Author: Paul Szabo
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THEATRE REVIEW | Shrek, National Tour 2015
★★★★ | Shrek, National Tour 2015
Making the transition from screen to stage is not always easy, especially when you are adapting something as beloved as Shrek.
The tale of the big green ogre rescuing the fair princess on behalf of the diminutive Lord Fardquaad is one which follows the plot of the film fairly closely, albeit with so many songs crammed into the running time, the whole thing teeters on the edge of being a sing through musical.
Like the film, the stage show has a bit of something for everyone, with a script which is packed full of kid friendly comedy but with enough one liners and near the knuckle jokes to keep the adults more than entertained, nowhere more evident than in every second of stage time held by Lord Faquaad. Gerrard Carey was just outstanding as the vertically challenged monarch-to-be, and gave a deliciously camped up performance which was quite frankly hilarious. Look up the definition of “scene stealer” in any theatrical dictionary and you should find his picture. Dean Chisnall’s portrayal of the grumpy ogre was suitably downplayed, but his powerful voice was simply incredible as he belted out the songs.
But it wasn’t just the performances that made this show, it was the whole package. For a touring production, the staging was incredible, utilising a slew of techniques to bring the tale to life in a way which far exceeded expectations. The set was beautifully put together, lavish and detailed, the lighting was well designed and the costumes and make up were stunning. The show pads out the backstories of the main characters a little, but equally allows the supporting cast to all get their turn, and with such a strong line-up, it would have been criminal not to.
Where the show doesn’t quite peak is in the songs themselves.” I Got You Beat” was a neat take on the courting songs of Irving Berlin, “What’s Up, Duloc?” was an upbeat big production number and “Morning Person” was a Bob Fosse inspired tap dancing routine. When coupled with the visuals of the set, the choreography and the polished delivery, the actual numbers were are all perfectly amiable and got the feet tapping. However, they were ultimately pretty forgettable; and whilst they certainly work on stage, most audience members left the theatre singing the 1966 hit, “I’m A Believer”, rather than humming any of the shows original songs.
Shrek carries with it an air of childhood magic and a theatrical experience which, provided you allow yourself to buy into it, will transport you back to that feeling of being a kid again. It’s a show which is bold, loud, colourful and utterly charming. Whether it was giggling at the occasional spot of toilet humour, laughing at the jokes which go over the kids’ heads, or simply being transfixed by the spectacle of a dragon flying about the stage, Shrek had me smiling throughout the show.
Shrek is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until 6th June 2015 before continuing on its national tour at various venues throughout the country up to February 2016. Get yourself “ogre” to the tour’s website for full details (www.shrekthemusical.co.uk)
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THEATRE REVIEW | The Full Monty, UK Tour 2015
★★★★ | The Full Monty, UK Tour 2015
In 1997, a film about unemployed steel workers turning into unlikely strippers became the most successful film in the UK (until it was overtaken by Titanic), garnered four Oscar nominations and cemented the phrase ‘the full monty’ into popular culture.
Set in Sheffield, a group of ex-steelworkers with seemingly very little in common, other than their unemployment, band together in a get rich quick scheme, whereby they plan to rival The Chippendales by becoming strippers and giving the audience a little something extra – by going all the way. Gary, needs money as he is on the cusp of losing contact with his son, overweight Dave has a big body image problem, Horse has a rather (ahem) “small” problem and Loomper has his own secret hidden in his closet. But despite their unlikely sex symbol status, the whole community waits to see whether they really will go ahead with their scheme and whether they will go the full monty.
Not to be confused with the musical version of The Full Monty, which was produced in 2000, this version is a straight play, which forgoes thin plot and thinner characterisations which simply link musical numbers, and instead provides a play with heart, rounded characters, a genuinely funny script (particularly in the second act) and, of course, the ending that the predominantly female audience were waiting for.
Despite a few rather dubious Sheffield accents (you can’t fool the home crowd, you know), the cast worked well as an ensemble. Andrew Dunn (“Dinnerladies”) and Louis Emerick (“Brookside”) provided the better performances of the evening; both with effective yet understated performances, whilst Gary Lucy (“Eastenders”) provided the eye candy.
