THE REAL INSPECTOR HOUND

THE REAL INSPECTOR HOUND

The College Players,

Brentwood Theatre

10.05.2014

Mary Redman was the real critic ...

Hound is Tom Stoppard's black comedy that sends theatrical conventions and Agatha Christie-style murder mysteries absolutely sky high. Jokes with words and visual jokes are what he specialises in and completely succeeds in demolishing any scrap of dignity in his subjects. What we see is a play within a play as two theatrical critics take their seats for a run-of-the-mill potboiler they've written about a hundred times.

Following some pre-curtain toing and froing between our heroes Moon and Birdboot energetically and thoroughly played by James Wild and Darren Matthews June Fitzgerald's Mrs Drudge made her entrance on set. Idly dusting the same things over and over again June really came into her own later in the “play”. She's a fearless actor and always mesmerising to watch as when she filled the audience in with the back story.

Richard Spong was a lively cad Simon Gascoyne who also combined ham and bad acting in his pursuit of the money while Claire Hilder's squeaky-voiced ingénue, was the stilted actress as both heroine and tennis-mad jilted girlfriend Felicity. Lindsey Hollingsworth is another actor who can do no wrong. As Lady Cynthia, mistress of all she surveyed, she swept imperiously onstage in a clingy, siren-red 1930s' evening dress.

Harrumphing Major Magnus (Bob Brien) entered into the fun which included the sound effect of his ancient wheelchair bumping down the stairs on the opposite side to where he made his entrance.

As the Inspector Paul Hollingsworth was extremely good value for money. A walking disaster area sartorially he arrived in yellow oilskins with a matching safety helmet crowned with a flashing blue light and massive snows shoes for crossing the Essex swamps. When removed these revealed yet another clothing disaster of mismatched items echoing his mismatched brain cells.

The director Daryl Adcock and his cast did the play proud by entering fully into the mayhem as the critics got involved in a punch up onstage and two of the cast took their places in the “audience”.

Finally many congratulations to the brave Peter Farenden as the corpse who spent the entire production immobile and flat on the floor.

Thank you College Players for a very enjoyable evening.

THE DINNER PARTY

THE DINNER PARTY

Theatre at Baddow

09.05.2014

Mary Redman was at the Parish Hall ...

In my eyes Neil Simon can do no wrong even if some of his plays are stronger than others. I love the wry yet forensic expert way in which he neatly skewers the all-too-human condition so that lines that get a laugh have a background of sad recognition. His way with dialogue is summed up with “If a mouse loves a maggot what's wrong with that?”

So to see this play of his that I hadn't seen before was a treat thanks to TAB/s production directed by Pauline Saddington. First of all the set. Once again a miniature masterpiece from the ever-reliable David Saddington whose motto is less is more. With a Paris restaurant of deep wine red velvet drapes contrasting with black and a minimally furnished set of dining table, chaise longue and sideboard with drinks and canapés, it worked. The double doors upstage centre allowed the cast to make an entrance as our eyes were drawn to them.

While acknowledging that it's a lot easier than attempting French or American accents I would disagree a bit with Pauline's decision to make the characters English. It is set in Paris and the characters all have French names.

One thing I did enjoy was the tinkling piano music beforehand which became Big Band later. Apparently the title of one number was Peace, Peace which is the last thing that emerges in this play. All the characters have previous connections in marriages or relationships brought together by a mysterious person who sets them there and leaves the mixture to brew.

First to arrive was Kenton Church's Claude sometimes conversational rather than projecting his words outwards. Followed by the theatrical treasure that is Bob Ryall playing Albert a car rental firm owner. An ordinary bloke, often ill-at-ease and clumsy in the upmarket surroundings, he sent his performance right through to the back row of the audience.

The final masculine character to arrive was Roger Saddington's sophisticated boutique owner Andre, a performance that pointed the comedy lines with aplomb.

Caroline Froy's Mariette was apparently in her late 50s but appeared much younger, her only drawback being a tendency to swallow lines.

Jean Speller's spiky ex-wife of Albert gave as good as she got in order to get her man back again. Helen Quigley as Gabrielle made an eyecatching entrance in a stunningly tight and clinging lipstick red frock and proceeded to sort out a few people in the second act.

I did begin to ponder why I felt a bit let down by lines that should have got laughs not doing so, plus flattened projection. This was the second night of the run, which is notorious for amateur groups lacking the energy of the first and last nights. Professionals know how to take this in their stride and up their energy levels accordingly.

In addition the stage at TAB is a tricky one for casts to project on because upstage above them is a void which voices can all too easily rise up into and stay there. One to look forward to is Dad's Army in the Autumn.

THINGS TO COME - GODSPELL

GODSPELL

The Queen’s Theatre, Hornchurch, is to present a new production of the divine smash hit musical – Godspell, from 16 May – 7 June.

This almighty celebration of friendship, loyalty and love is bursting with boundless energy and features a multi-talented cast – all members of cut to the chase…, the Queen’s professional resident company of actor-musicians. It’d be a sin to miss it!

From John and Judas to prophets and parables, Director Matt Devitt’s stylish urban-inspired production retells the timeless story of Jesus - as told in the Gospels - in a gloriously colourful way.

With music and new lyrics by Stephen Schwartz – the Grammy and Academy Award-winning composer ofWicked - Godspell’s wonderfully uplifting soundtrack is jam-packed with soul-stirring pop, folk and rock hits such as Light of the World, Prepare Ye, Day by Day and many more. All music is played live on stage by the brilliant cut to the chase… company.

