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.