The show is beautifully written by Simon Beaufoy, who wrote the original story and received an Oscar nomination for his screenplay for the film. The story of the play very closely mirrors that of the film itself, with all of the key plot points, pivotal scenes and music being extrapolated, but despite the running time of the play being approximately 40 minutes longer than the film; it never feels like it is padded out. What does come across much more in this production is the social commentary hidden beneath the comedy and narrative and there is a real balance between the humour, sadness and optimism portrayed. Despite the characters initial differences, there is a genuine feeling of friendship which permeates the play, accompanied by a strong sense of family, loyalty and acceptance.
Overall, the show remains a feel-good, funny and enjoyable show, which I have to say I enjoyed much more on second viewing, and the whoops of delight by the time the curtain fell proved it was a real crowd pleaser.
The Full Monty is currently playing at Sheffield Theatres until the 23rd May 2015. For information and to purchase tickets visit www.sheffieldtheatres.com.The play is taking a break over the summer, but will be embarking on another national tour in the autumn.
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THEATRE REVIEW | 4 X 4 Cast Theatre, Doncaster
★★ | 4 X 4 Cast Theatre, Doncaster
In an original fusion art form, where the gentle poise and delicacy of ballet meets the frenetic pace of juggling, progressive troupe ‘Gandini Juggling’ explore bringing order to chaos using mathematics, numbers, patterns and regularity in 4×4 as two very different sets of skills melt together.
Using symmetry, routine, repeating themes and the formation of geometric patterns, the intertwining of the two art forms proved to be a serene and strangely hypnotic experience at times. The sound of the original score by Nimrod Borenstein combined with the rhythmic chanting, the gentle thudding of the juggling and the performers bodies as percussion instruments; whilst, visually, the patterns formed by both objects flying through the air and the unison of the cast as they interweaved their respective skills and blended around each other came together to create visual and acoustic patterns which both soothed and stimulated simultaneously.
Breaking down the individual elements of the performance, the entire cast displayed talent, skill and a dedication to their art. The string ensemble score was beautiful at times, bringing with it the flavour of an Eastern European influence; the dancers were accomplished, supple and foot sure in their performance and the jugglers were well timed, rehearsed and solid.
However, despite their skill and talent, the show was uneven in its pace and presentation. It certainly had its moments where you were mesmerised by the movements on stage, but equally, the themes of symmetry and repetition led to the show itself feeling rather repetitive and almost as if it were going back over itself. There is absolutely no denying the talent of the cast overall, but despite some interesting visuals, wry humour and skilled performances, this show, unfortunately, didn’t quite come together to equal the sum of its parts.
4×4 was seen at CAST Theatre, Doncaster, who have a launched their new season, which features a variety of performances from a number of dance companies including Phoenix Dance Theatre and Northern Ballet. For details of their full programme, see http://castindoncaster.com/ .
4×4 is on national tour at a number of venues across the country until 19th September 2015. Full details of the company, their tours and their work can be found at http://www.gandinijuggling.com/en
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THEATRE REVIEW | Crouch, Touch, Pause, Engage – National Tour
★★★★ | Crouch, Touch, Pause, Engage – National Tour
Gareth Thomas is one of the most successful rugby players ever to take to the field for his country. But in the testosterone filled world of professional rugby, he hides the fact that he is gay, causing him to engage in a secret double life and bringing him to the brink of suicide. But equally, his hometown of Bridgend in Wales is also a place of sadness, as a spate of teen suicides blight the small, close-knit community. Crouch, Touch, Pause, Engage tells the story of both Gareth Thomas and his struggle with his sexuality and the story of two teenage girls from Bridgend, each battling with their own issues.