In a bid to inject more joy and energy into church congregations, creator John-Michael Tebelak originally wrote Godspell as part of a project in the drama department of Pittsburgh’s Carnegie Mellon University. Since opening off-Broadway in 1971, it has been performed in thousands of shows on Broadway and in the West End, becoming one of the most popular and enduring musicals in modern history.

The cast includes cut to the chase… company members Ellie Rose Boswell, Patrick Burbridge,Georgina Field, Deborah Hewitt, Callum Hughes, Sam Kordbacheh, Megan Leigh Mason, Sean Needham, Sam Pay and Sarah Scowen.

Godspell is directed by Queen’s Theatre Associate Director Matt Devitt, with set and costume design byMark Walters, musical direction by Julian Littman, lighting design by Mark Dymock, sound design by Rick Clarke and choreography by Donna Berlin.

Godspell runs at the Queen’s Theatre, Billet Lane, Hornchurch from 16 May – 7 June. Tickets cost £12.50 - £26.50. Call the Box Office on 01708 443333 or book online at queens-theatre.co.uk

THE WHO'S TOMMY

THE WHO'S TOMMY

LODS at the Palace Theatre, Westcliff

08.05.2014

Like Bach's Passions, this is an iconic musical work, long thought to be unstageable.

It's twenty years now since the Broadway run, and despite the many challenges, the album makes a satisfyingly dramatic stage show.

Mark Valencia's exciting, inventive production for LODS wisely lets the music speak – MD Ashton Moore heads a youthful stage band, fronted by two excellent guitarists. They're a constant presence, of course, but come to the fore in I'm Free, and in the Underture at the top of Act Two: a real rock concert moment, this, with banks of stage lights sprayed all over the Edwardian interior.

The stage boxes are cunningly used, too, in a Brechtian breach of the fourth wall.

The design is strong but simple – bold graphics and brilliant projection. Technology has now made this an effective weapon in the designer's arsenal, embraced by the Royal Ballet amongst many others. The WWII montage, parachutes behind Mrs Walker's pregnancy, the smashed mirror, the 3D animation for the arcade machine. Only the handheld videocam underwhelmed – a lot of cable for not much impact.

Stylistically the show is omnivorous. Was it the gold jacket that reminded me of Lloyd Webber, especially in the first Tommys duet. And a hint of Godspell in Welcome - “Come to this house ...” Musically too – the carol singers were pure Glass, I thought. And none the worse for that.

The narrative – more logical, less anarchic than the album – is clear and uncluttered. Simple mime scenes carry the story forward, at the beginning, in particular, where it's vital to know who's who and what's happening.

And the show is packed with bright ideas – Cousin Kevin cubed [three superbly physical performances], matched by a trio of Local Lasses. A floppy puppet [Gemma Crofts] for the older child, making Uncle Ernie's fiddling even more chilling. The three lads air-guitaring the big number the first time it's heard. The chorus holding flashing lights for the pinball bumpers. The sleepers awakened and looking up to the heavens in the finale. And a strange blue hood to represent Tommy's isolation from the world of the senses.

The older Tommy is an impressive Glenn Sanderson – active and introspective by turns, with a versatile singing voice. The sight of him twitching and trembling – part of the machine – makes a viscerally impactful ending to the first act.

Supported by a committed cast of characters – Sarah Kelleway touching as Tommy's mum, Helen Sharpe outstanding as the Acid Queen, Steve Wilding a shameless Uncle Ernie, and when I saw the show, Freddie Sharpe a confident little Tommy.

We are promised “gunfire and occasional swearing”. Not to mention catatonia, child abuse and a courtroom full of zombies. And yet this trailblazing rock opera from the Sixties somehow makes a musical to appeal to all generations, whilst still preserving Townshend's raw, passionate iconoclasm. And those timeless tunes …

STEVIE

STEVIE

Chichester Festival Theatre at the Minerva

07.05.2014

A parlour forever Fifties. Antimacassars, whatnot, dog-eared sheet-music, reeds and moon-pennies [honesty] on the upright piano.

“All aboard for a day in the suburbs!” - Palmers Green, to be precise, home to Peggy [Stevie] Smith and her dear Lion Aunt, brought to life on the stage in a seamless blend of memoir, poetry and dialogue by Hugh Whitemore.

Lovingly directed by Christopher Morahan, this is the kind of theatre Chichester does uniquely well. Not only Simon Higlett's evocative design, but the three pitch-perfect performances.

Zoe Wanamaker is the poet, neurotic and drily droll, awkward of posture, devoid of fashion sense, issue of an unsuitable marriage, lingering hopefully, smoking too much, escaping at the last moment from the drowned submarine of conformity, weeping in the bathtub. A funny, poignant performance, capturing the physique as well as the psychology of this lonely pocket Hercules.

Lynda Baron the Lion Aunt – a mane of grey wavy locks bringing a Yorkshirewoman's disdain of stuff and nonsense, eagerly anticipating her niece's approval of the Yorkshire brew, enjoying junket with brandy and cream, and at the last sleeping her life away in her favourite armchair, which her niece will briefly inhabit before leaving the suburbs, welcoming the Friend at the End of the World, penning her last poem as Life's railway train gives one last mournful whistle.

Every Man, watching from the parlour's shadows, quoting the odd verse, is Chris Larkin. He also plays the chaps in Stevie's life, most memorably the car-owning friend and literary critic. It is he who gives us her best-known work, Not Waving But Drowning, as she stands stock still, a vertical cigarette burning down like a votive candle.

Fourteen-year-old, why must you giggle and dote,
Fourteen-year-old, why are you such a goat?
I'm fourteen years old, that is the reason,
I giggle and dote in season.

The Conventionalist.