PAPER PLANES

PAPER PLANES

Queen's Theatre Hornchurch

30.07.14

On the night of September 2, 1916, Londoners watched and cheered as a “baby-killer” - German airship bombing civilian targets – was shot down in flames by a tiny bi-plane.

That moment is thrillingly evoked in “Paper Planes”, this year's Community Musical at the Queen's Hornchurch.

This is the deal – this renowned producing house devotes its creative and technical forces to devising and staging a new work, and the people of East London and Essex – sixty of them this year, aged between 7 and 80 – bring their enthusiasm and their talent, as well as sell-out houses for the four-night run.

The packed world première was a great occasion – an aircraft of the period parked in the foyer, Birdman cocktails in the bar [vodka, schnapps and cranberry juice, since you ask] and a pub pianist who would have been very much at home in the Ten Bells.

That East End boozer is where our tale begins – told by the Guv'nor, keeping the legend alive in the very bar where our hero went in search of refreshment and female companionship.

He is William Leefe Robinson – Billy the Birdman – who wins the VC for his brave deed. In this romanticised version of his life – by Dave Ross, Gerry Sweeney, Patrick O'Sullivan and Steven Markwick – he's given love interest, “champagne and stout” class conflict and a rather good theme song, “Up Here Above The Clouds”. And a clichéd comic-book sadistic Hun [Chris Taylor].

Aerial combat is never going to be easy to stage, but the tall tower works well against the back projection, and Billy's first flight, with model houses and a lovely toy train, is superbly staged. The young Leefe Robinson [Harleigh Stenning] runs through the show, toy plane held aloft, one of several motifs which give the story its strong structure, along with the paper planes, the seagulls, the claustrophobia …

Impressive performances from the non-professional players. Tomas Martinsen-Hickman outstanding as “Leefe” - he looks and sounds absolutely right, and has an easy charisma and a great singing voice too. Rebecca Swan is his rough diamond Lilly, making the most of the lovely “Cinderella's Shoes”, Jamie Brown his brother Harold, Jane Harder his snobby mother.

Many memorable cameos, too: the Recruiting Sergeant [“Who's for glory?”], the Major, Doll from the pub, the Guv'nor who guides us through the narrative. But much of the strength of this piece is the ensemble work: the bloodied nurses, the school pals, the RFC quartet, the knees-up for Kaiser Bill. Patrick O'Sullivan's production is full of striking stage pictures and ingenious devices: the escape door, the letter duet, the German subtitles, the “hole”, the St Bee's reprise, the zeppelin itself, a really menacing presence. Even Billy's kitsch apotheosis – paper planes pointing heavenwards – suits the mood and style of the times.

The songs, too, [written by MD Steven Markwick and Dave Ross] suit the story splendidly, from the gleeful pastiche of Does Your Mother Know to the haunting title song, with its gentle piano riff. And in the pit, some of the Queen's finest actor/musicians ...

William Leefe Robinson – one of the generation who went straight from school to the Great War – never lived to find happiness in peacetime. But he had his moment of glory, and, like the Queen's Theatre, found fame far beyond the borough. Born in India, educated in Oxford and Cumbria, he's nevertheless embraced as a local lad since he flew his Zeppelin-killer missions from Sutton's Farm, not a mile, as the air ace flies, from the stage door.

So his story, and this amazing show, are just the ticket for this theatre, and for this time, as we commemorate the outbreak of the war to end all wars.

production photography: Mark Sepple

SUDDENLY LAST SUMMER

SUDDENLY LAST SUMMER

Chelmsford Theatre Workshop at the Old Court

29.07.14

“This is a true story about the time and the world we live in ...”

And Tennessee Williams, in this powerful one-act-play from 1958, tells it in a masterly way, with the appalling details of the martyrdom of Sebastian teased out in the hesitant testimony of a damaged girl.