Set on a stage resembling a locker room, and utilising only the simplest of props and costumes, each of the six-strong cast played multiple characters and morphed seamlessly from one to another, including each taking turns to play Thomas himself, as they recounted the two intertwined stories. Told in a verbatim style with the script primarily delivered in a direct address to the audience, the writing of Robin Soans had a very natural feel as it was conveyed by the cast, leading to characters who were accessible, felt familiar and who were instantly likeable. From the cast, Rhys ap William and Daniel Hawksford stood out the most, with both delivering solid performances in their various roles. Taking the audience through a number of ‘crisis points’ in both stories, there were a couple of points during the play where I felt myself welling up; but interestingly enough, it was a real shame that the moment when Thomas comes out to his parents was not handled particularly well by Katie-Elin Salt, leaving such a pivotal scene feeling flat and slightly awkward despite the best endeavours of the other cast members.
The play draws parallels between the personal struggles of Thomas and the young people of Bridgend, demonstrating that even those considered heroes have their personal demons; and showing young people that they are not as isolated or alone as they may think. Dealing with a number of sensitive topics, the play handles them well, and draws a genuine emotional reaction from the audience as well as providing food for thought on many levels, whether that be empathising with the characters or their families on stage or reflecting on their own experiences and emotions.
Crouch, Touch, Pause, Engage is thought provoking and emotional, with an undeniably strong message of hope and positivity.
Crouch, Touch, Pause, Engage was reviewed at West Yorkshire Playhouse (www.wyp.org.uk ) and is continuing on its national tour, details of which can be found at http://www.outofjoint.co.uk/production/crouch-touch-pause-engage. You can also read our interview with Gareth Thomas about the production.
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THEATRE REVIEW | Barnum, UK theatre tour 2015
★★★ | Barnum
Cameron Mackintosh’s new production of Barnum charts the rise and rise of one of America’s most famous showmen, Phineas T. Barum, whose showmanship and panache for the spectacular led him to become one of America’s richest men. Starting off with a small sideshow, brick by brick he builds his entertainment empire into the greatest show on earth, whilst all the time being supported by his patient and understanding wife. The balance between his dreams and her grounded reality are evident, but his love is tested when he meets beautiful opera singer, Jenny Lind.
Barnum, as a show itself, is perhaps not best remembered for its storyline, which is thinner than the usual musical; nor for its particularly memorable songs. The show itself is a fairly episodic affair, with the set pieces being broken up by scenes, mainly between Barnum and his wife, which carry the narrative. However, what this production will be remembered for is an absolute abundance of colourful, joyful energy during the big numbers, assaulting the senses with rousing singing and spectacularly choreographed routines. Filling the stage with a plethora of circus skills, including tumbling, ribbon work, silks, tightrope waking and balancing, there is no denying the fact that this is a performance which has been polished to within an inch of its life.
Playing very much to his strengths, Brian Conley won me over in his performance as Barnum, as his wry smile and casual banter with the audience kept him just on the right side of being the confident, consummate showman; both as the character and in himself.
Whilst this may have been Conley’s show, he was supported by a large and talented cast, including Linzi Hateley, Kimberly Blake and Landi Oshinowo, a packed out ensemble of very talented dancers and circus performers and a live orchestra. The scale of the production is impressive and it is clear to see the budget, quality and experience behind the production itself, with not only the visuals being bold, brash and ballsy, but in also the technical presentation of the show being wholly impressive, nowhere more evident than the superb lighting designed by Paule Constable.
With its colour, vibrancy, sense of fun and its full throttle energy, Barnum may well be very much style over substance; but the style it has is undeniably top notch.
Barnum is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until Saturday 11th April 2015, before continuing on its national tour (www.barnummusical.com) calling at Leeds, Milton Keynes, Liverpool, Plymouth, Southampton, Canterbury, Birmingham, Salford and Cardiff.
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INTERVIEW | Gareth Thomas; Kicking Theatre Into Touch
Gareth Thomas. One of the most capped Welsh rugby players ever to take to the field for his country. The second highest try scorer in Welsh rugby history. Patriot for his beloved Wales. Lynchpin to his team. And gay.
