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Category: Theatre

  • THEATRE REVIEW | Shadowlands

    THEATRE REVIEW | Shadowlands

    ★★★★★ – So emotional, I couldn’t help but cry.

    Amanda Ryan as Joy Davidman and Stephen Boxer as C.S. Lewis in Shadowlands. Credit Jack Ladenburg

    Credit: Jack Ladenburg

    Last night was one of those nights where you sit there, and for the whole of the two hours you felt so lucky to be a theatre reviewer. I didn’t think theatre could touch a person that deep, in the way that William Nicholson’s Shadowlands undoubtedly did.

    “Shadowlands is based on events that occurred in the lives of two real people – C.S Lewis and Joy (Davidman) Gresham (…) I have used parts of their story, not used other parts, and imagined the rest.” – William Nicholson.

    ‘Jack’ Lewis and Joy Davidman were played by Stephen Boxer and Amanda Ryan respectively, and I will never see the two actors as themselves again. C.S Lewis and Joy were resurrected and put on stage for the audience of the 21st Century to see the marvel that his world was, and the imagination he had, through William Nicholson’s own genius take on Chronicles of Narnia legend’s life. The portrayal was too surreal to be called acting. For a week only, the two lives come alive and let us in to see the lives that lived in and around C.S Lewis’.

     

    Credit: Jack LadenburgCredit: Jack Ladenburg     

    The formidable writing of Nicholson astonishingly captivates C.S Lewis and you were reminded of Narnia, as the story was told. I particularly adored the moment in which Lewis sparked the notion of magic with young Douglas, who wanted to believe in it so bad. Having seen The Lion, The Witch and The Wardrobe at Christmas at the Birmingham Rep, I was gleefully pleased to see some features used for this. It made the experience so much more magical.

    It is rare not to be able to control your lacrimal glands in public, but this story pushed them out of you whether you liked it or not. And I wasn’t the only one, with sniffles and other crying-like noises surrounding me, the whole theatre could not help but give in to the emotions of the heart-breaking story. One couple were so engrossed that were constantly saying: “Oh dear” as the action darkened.

    The subliminal acting, combined with almost too-good-to-be-true storytelling by William Nicholson evoked emotions that could not help but escape the depths of the human soul. “The happiness now, is part of the pain then.” Said Joy when she was on holiday with Jack, as the dreaded end was near, which touched so many people.

    Other acting, from Denis Lill (Warnie), Simon Shackleton (Prf Christopher Riley) and all the others contributed to the fullness of the play, and created exquisite drama which helped bring to life the man who made so many of our childhoods magical and filled with wonder.

     

    Shadowlands plays at the Birmingham Repertory Theatre until 4 June.

    Follow Alex Da Silva on Twitter

  • REVIEW | Lindsay Kemp: My Life and Work with David Bowie

    REVIEW | Lindsay Kemp: My Life and Work with David Bowie

    ★★★★★ | Lindsay Kemp: My Life and Work with David Bowie Interviewed By Marc Almond

    by Miss Shockingly Precise.

    CAMILA ALMEIDA @ THE ACE HOTEL

    British theatre, too often, is like the Catholic Church – full of fawning reverence for one-note deadbeats. Take Laurence Olivier. Sure, the guy’s voice was beautifully modulated, but his delivery, always, was so ridiculously clipped, precise and cold it sounded phoned in from the morgue. Olivier, somehow, always rigorously excluded emotion from his roles, which, if technically brilliant, never prompted tears or tore at listening heartstrings.

    That’s hardly the case with the stunningly emotive Lindsay Kemp, arguably British theatre’s most criminally under-appreciated genius. Taking English reserve by the throat and making gorgeously perverse, tenacious love to its’ dreary expectations, Kemp’s a singular and unlikely Messiah of the marvellous.