Kelly McGibney's imaginative production for Chelmsford Theatre Workshop immerses us in the “well-groomed jungle” - a sensory garden indeed, with the noisy birds and the bright primary colours reflected in the furniture, the photo frames, the slim volume of poetry. And heady, sickly scents of summer to accentuate salient moments – an inspired touch.

Subtler lighting, bolder design and period costume, might have helped to draw us in to the oppressive, unhealthy atmosphere, but the central performances are strong enough to bring the drama alive. Especially Jade Flack's Catherine: vulnerable, confused and afraid, she is totally convincing as the [very] young cousin who is a horrified, helpless witness to the death of the poet – that final monologue superbly done. The poet's mother is also powerfully drawn in Barbara Llewellyn's sensitive performance: haughty, intransigent, with a hint of the Iron Lady, she is no mere monster, but a complex woman with moments of insightful introspection - “the shadows as luminous as the light” … Joe Kennedy is the young doctor, torn between his conscience and the need to fund his work.

Sally Jane Ransom stands out amongst the supporting players – accent and interpretation spot on.

A fine end to the season at the Old Court – they're back in September with another classic from the 50s, The Birds.

Mrs Venable's 30s portrait photograph by Jacob Burtenshaw

SUMMER FOLLIES

SUMMER FOLLIES

Trinity Methodist Music and Drama

26.07.14

Cabaret tables on stage, a glitter curtain, and a slick evening of songs from the shows, bringing us a generous helping of musical theatre gold – Chorus Line, Les Mis, Bernstein and several Sondheims.

Some selections merely glister; it's funny how the less inspired offerings fare less well with all the stage trappings trimmed away. Laudably, it's all done unplugged, with Susannah Edom-Baker's piano the only accompaniment – something of a treat these days, when for amateurs as well as professionals the sound desk rules supreme.

And there's even a number new to my innocent ear: I'll Be Here from Adam Gwon's Ordinary Days, beautifully delivered here by Kayleigh McEvoy. Two more narrative pieces shine: Gus the Theatre Cat [McEvoy again with Ken Rolf] and Nothing [Helen Quigley]. Lots of duets, a brilliant trio [You Could Drive A Person Crazy] and a catchy quartet [Seasons of Love]. Big solos [Stars from Nigel Ward, Losing My Mind from Janet Moore, Johanna from Mick Wilson] and big choruses, Felicity Wright the conductor – “One” from A Chorus Line, the appropriate Bless Our Show from Sister Act, and, as a finale, One Wonderful Day from an early Sondheim work, Saturday Night.

HOLY WARRIORS

HOLY WARRIORS

Shakespeare's Globe Theatre

22.07.14

History plays are big business again, and no-one does them better than the Globe, which brings its own sense of history to the table.

In David Eldridge's Holy Warriors “A Fantasia on the Third Crusade and the History of Violent Struggle in the Holy Lands”, we are asked to reflect on the effect of our decisions on the future.

‘I will show you another past. And another future. Then, King, what will you do this time?’

The King is Richard I, Lionheart, and the context is the Third Crusade.

The two-hours' traffic is neatly divided: on a superb circular map [Jerusalem, the centre of the world] covering the boards of the stage, Saladin and his sons, Richard and his family, speak of places still torn by conflict, Gaza, Tikrit, Cyprus.

The opening is deliberately paced, but effective, with incense [again] burning in ornate censers, monks processing with chanting and candles, and a solemn sword swirling from Alexander Siddig's Saladin.

Under a superb orthodox cross [design: Mike Britton], there is history and poetry in the text, though, despite obvious debts to Shakespeare, the action is often secondary to the words, and the words are not always gripping. Some strange accents, too, and uncertainty about the pronunciation of Tancred and Outremer. And “smote” clumsily used as a present tense.

Much coming and going through the yard, rose petals as the mosque is purified, explosions and gunshots. Gorgeous costumes, and atmospheric music by Elena Langer.

From his first confrontation with the “dainty, humourless” King Philip of France [Jolyon Coy], when the drama really lifts off, it is clear that John Hopkins' Lionheart is a strong dramatic presence.