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THEATRE REVIEW | Playing For Time
★★★ | Playing For Time
Amongst the horrors and inhumanity of Auschwitz, a small group of women are pressured to play in a rag-tag band, used for both entertaining the higher ranks of their captors and to march their fellow inmates into the fields to work and into the gas chambers to die.
Playing for Time explores the emotional toll on the women as they quite literally play for their lives whilst struggling with the ethics and morals of pandering to the theatrical whims of the murders around them as their fellow detainees are being massacred around them.
Based on the autobiography of Parisian cabaret sensation, Fania Fénelon, the opening scenes of her and her fellow Jews crammed into a cattle truck effectively conveyed the confusion, fear and false optimism of the passengers, followed quickly by a powerful, jolting and brutal arrival at Auschwitz which was genuinely unnerving to watch. But the play swiftly switches from the brutality of the camp to an examination of the inner conflict between an individual’s desire to survive and their desire to remain human. The internal struggles and external quarrels about the dehumanisation of the women in the band and the divide between their loyalties to those around them and their own selfish and primal instinct of survival are the focus of the wordy script. The dimly lit and smoke-filled auditorium provided an air of somberness and oppression, and the almost monochrome presentation of the piece (the black and grey sunken set penetrated by crisp, defined white beams of light) seemed to be a visual representation of the stark choices that go towards life and death in such a place, whilst the constant rumbles, cries, whistles and gunfire of the excellent sound design by Melanie Wilson constantly reminded the audience of the inescapable confines of the concentration camp.
Arthur Miller’s seldom-performed play is a touch overlong, with a slightly uneven pacing and a group of central characters, performed by the predominantly female cast, which was not easy to connect with, although this could be as a result of the characters intentional or unintentional self-serving motivations.
The sound of Sian Phillip’s Piaf-esque voice accompanied by the accordion, harmonica or a gentle piano was convincing in terms of 1940’s cabaret and reminded you of how recent in European history the events you are watching actually were. The performance of Un bel dì (One Fine Day) from Madame Butterfly was inspired, and its delivery in the context of the surroundings was not lost on the audience. The poignancy of the aria’s lyrics describing “that thin thread of smoke rising over the horizon” beautifully reflected both the optimism and hopefulness of the original context of the aria and the hopelessness of life in the concentration camp. Perfectly timed to coincide with Arthur Miller’s centenary and the 70th anniversary of the liberation of Auschwitz, Playing for Time is more of an exploration of human emotion than a narrative piece of theatre and one with a technically impressive presentation.
Playing for Time is currently on stage at The Crucible Theatre, Sheffield until 5th April 2015. For further details and tickets visit www.sheffieldtheatres.co.uk
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THEATRE REVIEW | Top Hat, Sheffield Theatres and National Tour
★★★★ | | Top Hat, Sheffield Theatres and National Tour
Based on the RKO Pictures musical of the same name, the story is one familiar to the genre – a will they / won’t they love story filled with mistaken identity, rekindled romance and gentle comedy. Jerry Travers (played by Alan Burkitt) is a huge Broadway star who jets to London to star in his first West End show, produced by his friend, Horace Hardwick. He meets and falls for Dale Tremont (Charlotte Gooch), but she mistakes him for Horace, the husband of her friend, Madge Hardwick. Thinking that he is cheating on his wife, Dale gives Jerry the cold shoulder despite having fallen head over heels with him. Dale goes to visit Madge in Venice, but will the arrival of Jerry and Horace, who are unaware of her confusion, lead to true love?
I can’t resist a good, old-fashioned, large-scale musical; and Top Hat did not disappoint. The songs by Irving Berlin were irresistible and the large ensemble based production numbers had me tapping my feet and grinning from ear to ear. Highlights were the opening number; Puttin’ on the Ritz, which kicked things off nicely, the Act One closing tap dancing spectacular, Top Hat, White Tie and Tales, and the sweeping renditions of Cheek to Cheek and Let’s Face The Music and Dance, all of which were performed brilliantly.