    Never heard of him? Of course you have; as David Bowie’s crucial, formative mentor, Lindsay inspired and helped create Bowie’s era-defining, still hugely influential Ziggy Stardust shows. However, that barely addresses Lindsay’s hugely innovative, still non-stop artistry, and fittingly, the Ace Hotel, the epitome of Shoreditch’s nouveau-hipster Renaissance, is celebrating Lindsay’s legacy.

    Outside, the pavements are crammed with adoring disciples eager for Lindsay’s first, London appearance since 2002, a celebration hosted by Marc Almond and Nicholas Peg. It’s completely deserved. For readers unaware of his legacy, Lindsay completely bulldozed theatrical tedium worldwide with a raw, radiant sexuality more relentlessly beautiful than a gay Sistine Chapel.

    The shows – Salome, Flowers, The Big Parade and many more – are landmark theatrical legends, but Lindsay, oddly, is overlooked by today’s crushingly ordinary theatre industry. That’s their loss, and probably, prompted by envy and the inability to market Lindsay’s fabulous, unrestrained genius as a guaranteed cash-cow. Still, tonight, the Ace Hotel is bursting at the seams with stellar talents frantic to lionise Lindsay on his own terms, discussing his own life and Bowie anecdotes.

    Firstly, there’s the enigmatic, irrepressible and outrageously entertaining Ernesto Tomasini, who – in a nod to tonight’s Bowie reminiscences, delivers soaring, falsetto takes of ‘Starman’ and ‘Threepenny Pierrot’. Then, there’s a huge, spontaneous rush of mass goodwill as Lindsay himself holds court, informally urged by a hugely appreciative Marc Almond and Bowie expert Nicholas Peg. If one measure of judging an artist is his influence on others – as Dali, arguably, inaugurated everyday surrealism – then Lindsay’s pivotal influence on Bowie, Marc Almond and countless others speaks volumes.

    Single-handed, coming from the most improbable circumstances – a working-class, pre-World War Two baby from Yorkshire – Lindsay’s maverick, sexual brilliance would, eventually, totally invalidate unimaginative theatre. Yes, Lindsay’s only possible, if less influential, British rival – the fiercely iconoclastic Steven Berkoff – also assaulted British restraint, but only Lindsay relentlessly elevated gay sexuality as a subject of breath-taking wonder.

    So no wonder David Bowie came running to study at Lindsay’s bewitching feet. Inevitably, they became involved, with Bowie co-starring in ‘Pierrot In Turquoise’, an early Kemp production, but Bowie’s ferocious ambition and libido proved too volatile for sustained collaboration. Ziggy Stardust, of course, stands as a permanent, world-changing monument to their later, final teamwork, but the focus, tonight, is on Lindsay’s beautifully idiosyncratic memoirs.

    He’s shocked, visibly, at how London’s changed, and even his hugely typical generosity of spirit can’t mask that regret. “I ventured into Soho, but it’s changed a lot, they’ve ripped out the wickedness. The bohemians are gone and there’s no danger, it’s very dull’. His own recollections, however – effortlessly summoned from a seemingly bottomless well – are gold-standard outré, a train-wreck, incest child of Picasso and Fellini. “I especially miss…  Miss Martinez (an exotic princess who danced in Soho, to the music of Ketelby’s) who always danced with a stuffed peacock on the streets…”

    Never remotely deflected from embracing his inner misfit – even by a vicious matron nicknamed ‘Frostbite’ at school, who scrubbed his face free of amateurish make-up with Vim(!) – Lindsay adored early 60s London. “Back then the city was glorious, liberating, and we definitely thought we would change the world – and we did, for about ten minutes!”

    Unsurprisingly – as a seriously conspicuous, de facto head of London’s rainbow demimonde – Lindsay was swamped with intriguing, if paradoxically low-profile offers. His small, cameo part is delightful in seminal, British horror flick The Wicker Man, but he didn’t warm to co-star Britt Ekland. “She was such a bitch,” he recalls, “I accidentally poured a glass of Guinness over her!” However, things improved with the arrival of a ‘fabulous looking girl’ on set. “She was Britt’s on-screen arse and knockers” Lindsay continues. “Britt was rather flattered…”

    In incomparable, mellifluous form, effortlessly charming at the bat of an eyelash or droop of a brow, Lindsay barely slows for queries from either host. But he pauses, smilingly, as co-host Nicholas Peg announces an exclusive extract from event planner Nendie Pinto-Duschinsky’s upcoming, major documentary on Lindsay and his world.