And this uneven piece is largely his story. He fails to “go upon Jerusalem”, is shot by a vengeful youth, but, in this version, thanks to his mother [Geraldine Alexander's excellent Eleanor of Aquitaine] he is able to leave Purgatory and have another go - “give me my time again” - this time in desert fatigues, in modern speech and with the trappings of twenty-first century warfare. Meanwhile, key figures in the history of the Middle East have their say, key moments are swiftly shown. 

Will he finish the job, make pilgrimage upon Jerusalem before the fighting season is over ? Or will he fall, unfulfilled, to another assassin ?

It is an inspired, if occasionally confusing, concept. And James Dacre's production has many fine moments, not least Richard's final speech in which he vows to enter The New Jerusalem as an eagle.

The hard-working cast brings us scores of characters – from the humble sappers to Napoleon, Bush and Blair [who gets an immediate laugh of recognition]. Impressive work from Sirine Saba as Berengaria, Jonathan Bonnici as Al-Afdal and Sean Murray as a clutch of cameos, including a dying pope and an eloquent Ben Gurion.

A difficult subject, but one well suited to this special space. Historians will continue to argue about the roots of conflict in the Holy Lands, but this epic drama makes a strong case for this particular turning point. George Santayana is quoted on the flyer: "Those who cannot remember the past are condemned to repeat it."

Photographs © Marc Brenner

AMADEUS

AMADEUS

Chichester Festival Theatre

19.07.14

Highlight of the Shaffer season, and grand opener for the renewed main house, a spectacular, starry Amadeus.

Marble floor, crystal chandeliers, and a baroque proscenium arch at the back acting as a sort of light box for inner scenes – it looks wonderful. The performances, by comparison, sometimes seem a little underpowered, though Jonathan Church's stylish production is never less than engaging.

Rupert Everett's saturnine Salieri – dry, academic but driven by ambition – morphs brilliantly from deathbed to heyday in an instant, raven wig on, cloak off, scoffing Italian sweetmeats and moving smoothly through the impeccably realised Viennese court. And, memorably, delivering his last lines tied to a post in a strait-jacket.

Joshua McGuire is a slightly faded, puffy, powdered epicene Amadeus, with Jessie Buckley impressive as his young wife – her mad scene especially effective.

Among the huge supporting cast, Simon Jones as the Emperor, and Chichester stalwart John Standing as Orsini-Rosenberg.

A champagne aperitif to a season which will also bring us two smash-hit musicals [Guys and Dolls and Gypsy], An Ideal Husband with Pat Routledge, and 101 Dalmatians for Christmas.

Simon Higlet's set design

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MISS JULIE / BLACK COMEDY

MISS JULIE / BLACK COMEDY

Chichester Festival Theatre at the Minerva

19.07.14

Peter Shaffer's ingenious farce first saw the dark of day at Chichester, and was originally commissioned as a companion piece to the Strindberg.

They make strange bedfellows, despite tangential resemblances: they both begin in absolute darkness [no running man exit lights, even], matches are struck, a steel razor is used – once as a simile, once as a means of suicide [as also in Amadeus next door].

The superb set [Andrew D Edwards] for Miss Julie has a long table at the centre of the vast kitchen – an iron stove, a high window.

Jamie Glover's fine production uses a new version by Rebecca Lenkiewicz, which makes the dialogue seem as fresh and real as Downton, but with more depth and sincerity.

Excellent performances, too, especially from Shaun Evans as the articulate, intelligent manservant, whose Lawrentian relationship with the young mistress – Rosalie Craig – is thrillingly played out in the intimacy of the Minerva. She is feral, flaky, a “peasant at heart”, but fatally indecisive. Emma Handy is the busy servant Kristin, standing erect and still in adversity, never losing her dignity, always knowing her place.

A complete set change for the Shaffer – a sculptor's pad in the 60s, with the only good furniture “borrowed” from the connoisseur next door.