Birkett, as Jerry Travers, effortlessly tapped, glided and leapt his way through the dance routines, wholly impressing with every step. Gooch, as Dale Tremont, was warm, likeable, glamourous and very well cast as the 1930’s trendsetter. John Conroy gained most laughs as Bates, the long-suffering butler, and the look, feel and vocal performances of the cast as a whole accurately captured the atmosphere of the 1930’s.
The production values were incredibly high and some of the best I have seen in a touring musical for some time. Top Hat is a show which is grand in scale, and has none of the feeling of being stripped back or watered down that can often accompany West End touring productions. The detailed art deco sets were beautifully constructed and visually grandiose, reflecting the decadence of the story’s 1930’s setting. The costumes were simply stunning and elegant, both in their design and in their sheer volume; and the show’s direction was very impressive, utilising screens to enable multiple set changes and to focus the audience’s attention forming a production which was slick, polished and professional overall.
The only flaw I found was the slightly uneven pace between the two acts. The first act flew by, with a barrage of show-stopping numbers, whereas the second act was much more narrative based and more spaced out musical numbers.
Despite reaching the grand old age of 80 this year, Top Hat is certainly up there for musical lovers and has lost none of its whimsical charm for such an old lady. If you enjoy shows like High Society, Anything Goes or any of those old Fred Astaire/Ginger Rogers films, then Top Hat is a quality production of a top-notch tap spectacular.
Top Hat is playing at Sheffield Theatres until 7th March 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour through to the end of July 2015 (www.tophatonstage.com/ )
DATES:
Tue 24 Feb – Sat 7 Mar
SHEFFIELD Lyceum Theatre
Tue 10 – Sat 21 Mar
BIRMINGHAM Hippodrome
Tue 31 Mar – Sat 11 Apr
NORWICH Theatre Royal
Tue 14 – Sat 25 Apr
CANTERBURY The Marlowe Theatre
Tue 28 Apr – Sat 9 May
PLYMOUTH Theatre Royal Plymouth
Tue 12 – Sat 23 May
SOUTHAMPTON Mayflower
Wed 27 May – Sat 6 Jun
DUBLIN Bord Gais Theatre
Tue 16 – Sun 21 Jun
BROMLEY Churchill Theatre
Wed 24 Jun – Sat 4 Jul
SUNDERLAND Empire Theatre
Tue 7 – Sat 18 Jul
WOKING New Victoria Theatre
Tue 21 – Sat 25 Jul
EASTBOURNE Congress Theatre -
THEATRE REVIEW | Blasted, Sheffield Theatres
Sheffield Theatres opens their Sarah Kane season with Blasted, her first and possibly most controversial play. Ian, a racist, sexist and homophobic middle aged journalist, arrives in a hotel room in Leeds, accompanied by a young girl, Cate, whose youth and naivety is exacerbated by her learning difficulties. As their abusive relationship, characterised by manipulative behaviour and sexual violence, continues; a soldier bursts into the room and, through a series of shocking events, there is a shift in power, control and dependency.
When considering how to describe this play, three words repeatedly surfaced in my mind – uncompromising, unflinching and unapologetic. Themes of control, dominance, sexual violence, manipulation and dependency are thrown at the audience in a shocking and, at times, difficult to watch play, causing you to shift uneasily in your seats and bullishly charging at your boundaries of acceptability. In line with the initial controversy when the play was first performed (where it was described as a “feast of filth”), it still has the power to not only emotionally gut punch the audience, but to be genuinely upsetting and distressing.
In this three-hander, Martin Marquez impressed as bigoted and thoroughly unpleasant Ian, carrying a genuine air of menace and nastiness. Mark Stanley, as the soldier, complimented that performance with a restrained portrayal of a man numb from his own hatred; but I was most affected by Jessica Bardon’s performance as Cate, who carried a haunting look of vacancy which bore straight into you and lingered with you long after leaving the theatre.
