PRIVATES ON PARADE

PRIVATES ON PARADE

Michael Grandage season at the Noel Coward Theatre

12.12.12

No easy task, stepping into the stilettos previously worn by Denis Quilley and Roger Allam. But Simon Russell Beale is a singer, and has danced in drag before, if you count his delightful Duchess for the Royal Ballet's Alice in Wonderland.

Peter Nichols' Privates on Parade is based on his own experience with a troupe in Combined Services Entertainment. There is much fun to be had with the songs, dances and the magic, but there is a darker undercurrent which has to do with the end of Empire, insurgents and the prosperity that independence will bring to the native population.

Russell Beale has a ball with the frocks, the frou-frou and the camp badinage – buxom, flirty and full-lipped he has a touch of the Mrs Fox [Pam Cundell] about him. His Noel Coward number is perhaps the finest, witty, acerbic and impeccably delivered. But he is the figurehead of a very fine ship – the "outré establishment" of SADUSEA is manned by a variety of military personnel: Mark Lewis Jones is excellent as the sadistic ex-copper, Joseph Timms is the innocent abroad [Nichols himself, perhaps] and Brodie Ross plays the conjuror and butt of many jokes, Eric Young-Love. Terri Dennis doesn't have a monopoly of the best numbers; there's a strangely moving Flanagan and Allen duet from Harry Hepple and John Marquez as an ill-matched but loving couple. Angus Wright is superb as the blinkered officer in charge, a Bible on his desk, a snapshot of his wife between its pages. And there's a touching performance from Sophiya Haque as the Indian/Welsh girl who's the only female in this troupe. There's a lovely moment when the Black Velvet number segues into Greensleeves on her wind-up gramophone. Chris Chan and Sadao Ueda are the native servants who eavesdrop on briefings, play cards on the Union Flag-draped coffin, and appear at the end in immaculate Singapore suits ...

The band is tucked away stage left. The musical numbers are often fantasy rather than part of the SADUSEA stage show, and in this production they are allowed to grow out of the realistic action, rather than flagged with lighting changes or whatever. The set, massive [?] concrete structure with corrugated iron shutters at the back [that door has graced many productions, I think], is effectively lit, and there's a torrential downpour, though the ablutions are offstage.

Not the first time Grandage has revived this very enjoyable "play with songs" – the Donmar production in 2001 [with Allam in drag] was his too. Some of the lines, the gags, the cultural references have not worn well – who now remembers Churchmans – and Russell Beale wisely resists the temptation to get a laugh on every line.

But the warm heart and the uncomfortable truths of the piece are beautifully put across in this, the first of what promises to be an impressive Grandage season on St Martin's Lane.

JACK AND THE BEANSTALK

JACK AND THE BEANSTALK

at the Mercury Theatre Colchester

08.12.2012

for The Public Reviews

Foxton's fabulous set design has a leafy beanstalk stage right, ominous fiery thunderclouds stage left. So far so traditional, but Janice Dunn's original panto for the Mercury begins not with a bang and a flash, but with the gentle bamboo flute of Clare Humphrey's Xena, the compelling storyteller who'll draw us in to this moral tale of a giant who plunges the world into darkness.

It's a witty, intelligent script, and the pace is swift – no gag is stretched, no words are wasted. Loads of inventive twists to keep the story fresh: Dame Trott has an icecream business, and her frocks reflect the flavours on offer, from a 99 to a banana split for the wedding party, which this year has an Olympic theme. The magic beans are flushed away, so the substantial beanstalk rises in triumph from the Trott's Ikea karzi. And if you ever wondered if a cow could ride a stop-me-and-buy-one invalid scooter ... Plenty of slapstick for the kids, too, including an enormous custard pie, and lots of clever detail, like the finger in the elevator door.

Daisy the Cow is the cue for a barrage of bovine jokes, and two singalong opportunities, including that threatened species, the kids plucked from the audience. There's also a vent doll Baby Daisy, and, for the sharp-eyed, an even tinier Daisy poking out from Simple Simon's pyjama pocket. The Giant is memorably done – first as an ominous disembodied voice, then speaking through the mouth of others, and finally appearing as a huge, spectacularly spooky puppet – brought to life by Lyndi Smith.

