MADAME DE SADE

MADAME DE SADE

Theatre Collection at the Lord Stanley Pub, NW1

03.04.12

for Remote Goat

De Sade was no stranger to the stage; but here, in a piece almost half a century old, Yukio Mishima turns the spotlight on the women in the Marquis's turbulent life.

The piece has a performance history in Europe which includes attempts by Bergman and Grandage. Now the enterprising Theatre Collection, experts in bringing World Theatre to NW1, are staging it in the cosy upper room of The Lord Stanley.

This is a wordy, philosophical, possibly allegorical, piece. Director Shaban Arifi [or perhaps Victor Sobchak, whose adaptation this is] chooses to mitigate the tedium by splitting his tiny stage – salon, pink curtains, stage right, dungeon, wall chains, stage left. And he brings the fantasies alluded to in the text to tentative life, dimly lit with the philosopher himself a major player, so that, like Kayden Jane's nun, you can "listen with your eyes". So we become voyeurs for the Christmas revels, the Black Mass and "danger, death and tendresse" in Venice.

The words, though, are almost all left to the womenfolk. I liked Marie Everett's Renée, Mme de Sade, with her beauty spot and her bloom about to fade, and especially Amanda Kay's Comtesse de Saint Fond, with her riding crop and her decadent drawl.

Despite some evocative costumes, none of the women really convinced as aristocrats, which is important in the revolutionary times of the Third Act. Worst offender here was Lesley Lightfoot, in an otherwise strong performance as the bird-like Mme de Montreuil, Sade's influential mother-in-law.

Good to see a fringe re-working of a legendary piece, but I felt the presence of De Sade [Carsten Gabode] diluted the climax, where he comes knocking at the door of the female enclave. And the blue-lit S&M sequences, once the novelty wore off, merely slowed the flow and prolonged the agony.

PLAZA SUITE

PLAZA SUITE

Hutton Players at Brentwood Theatre

29.03.12

Since it opened in the Sixties, Neil Simon's Plaza Suite has never been short of bookings – its three playlets reveal a lot about human nature as three couples check in for a night in 719.

Hutton Players brought us a stylish, polished revival, with six seasoned actors taking the main roles.

From Mamaronek, Sam and Karen. He's a stressed businessman, almost certainly nursing an ulcer as well as lusting after his secretary, and he was played to the life by Paul Sparrowham, with Lindsey Crutchett outstanding as his fussy, voluble wife. Her phone call to room service was pitch perfect, and I loved the moment when her wig and her brave face were both discarded.

From Hollywood, famous producer Jesse [Mark Godfrey], and Muriel, nervous from New Jersey, an old flame who's finally sweet-talked into bed with vodka stingers and a red-carpet roll-call. This "uncorrupted woman" was the excellent Chrissie O'Connor, in a performance of great subtlety and pathos.

And from Forest Hills, parents of the bride Roy and Norma, played for all they were worth by Liz Calnan and William Wells – lots of physical comedy as he counts the cost and she goes to pieces.

Ray Howes directed, and also designed the opulent, colour-coordinated hotel setting.

ST JOHN PASSION

ST JOHN PASSION

The Writtle Singers at St John's, Moulsham

31.03.12

Heralding Holy Week in the most appropriate way possible, the Writtle Singers excelled themselves in this St John at St John's.

The generous Victorian acoustic presented this smallish group, and their soloists, to advantage. The choir filled the space with the impressive opening Chorus, and the closing Chorale "When My Last End Is Come" was sung with heart-rending intensity. They were equally effective as the fickle mob in the dramatic moments of the Passion story ["Let Us Not Divide It"].

Bene't Coldstream was the Evangelist, telling the story with conviction from the pulpit, and other soloists included Kara Florish, whose bright soprano rang true and clear over the softer tones of the flute, Jenny Haxell, who brought impressive depth of feeling to "O Heart Melt In Weeping", and Tom Kennedy, bass, [a lovely "Come Ponder, O My Soul"] who was also a forceful Pilate. Jesus was sung with rich sincerity by Peter Quintrell.

The Passion was accompanied by the Jericho Ensemble, led by Elizabeth Porter, and conducted by Christine Gwynn.

THE KING'S SPEECH

THE KING'S SPEECH

live on stage at Wyndham's Theatre

04.04.12

http://www.kingsspeechtheplay.com/

"We've become actors …" complains the old king, George V, indignant at the thought of having to speak in public, having one's words beamed to the nation. Did Churchill really write Edward VIII's abdication speech ? Or Kipling the scripts for those early broadcasts ? Churchill famously had an actor record his wartime speeches – why should the King not do the same ?

David Seidler's play – the original treatment of the true story of Bertie's speech therapist – is textually much richer, psychologically more intriguing than the film. It is in many ways an old-fashioned piece, proving that, given an inspired director [Adrian Noble] and a top-flight cast, it is possible to create a satisfying theatrical experience from a good basic storyline and some larger than life characters.

The death of the King [Joss Ackland no less] is given more prominence, as is the politicking in smoke-filled rooms over the Abdication. The pragmatic Churchill [Ian McNeice], Baldwin [David Killick] and the deliciously indiscreet Cosmo Lang [Michael Feast, more reminiscent of Sir John than ever] all have an important input.

And good to see a more rounded character for "Madame Logue" the shop-girl who longs to board a boat back to Perth, here movingly portrayed by Charlotte Randle.

Charles Edwards makes a totally convincing stammerer, and a very human king, most of all in the scenes where he duels with his therapist [a compelling Jonathan Hyde, especially effective in strong-willed stillness], at first awkwardly, with light banter, then more intensely as they move closer over the balsa-wood biplanes and the Stone of Scone.

Anthony Ward's impressive set, a lovely domestic interior for Logue's rooms, and a massive black-framed screen/mirror on the revolve, kept the action moving over a succession of short scenes, from the sound of the wireless being tuned to the hand of friendship over a swelling Nimrod. Superb theatre – one hopes not too soon after the Firth film to have the box office success it deserves.

production photograph: Manuel Harlan

SPRING CONCERT

SPRING CONCERT

King Edward VI School Chelmsford

26.03.12

Britten's St Nicolas, written for Lancing College, makes excellent use of varied forces – the spirit of the piece was successfully captured at the Grammar School, in a moving performance of impeccable musicality.

The large school choir, augmented by some Old Chelmsfordians, produced a stirring sound; the tenors and basses made impressive mariners in the Journey to Palestine.

Adding their voices to the sound pictures were Owen Woodroff as the child Nicolas, a splendid gallery choir behind us, three pickled boys, the whole audience for the hymn tunes, and tenor Tom Robson, a powerful, commanding Bishop of Myra.

The instrumental ensemble – strings, led by Philippa Barton, percussion, the legendary piano duo of Tim Carey and Martin Sanders-Hewett, with Alex Potts at the organ – brought Britten's inspired scoring to life.

KEGS' own Senior Orchestra, led by Brian Chan, gave us an entertaining Haydn symphony, as well as Reinecke's Ballade, with Sarah Woollatt's pleasingly astringent flute over the broad Romantic sweep of the strings.

All three works were conducted by Tim Worrall, KEGS Director of Music.