Richard Wilson confidently directs with a steady hand, not shying away from extended periods of silence or inconsequential action, but equally not shying away from the visceral and shocking aspects of the play. The set, with its hints of glass surrounding the stage, places you directly in the voyeuristic position of peering in through the hotel room window, watching events unfold; and was both visually impressive and well designed. Crucially, the pivotal moment in the play was accompanied by a jolting and effective transformation of the stage.
Featuring very adult themes, offensive language, scenes of male and female rape, nudity and strong, bloody violence, this is certainly not a play for everyone, and is a heavy, controversial and hard-hitting piece of theatre, which I have no doubt many people will find offensive and distasteful. It is also surreal at times and contains a number of aspects which are particularly uncomfortable to watch, especially in the confined arena of the Crucible Studio.
If you are seeking a challenging piece of heavyweight theatre, then this is a quality and technically impressive production which offers that in abundance. But whether you consider the themes explored and the events of the narrative as suitable subjects for entertainment will very much depend on your individual viewpoint. My suggestion is that you read a little about the play before you decide whether it is for you or not.
Blasted is currently playing at Sheffield Theatres until the 21st February 2015.
The Sarah Kane season includes all of the playwright’s works over the coming months. Full details can be found at http://www.sheffieldtheatres.co.uk/event/blasted-15/
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THEATRE REVIEW | The Sound Of Music, National Tour 2015
★★★★ | The Sound Of Music
Let’s be honest, The Sound of Music needs no introduction. The story of Maria, who is sent from the Abbey to look after the Von Trapp family, is one that is known to most. This classic musical is crammed full of songs that you cannot help but know the words to, such is their foothold in popular culture. “Climb Every Mountain”, “My Favourite Things”, “Sixteen Going on Seventeen” and, of course, “The Sound of Music” are all in there, but the question is, with a show which has been performed so frequently over so many years, what can a new version bring to the stage?
Firstly, this production brings a very good cast. Danielle Hope, who made her professional debut as Dorothy in the Wizard of Oz, following winning the BBC’s Over the Rainbow program, was very impressive. Her singing voice was beautiful and effortless and her stage presence could be felt. Staying on the right side of twee, she made a very good Maria and had won me over by the conclusion of her first number. Jan Hartley utterly blew the audience away with her goose pimple-inducing rendition of “Climb Every Mountain” and Grace Chapman was equally impressive and perfectly natural in her role as Liesl. Most surprisingly for me though, was the incredible talent of the youngsters playing the Von Trapp children.
This production also brings with it a remarkable set. Appearing grand in scale (especially for a touring production), detailed and effective, it lifts the production and makes it feel fresh.The lighting and direction were of a high standard and the addition of a live orchestra only enhanced the experience. The sound in the theatre was perfect with a superb balance of music and lyrics and the performers delivered perfect diction in every line allowing the words to be heard clearly. Technically, it was a well-put together show.
Where the production faltered slightly was in the overly camp portrayal of (Uncle) Max Detweiler and that sometimes, especially during the party scenes, the number of people in the touring cast didn’t quite fill the stage. However, I wouldn’t necessarily hold these very trivial quibbles against such a broadly enjoyable production.Having seen the Sound of Music undertaken by numerous professional companies over the years I have to say that this is perhaps the best version I’ve seen. Of course it’s camp, of course it’s kitsch, but therein lays the fun and the enduring appeal of this show. This touring production seems to really revitalise the show as a whole, so iron your wimple, polish your sailors whistle and catch this production on national tour.
The Sound of Music plays at the Sheffield Lyceum until 14 February 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour (http://www.kenwright.com/index.php?id=1440)
By Paul Szabo
Also playing at:
Kings Theatre, Glasgow
Sands Theatre, Carlisle
New Theatre, Cardiff
Wimbledon Theatre, Wimbledon
New Theatre, Hull
Milton Keynes Theatre, Milton Keynes
New Victoria Theatre, Woking
Hippodrome Theatre, Bristol
Congress Theatre Eastbourne
Grand Theatre, Leeds
Grand Opera House, Belfast
Bord Gais Theatre, Dublin
The Lowry, Salford