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Maddermarket Theatre Norwich

28.11.09

Perhaps it had something to do with the cut of his trousers. Andy Adams' “Herr Issyvoo” was never remotely convincing as the beachcomber of the big city [30s Berlin]. Hard to understand what Sally Bowles saw in this annoying, podgy little prat.

Jo Sessions played the nervy nightclub singer – an affecting portrait of a little girl lost, quaffing champagne as the Jews were routed, but touching as she talked of the child she lost.

The Berliners were all very convincing: James Sadler as Fritz, Etta Geras as the landlady Fraulein Schneider, and Natascha Purwin outstanding as the Jewess Natalia.

Rob Morris's production made the most of this wordy play, but I was surprised that even on the last night a couple of sound cues appeared to be late, Sally's picture was almost forgotten, and her negligee turned out to be a nightie. I liked some of the authentic music, too, very atmospheric, but the unfortunate inclusion of Liza Minelli only served to remind us how much better the musical [Cabaret] is than this play on which it was based. No Kit Kat Klub, not even a glimpse of the Lady Windermere. Just the dingy rented room which is first Isherwood's, then Sally's, then Isherwood's once more.

CHELMSFORD COMPETITIVE FESTIVAL

Prizewinners' Concert at the County High School

27.11.09

Two choirs book-ended this year's Prizewinners' Concert.

First, the New Hall School Chamber Choir, directed by Andrew Fardell, with Benjamin Britten and Eric Clapton, and at the end of the evening, Funky Voices, under the inspirational Sandra Colston, with a lively Goodbye to Love, followed by Lily Allen's hit Mr Blue Sky.

In between, the usual amazing variety show: a challenging piano study by Kenneth Leighton, superbly played by Lara Griffin, a poem by Roald Dahl, confidently spoken by nine-year-old Abbie Ward, two impressive jazz musicians, James Ling-Lock on piano with Oscar Peterson, and Gus Brown on sax with a number made famous by Coleman Hawkins, Louis Bellson's The Hawk Talks. Two very young violinists: Louis Loze-Carey with the catchy Fiddle Tune, and Caroline Penn with a Handel Hornpipe. Two promising singers: Jessica Hope with Roger Quilter's fast and furious setting of Shelley's Love's Philosophy, and Tara Gulrajani, who gave us a stunning Chorus Line number.

And in an affectionate nod to the Palace of Varieties, mother and son duo Tim and Nancy Leake charmed their way through Irving Berlin's Couple of Swells, suitably attired in tatty top hat and tails.

NATION

National Theatre at the Olivier

24.11.09

Pratchett's novel, here adapted by Mark Ravenhill, is a heady brew of fantasy, anthropology and folk philosophy. It ranges wide, and even the Olivier struggles to encompass it.

The Royal Society, a parallel world, a tsunami, cannibalism, creation myth and coming of age make for an eventful evening, and a huge cast brings enviable energy to a colourful and moving story.

Emily Taafe is the 13-year-old Daphne, an innocent abroad, wide-eyed at the brave new world of the Nation in the Pelargic Ocean. Unrough Gary Carr is a likeable Mau, the noble savage who joins her to face an uncertain future on the island. He adopts the trousers, she the grass skirt. When her father finally arrives to rescue her, the absurdity of Victorian society – King Arnold and all – is in stark contrast to the ancient and learned culture of the Nation.

But the acting palms go to Paul Chahidi's bitter and twisted butler who seeks revenge, and to Jason Thorpe's tourette's parrot, who ingeniously finds a sardonic comment on the action from phrases he overhears. “There's nothing a cup of tea can't put right, don't you find ?”, at the interval. This is Ravenhill, not Pratchett, apparently.

The special effects in Melly Still's spectacular production are stunning – more underwater action as in Coram Boy –, the necrophagic grandfather birds and the sozzled sow are superb puppets, but the musical numbers are Godspell/Lion King kitsch, in the main.

The young audience, many of them experiencing the power and potential of live theatre for the first time, were vocal in their appreciation. A muted cheer cum sigh of relief when Milton survives, a gasp when Cox pulls a second gun.