    Enthralling from the outset, it’s a bold, impressionistic portrait of a 21st Century pierrot – Lindsay himself – surfing the fabulous storm-surge of his own brilliance. Buoyed on an utterly uncharted, artistic tsunami, Lindsay’s drawn – and continues to draw – furiously devoted kindred souls in his wake. And, no matter how brief the contact, the fallout, often, is life-changing. ‘Timid Kate Bush’ for example, ‘became savage onstage’ and he taught Bowie “how to touch and reach and use stillness to communicate”. Difficult, you’d think, when Lindsay, partner Jack Birkett, Angie and David Bowie were all sharing the same bathroom, but brilliant, first impressions sanctify any downsides. As Lindsay so memorably describes his initial encounter with Bowie, ‘The door opened and it was the Arch-angel Gabriel!’

    Now, exit lines don’t get better than that, but the night’s not quite finished yet. With guitarist Neal X, host Marc Almond – himself a consummate lyricist and globally eminent torch singer of the bewitching, beguiling and bizarre – unforgettably serenades Lindsay. There’s a pin-drop hush as Marc, quite exquisitely, renders Jacques Brel’s ‘Port Of Amsterdam’ and Bowie’s ‘Starman’ as ravishing hymns of exultation. And then, ratcheting the feel-good delirium even higher, singer Holly Johnson presents Lindsay with a glorious, floral bouquet.

    Immediately, there’s an ecstatic, standing ovation from the host of gay celebrities present, as those of us lucky enough to attend remember one, unforgettable fact. There is true magic in this often dreary world, and it exists in two, simply enchanting words; Lindsay Kemp. Now and forever, the reigning Queen of gorgeous excess.

  • THEATRE REVIEW | Kenny Morgan

    ★★★★ | Kenny Morgan

    One of Terrence Rattigan’s best known and most moving plays, “The Deep Blue Sea”, has a disturbing and fascinating genesis.

    Written in 1952, the play concerns itself with well-to-do Hester who has left her safe but dull marriage for a dashing young airman and is living in desperate poverty, battling depression and rejection. Writing about gay relationships (which were illegal until 1967) would have been taboo and a highly dangerous move so he penned a story that was based on the events that had happened in his life but changed the relationships to heterosexual ones.

    Rattigan’s on and off secret lover of almost ten years, the eponymous Kenny Morgan, left him for a bisexual actor. His once promising film career floundered, his finances dwindled and he slipped into depression, killing himself in 1949.

    The play opens in a worn round the edges Camden Town boarding house. Kenny (Paul Keating) is lying in front of the gas fire having failed to commit suicide. The dank cellar of the Arcola perfectly houses a set that is utterly convincing and is complete with grimy net curtains, frayed carpets and a lingering taint of too many cigarettes smoked. The dialogue follows suit too and feels genuinely late 1940s. The script is a slow burning one and starts with a camp and amusing skittishness with a cast of inquisitive, prurient and concerned neighbours trying to help Kenny. The pace is pitched perfectly and the notes of tragedy soon emerge as Kenny hurtles towards his horrible fate.

    Paul Keating gives a moving performance as the conflicted and disturbed Kenny and is ably supported by a strong cast. Simon Dutton is a suitably suave and rigid Rattigan and Pierro Niel-Mee is Kenny’s rakish yet ultimately sympathetic lover Alec. There’s great comic relief from Marlene Sidaway as his elderly landlady.

