end. For me the only draw-back to the whole evening was the rather old-fashioned, if crowd-pleasing ending. Following all the disturbing scenes that had proceeded it I found the finale belonged to a different era.
This was a pity as this had been a terrific state of the nation piece worthy of being mentioned in the same breath as another Royal Court theatre force of nature " Jerusalem". As ever a script is only as good as its cast and director Jeremy Herrin is fortunate to get Juliet Stevenson in tremendous form ( it must be written into her script that she must have at least one crying scene) and James Fleet proving an impressively strong foil to her in the dramatic scenes.
For me,though, the surprise of the evening were the blistering performances of the two youngest actors, Lydia Wilson and Johnny Flynn both passionately concerned about the planet, equally inept at dealing with other people but ultimately perfectly suited to living together in their unreal world.
Overall, this was an enjoyable play but not quite as hard-hitting as the subject deserves or possibly demands.
Sunday, 27 February 2011
A Bold Stroke For a Husband - 25th February 2011
Increasingly the West End is full of revivals and over-blown musicals based on (often) less than impressive films. So, how about this for a mind-blowing concept? A small ( intimate) theatre off Fleet Street specialising in forgotten classics or re-interpreting modern plays in a different way. And they are performed in less than an hour in a lunch-time to attract an office audience. Think it can't work, well head to The Bridewell Theatre to catch " A Bold Stroke To Attract A Husband" by Hannah Crowley.
Never heard of it? Well, no shame in that, I doubt if many of the packed, enthralled audience had either. The important thing is that we all thoroughly enjoyed our investment of a little time and a similar amount of money. So, for the amount you would probably spend on lunch at Pret-A-Manger you will instantly be transported to Spain.
We may not be in Shakespeare territory here but this Georgian play containing plenty of cross-dressing, plot, intrigue as well as the perennial " true love never did run smooth".
Little Bear's theatre concept is nothing less than genius in the modern era. For people with apparent short-attention spans and increasingly needing sound-bites this style is tailor-made for them. We have all endured classical plays with interminable sub-plots so complicated even Stephen Hawkings would struggle to follow them.
So, what do Little Bear do? Cut them straight out and purely concentrate upon the important parts of the plot eg a father desperate to marry off his only daughter who, naturally is headstrong, opinionated and enjoys infuriating all men. Eventually she falls for the only suitor who didn't come a wooing and had previously become involved with her maid, by mistake of course.
Ulimately, though the plot wasn't that important . The key factor was the quality of the performers. All eight of them took full advantage of their moments in the spotlight with clear well-annunciated dialogue and showing excellent comic timing. Condensing any play to less than an hour needs precise scene changes and clear direction, which Pip Minnithorpe oversaw brilliantly.
The pace naturally added an element of farce to the proceedings and never dropped although occcasionally one did get a little confused over all the Spanish names. The emphasis may have been on the comic elements ( take a bow Dan Smith for his scene-stealing role as Garcia/Vicentio in the Tommy Cooper tradition of playing two characters simultaneously) , all members of the cast also displayed impressive straight acting abilities.
Having becoming increasingly dissatisfied with what the West End has to offer this group completely re-vitalised this weary traveller. It was also pleasing to see such a well-attended a venue but it deserves a still wider audience. This format would perfectly fit the Edinburgh fringe festival so perhaps a trip to Scotland could be rewarding.
Never heard of it? Well, no shame in that, I doubt if many of the packed, enthralled audience had either. The important thing is that we all thoroughly enjoyed our investment of a little time and a similar amount of money. So, for the amount you would probably spend on lunch at Pret-A-Manger you will instantly be transported to Spain.
We may not be in Shakespeare territory here but this Georgian play containing plenty of cross-dressing, plot, intrigue as well as the perennial " true love never did run smooth".
Little Bear's theatre concept is nothing less than genius in the modern era. For people with apparent short-attention spans and increasingly needing sound-bites this style is tailor-made for them. We have all endured classical plays with interminable sub-plots so complicated even Stephen Hawkings would struggle to follow them.
So, what do Little Bear do? Cut them straight out and purely concentrate upon the important parts of the plot eg a father desperate to marry off his only daughter who, naturally is headstrong, opinionated and enjoys infuriating all men. Eventually she falls for the only suitor who didn't come a wooing and had previously become involved with her maid, by mistake of course.
Ulimately, though the plot wasn't that important . The key factor was the quality of the performers. All eight of them took full advantage of their moments in the spotlight with clear well-annunciated dialogue and showing excellent comic timing. Condensing any play to less than an hour needs precise scene changes and clear direction, which Pip Minnithorpe oversaw brilliantly.
The pace naturally added an element of farce to the proceedings and never dropped although occcasionally one did get a little confused over all the Spanish names. The emphasis may have been on the comic elements ( take a bow Dan Smith for his scene-stealing role as Garcia/Vicentio in the Tommy Cooper tradition of playing two characters simultaneously) , all members of the cast also displayed impressive straight acting abilities.