Some shared casting, though. Craig is the ex set on revenge. Evans, less successfully, is the camp neighbour. [created by Albert Finney, with Ian McKellen in the revival]. I felt that this performance – perfectly adequate, but looking and sounding far too similar to his Jean, took something from the masterful characterization before the interval.

Elsewhere, wonderfully stylish farce from Paul Ready as the nervous Brindsley, Robyn Addison as his idiot deb girlfriend, Jonathan Coy as her bufferish dad – memorable business with the rocking chair – and Marcia Warren as the teetotal spinster neighbour, downing spirits in the dark.

The set pieces and the physical comedy are perfectly executed, especially the steep staircase and the inevitable trapdoor.
In the matinée we saw, the gremlins wanted to make the already unlikely plot even more bizarre - the telephone cord was severed, and a loud report towards the end could well have been the Colonel's service revolver ...

THE COMEDY OF ERRORS

THE COMEDY OF ERRORS

Groundlings Theatre Company at the Rose, Bankside

16.07.2014

for Remote Goat

Praetorius on the soundtrack, and the Rose's already limited acting space half-filled with battered trunks and suitcases. Who was F J G GILL, and what would he think to see his luggage gracing the ancient boards of Bankside's earliest playhouse ? The boxes and the other baggage are creatively used here, setting scenes and concealing characters.

The Groundlings are based in Portsmouth – they offer training as well as producing their own shows. This pocket-sized comedy was first seen in their own heritage theatre near Gunwharf Quays. Six actors, eighty minutes, and a hectic canter through the comedy from the sea voyage to the farcical finale, where audience members are pressed into performing as the alter egos of Antipholus and his “man” Dromio.

Richard Stride's production has many happy moments amongst the box shifting: Mark Flynn's callow Antipholus doting on Emma Uden's bespectacled, russet-haired Luciana, the Dromios farting at the door, and the puppets-in-a-box for the Abbess and Egeon [Stuart Frank, who also gives us a memorable courtesan, and Oliver Gyani who makes a nicely anxious Goldsmith and an imposing Dr Pinch, with his phial sloshing ominously]. Anna Mallard, with huge hair, paces impatiently and speaks the verse impeccably.

Poor old Dromio bears the brunt of the mistaken identities as man and master “wander in illusion”. He's played in a green roly-poly suit by Helen Oakleigh – an excellent match, you'd think, for the greasy kitchen wench. Bags of energy, if too much on the same note for my taste.

This is reduced Shakespeare, of course, and works well in this largely traditional take, with its Elizabethan costumes and period music. The wordy dénouement could perhaps have been trimmed further, bringing us a little earlier to the lively jig.

The Comedy of Errors plays until July 27, in tandem with the Groundlings' Henry V: Oakleigh directs this time, with Stride as the hero of Agincourt.

SHAKESPEARE IN LOVE

SHAKESPEARE IN LOVE

at the Noel Coward Theatre

16.07.14

Too much Shakespeare ? Too much love ? Lee Hall's light-touch reworking of the original Stoppard/Norman screenplay gets the balance about right, with plenty of sly references to the Bard and his works, but a strong [and vaguely Shakespearean] romantic intrigue between young Will and the tomboy Viola de Lesseps [Lucy Briggs-Owen].

The setting [Nick Ormerod] is heavy wooden galleries, based loosely on Henslowe's Rose. Three levels, a wooden stage floor, and a mobile central section which lets us shift in an instant from backstage to front of house, from bedroom to bawdyhouse.

Some moments work very well: the opening writer's block [“Shall I compare thee to a … mummers' play”], or Kit Marlowe [David Oakes] prompting the amorous Will [Tom Bateman] like Cyrano from the shadows beneath the balcony. Our conviction that Marlowe was the genius behind the Stratford man is gently nurtured throughout.