And as someone pointed out, this would be a good production for the more ambitious school drama departments. Compare and contrast with The Tempest.

The National's family shows have a well-deserved reputation. This does not disappoint, but neither does it bear comparison with the stunning originality of War Horse or Coram Boy. Pace Pratchett fans, but this is partly down to the book ...

OLIVER

Theatre Royal Drury Lane

25.11.09

David Ellis was in the front stalls ...

A very slick, good looking and energetic production - very enjoyable. Tremendous energy - everything was larger and louder than life.

It was not a subtle production, and I felt that some of the characters were

a bit OTT and cartoony, particularly in the early scenes - the workhouse and funeral parlour - but less so as the show went on (or perhaps I just got used to it!). Maybe this was partly because I was sitting near the front, and the performances were designed to carry to the back of the theatre.

Also, it is probably just not a very subtle musical! But it moves along at such a pace that you get carried along.

A boo for the amplification. Although I was sitting close to the orchestra, as they struck up it was obvious that the sound was coming at me more loudly from the speakers than from the pit. Although I can understand (just) why the actors need to be miked, I'm not convinced the orchestra should be. But I suppose this is commonplace these days. The sound balance seemed wrong for

"Oom Pah Pah", one of Nancy's big numbers, in which her vocals seemed almost subordinate to the orchestra and the general hubbub of the tavern scene.

Amazing scenery, constantly in motion from above and from the wings to create London street scenes, the workhouse, tavern, and an amazing thieves' den, here portrayed as subterranean, rather than up in the rooftops as in the film version. They made full use of the height and depth of the Drury Lane stage. The actors also frequently walked or ran around a gangway between the orchestra pit and the audience, which added a bit more immediacy.

Jodie Prenger, star of the TV show, was a good but not great Nancy - don't think one would have found her memorable but for the TV connection - though she put lots of energy into it and was obviously enjoying herself. I think she was not helped by the direction. Two of her big solos - It's a Fine Life and As Long As He Needs Me - seemed a bit rushed. I felt they could have slowed the pace down a bit here, and allowed a bit more pathos to come through. The boy playing "Oliver" was good but not memorable, but the Artful

Dodger was excellent and showed a bit more personality (don't know their names, as one of three alternating casts for the childrens' parts). But the surprise hit was Omid Djalili who was an excellent Fagin. He added a lot of comedy to the part, and played up to the max the irony of a muslim actor playing a stereotypical Jewish role.

The show worked best in the big ensemble numbers - Consider Yourself and Who Will Buy - when the large cast, musicians and scenery all came together to create a really impressive effect.

An Inspector Calls

Little Baddow Drama

19th November 2009

Jim Hutchon was at the Memorial Hall ...

Director Ken Rolf staged this as an unashamedly, dead-pan melodrama, complete with dramatic lighting and sombre, film-like music. Set in an over-stuffed Edwardian dining room peopled by over-stuffed Edwardians, the play concerns a police inspector who shatters the smug complacency of a family celebration by revealing the complicity of the family members in the downfall and suicide of a young mill-girl.

Michael Gray played the bluff, northern patriarch with characteristic pompous energy and barely suppressed outrage, conscious of the danger of a public scandal to his knighthood aspirations. Vicky Tropman was very convincing as his snooty wife, too thick to understand her complicity in the matter. From a slowish start, the two youngsters in the family, Sarah Trippett-Jones and Iain Miller went on to steal the show. She completed a beautifully judged conversion from air-head to a prescient young lady, while he, as the rake about town who finally did for the mill-girl, actually managed to look sick at the realisation.

John Peregrine’s enigmatic inspector was full of insights and accusations in a bravura performance that held the audience’s attention throughout, and Kenton Church played the daughter’s fiancé with great panache as he forensically revealed the possibility of a hoax in the inspector’s visit.

Though Priestley’s language and mannerisms are 100 years old, and the play is crammed with clichés, the director imparted an interesting freshness to the production which made for a thoroughly absorbing evening’s theatre.