Something of an end-of-season knees-up feel to this show, with actors who've made 2012 such a successful year for the Mercury allowing themselves one final panto fling. Christine Absalom [Arsenic and Old Lace] makes a wonderful Queen Marj, Clare Humphrey [Top Girls] is Xena, David Tarkenter [Absent Friends]

plays a mean Fleshcreep, with Tim Freeman [Arsenic and Old Lace] as his dimmer sidekick Goosebump, and Ignatius Anthony [Dancing at Lughnasa] is a flamboyant Shakira Trott, seemingly enjoying every cringeworthy moment.

Elsewhere in a very strong ensemble, some welcome returning panto specialists, notably Emily Bull as Mia, Jai Vethamony as the courageous Jack, and the wonderful Dale Superville reviving his Pie Man Simple Simon.

Some impressive talent amongst the Junior Chorus, too; they are given plenty to do, including much of Charlie Morgan's demanding choreography. Familiar hits are pressed into the service of the plot – loved Farmlife, less sure about Imagine in the style of Food Glorious Food. Uncle Graeme Du Fresne is in charge in the pit, and proves a good sport too, in this infectiously funny family pantomime from the Mercury Theatre Company.

this piece first appeared on The Public Reviews

CINDERELLA

CINDERELLA

Arc Theatre at the Broadway, Barking

07.12.2012

for The Public Reviews

We're all living in Hardup Hall these days; arts venues know this better than most.

And to be honest, Cinderella at the Broadway has shoestring written all over it.

That said, it's a brave, and mostly enjoyable, attempt to keep the panto flag flying in this multi-purpose community venue.

Director Carole Pluckrose, making her first panto, seeks to create an original piece of musical theatre, "woven through with all the recognisable delights of panto". Indeed the music, in the experienced hands of Barking veteran Phil Gostelow, is an undoubted strength of the production – a succession of singable, melodic numbers embracing a variety of genres: chirpy Tommy Steelery for our pearly Buttons in A Little Bit Of Mischief, Lionel Bart lite for If I Was A Lady, Lloyd Webber for the dry-ice love duet and a cheeky nod to David Rose and his Stripper for the Clenchbutt sisters and their raunchy fashion parade.

More disappointing is the staging – I like the idea of the revolving mini trucks, but the execution is frankly amateurish, and the black tab curtain does nothing to enhance the mood.

Some good costumes – Rubella's lady-in-red dress, the headgear for Nefaria and Lascivia. But not everyone can run to a change for the wedding, though I liked the two-sided suit for Dean Kilford, who plays twin brothers Buttons and Dandini.

The seven principals work hard; because of its musical comedy ambitions, Clifford Oliver's script gives them several contrasting styles to cope with. Dandini and his Prince have a retro feel to them, with nicely judged dialogue, and the best [or worst] line in the show from Dandini as he advises his master how best to meet the girl of his dreams: "You could try holding one of your balls, sir …"

Sharif Afifi is a charmingly clueless Prince, with a pleasant light singing voice; Kilford is excellent as his batman, with his stash of spare moustaches; his alter ego Buttons enjoys most of the interaction with the noisy audience. An original take on the local council's Fairy Godmother by Sally Fisher, nicely down-to-earth and just a tad incompetent.

Barbara Jaeson makes a cold, steely stepmother; her Act One costume continuing the period theme. Andy Gillies, a punkish big-boned bruiser of an Ugly Sister rather overshadows her rival, Ian Crowe; both performances are suitably bold and brash. And a brilliant début for young Amy Green, in her first professional role, as Cinderella.

The pros are ably supported by an eight-strong juvenile chorus. They certainly prove their worth, shifting the scenery, singing and dancing, even delivering some dialogue. All very polished, especially perhaps Sam Willmore [the night I saw the show] as a knowing, confident Spud.

Some good effects ingeniously done – the wobbly flashback, the transformation, with Cinders' dress changed in a shower of gold. But, for a panto, and probably for a musical, there was too much dialogue, and the kids might sympathise with Lascivia as she shouts "Don't start singing again!" And as for sniffing the slipper …

this piece first appeared on The Public Reviews