In Declan Donnellan's warm-hearted production there's much music, perhaps too heavily amplified – especially that strident alto – witty dialogue and courtly dancing [sometimes simultaneously], cross-dressing, a trap-door, a delightful dog and some superb performances from the huge company: Alistair Petrie's blustering Wessex, Anna Carteret's virgin Queen, David Ganly's “pedlar of bombast” Burbage [of Blessed memory], Abigail McKern's Nurse and Paul Chahidi's harassed Henslowe.

Everyone's favourite moments from the film are preserved, of course – the boatman [Thomas Padden] and young Webster [Colin Ryan] his role much enhanced here.

The ending, with the stage of the Curtain expanded to fill the space, is magical, as the doomed love story, and Shakespeare's writing career, are ingeniously entwined.

THE ARMED MAN

THE ARMED MAN

Brentwood Arts Festival at Brentwood International Centre

12.07.14

Karl Jenkins' popular and accessible Mass for Peace made a perfect ending to Brentwood Arts Festival's commemoration of the Great War.

Rain on the roof, thunder overhead, and massed choirs behind the Brentwood Symphony Orchestra; it was a stirring occasion. Commissioned by the Royal Armouries for the Millennium, the work begins with distant trumpet and drums, explores mankind's destructive obsession with war using a variety of texts from many ages and diverse cultures and ends with an optimistic vision of peace from Revelation.

In the less than ideal acoustic of the Brentwood Centre's vast hall, Dryden's “thundering drum” fared particularly well, as did the more contemplative orchestral moments from solo cello, and the trumpeter's Last Post, following a great roar from the chorus, and preceding the moving “Angry Flames”. The massed choirs, too, made a splendid sound, in the rhythmic Sanctus, say, or the expansive [could be Korngold] Kipling setting. And the Brentwood Songsters Children's Choir, made its mark with Torches, from the Mahabharata.

The solo singers – no fewer than four in this performance – fared less well, and often struggled to reach the back of the audience. Mezzo Susan Marrs had a lovely moment, though, in “Silent, so silent now” from Guy Wilson's Now The Guns Have Stopped.

The massed choirs – Hutton and Shenfield Choral Society, Brentwood Choral Society, Howard Wallace Chorale, Bra-Vissima, Times and Seasons, Brentwood Songsters – and the augmented orchestra – Brentwood Philharmonic and Phoenix Youth Orchestra – were conducted by Tim Hooper.

An impressive curtain-raiser from the Royal British Legion Youth Band, who took us from Teddy Bears to Va Pensiero, and ended with a Great Wars Singalong and a patriotic medley.

UNITED WE DANCE

UNITED WE DANCE

Essex Dance Theatre Brentwood at Brentwood Theatre

11.07.14

An amazingly varied programme of dance from this unique dance project.

The three performing groups, plus specialist off-shoots, changed styles and costumes with seamless ease, producing a showcase that was hugely enjoyable to watch. Twenty-three numbers all told, so we can only select a handful.

A lively, witty Mamma Mia, danced in colourful costumes. A charmingly old-fashioned I Could Have Danced All Night.

An excellent tap duo to “Cups”, perversely, since the number is already so percussive.

Some choreography winners, including Alice Andrews with a beautifully expressive piece, especially in the use of the hands, and in first place, Francesca Gomez with an extended piece to Radioactive.

A wonderfully cute tap-dancing Tiptoe Through The Tulips, with luminous blooms.

Particularly imaginative choreography to When She Loved Me from Toy Story, beginning as marionettes and ending in an evocative spiral effect which was quite magical.

A stageful of little sweeps, a well-drilled, thunderous Irish number, and a Cats finale which involved the whole company in feline teeshirts.

The costumes throughout were simple but striking – black tutus, gingham, patterned prints for The Two Tribes.

The dances were devised by Jane Ben-Aderet, Jessica Bradshaw, Kim Bradshaw, Nicole Carman, Helen Cridland and Rhiannon Munson-Hobbs.

Archive photograph by Clare Rowden