Having becoming increasingly dissatisfied with what the West End has to offer this group completely re-vitalised this weary traveller. It was also pleasing to see such a well-attended a venue but it deserves a still wider audience. This format would perfectly fit the Edinburgh fringe festival so perhaps a trip to Scotland could be rewarding.
Sunday, 9 January 2011
Twelfth Night - Friday 7th January 2011
I should start this review with two statements. Firstly, " Twelfth Night" is one of my least favourite Shakespeare plays and I am not a fan of plays at The Gate in Cardiff.
So, why did I come? Well, I thoroughly enjoyed Bare Knuckle Theatre's debut with " A Midsummer Night's Dream" there last year and was intrigued to see what modern touches they would bring to this ancient comedy.
The plus and minusses of this production appeared in the opening speech. "Twelfth Night" famously begins " If music be the food of love play on", allowing director Simon Riordan to utilise his lovely four piece band. Sadly, the poor acoustics of this converted church ensure that any extraneous noise will drown out the words & we duly lost the rest of Orsino's speech.
Like all Shakespearean comedies it is very wordy with quick verbal interplay between characters. With the usual complicated plot involving a shipwreck ,identical twins and a girl masquerading as a boy it is essential the audience can understand the early dialogue or what follows is very confusing. Unfortunately, the problems of the theatre are highlighted when the actors speak quickly or softly. Several performers fell into this trap leading myself and others to check our programmes in the interval to work out who was who and what was happening.
The actors, therefore who took their time and spoke the lyrical verse clearly reaped the rewards. So, step forward, Laurence Patrick ( revelling in his role as the unliked and easily tricked Malvolio), Claire Howey ( extremely convincing in her love for the cross-dressing Viola), Matt Humphries ( in a small role) and that consistent scene-stealer David Parker as Toby Belch.
Bareknuckle Theatre may be a no thrills company but the lack of many props allowed them to rely upon the powers of the imagination to bring this play to life. Audiences like nothing more than good set-pieces and Simon Riordan duly delivered. The climax of " Twelfth Night" is the famous Malvolio appearance in " yellow stockings and cross-gartered", which I have never seen to such great comic effect before, with Laurence Patrick relishing the great line " some have greatness thrust upon them".
Equally fun were the musical numbers where the rather dull Shakespearean songs were replaced by unexpected modern ones by "Outkast", " Queen", "Train" etc. Impressively, they fitted in seamlessly.
Then, with all the lovers happily inter-twinned and the strains of Elbow ringing in our ears we returned to the Cardiff streets happier than when we left it two hours previously. So, despite the problems of The Gate Bareknuckle Theatre still produced an enjoyable experience. I shall return in June to see their take on " Romeo & Juliet".
So, why did I come? Well, I thoroughly enjoyed Bare Knuckle Theatre's debut with " A Midsummer Night's Dream" there last year and was intrigued to see what modern touches they would bring to this ancient comedy.
The plus and minusses of this production appeared in the opening speech. "Twelfth Night" famously begins " If music be the food of love play on", allowing director Simon Riordan to utilise his lovely four piece band. Sadly, the poor acoustics of this converted church ensure that any extraneous noise will drown out the words & we duly lost the rest of Orsino's speech.
Like all Shakespearean comedies it is very wordy with quick verbal interplay between characters. With the usual complicated plot involving a shipwreck ,identical twins and a girl masquerading as a boy it is essential the audience can understand the early dialogue or what follows is very confusing. Unfortunately, the problems of the theatre are highlighted when the actors speak quickly or softly. Several performers fell into this trap leading myself and others to check our programmes in the interval to work out who was who and what was happening.
The actors, therefore who took their time and spoke the lyrical verse clearly reaped the rewards. So, step forward, Laurence Patrick ( revelling in his role as the unliked and easily tricked Malvolio), Claire Howey ( extremely convincing in her love for the cross-dressing Viola), Matt Humphries ( in a small role) and that consistent scene-stealer David Parker as Toby Belch.
Bareknuckle Theatre may be a no thrills company but the lack of many props allowed them to rely upon the powers of the imagination to bring this play to life. Audiences like nothing more than good set-pieces and Simon Riordan duly delivered. The climax of " Twelfth Night" is the famous Malvolio appearance in " yellow stockings and cross-gartered", which I have never seen to such great comic effect before, with Laurence Patrick relishing the great line " some have greatness thrust upon them".
Equally fun were the musical numbers where the rather dull Shakespearean songs were replaced by unexpected modern ones by "Outkast", " Queen", "Train" etc. Impressively, they fitted in seamlessly.
Then, with all the lovers happily inter-twinned and the strains of Elbow ringing in our ears we returned to the Cardiff streets happier than when we left it two hours previously. So, despite the problems of The Gate Bareknuckle Theatre still produced an enjoyable experience. I shall return in June to see their take on " Romeo & Juliet".
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