    This is essential but sometimes heart breaking viewing and a moving glimpse into a world that seems a lot longer than 67 years ago. Mike Poulton’s skill as a writer is to make it easy for the modern gay man to empathise with the characters and their horrible predicament in a country blighted by anti-Semitism and misunderstanding of mental illness that was a potentially ruinous place for a gay man. However, he presents a more rounded view of the era also where alongside prejudice and bigotry there were pockets of sympathy, warmth and tolerance too. Difficult as Kenny’s life seems and as taut as Rattigan’s predicament was, it’s also comforting to see that there were ways of living under and around the law.

    Kenny Morgan plays at the Arcola Theatre until the 18th June

    @chrisb715

  • THEATRE REVIEW | King Lear

    ★★★ Intense, cathartic, but lacked a punch.

    “But I am bound upon a wheel of fire, that mine own tears do scald like moulten lead” – King Lear

    The story, written by Shakespeare between 1604 and1606, depicts the tragedy of a family who lose trust, compassion, and all for the material gain of land. Those who are good of heart suffer the most and unspeakable tragedy befalls them. When Lear’s oldest two daughters plot to usurp him from his thrown, it is a wayward journey where no traveller returns.

    Talawa Theatre Company and the Royal Exchange Theatre present a moment in theatre that is both harrowing and compelling. From powerful performances by Don Warrington (Lear), Philip Whitchurch (Earl of Gloucester), and Alfred Enoch (Edgar); to an ambitious set that delivered surprises and was thematic with the shape of a circle that glowed like a ‘wheel of fire.’

    Don was very convincing as the King with strong tones of authority, madness, and sensitivity; the second half particularly, Don commanded with emotion and powerfully delivered ‘howl, howl, howl’ whilst carrying a dead Cordelia in his arms. Philip portrayed Gloucester with sincerity and truth, which made his tragic scene even more difficult to watch. His speeches and dialogue were very eloquent and combined with the emotion, galvanised the role to a very high standard. Alfred, who most will recognise from playing Dean Thomas in the Harry Potter franchise, gave an electric performance as Edgar/Poor Tom with physicality that was moving, edgy, and kept your eyes glued to the stage. The way in which he portrayed Poor Tom when he transitioned was fantastic in terms of the acrobatic movement and flair of speech delivery. It was a shame they cut Poor Tom’s speech about him becoming Poor Tom. It was also a pity that the Fool’s speech about the end of the world was cut, which would have contributed to the apocalyptic feel of King Lear. But then again, I am not sure Miltos Yerolemou (Fool) would have handled it as well as he did his comedy. His comedic timing was brilliant, but the scenes in the wilderness were a little lacklustre, in terms of line delivery and truth.

    King Lear1

    Though there were some great moments, there were others that took away from key scenes, and therefore spoiled the play overall. Unfortunately, Pepter Lunkese who played Cordelia was overly shout-y and whiny, and not much of her in the play, which made it hard for the audience to feel sad for her death at the end, even though Don’s lamentation was sublime.

    The key disappointment for me was the ‘camp’ portrayal of Oswald. I thought we had come a long way since portraying characters as camp for the purpose of seeking a cheap laugh from the audience, or as a device for a character to come across evil. It was both offensive and shocking to see.

    King Lear plays at the Birmingham Rep  until 28th May

  • Theatre Review | Flowers For Mrs Harris – Crucible Theatre

    ★★★★ | Mrs Harris is a post-war charlady and widow, struggling with austerity and living a life of the mundane, until, that is, she stumbles across a Christian Dior dress in the wardrobe of a wealthy client she cleans for. Obsessed with owning such a thing of beauty, she works and saves for the dress, and finally journeys to Paris, where she realises what really makes her happy.

    Photo Credit – Johan Persson

    The show is adapted from the novella by Paul Gallico and is presented, in the main, as a sing-through musical. The show is a muted affair, but benefits immensely from its style and presentation. The set is a sparse affair; a monotone of grey with scant scenery. There are no big production numbers or show stopping moments and there is a limited but talented cast. But what this provides in exchange is an abundance of intimacy and emotion; a heart-warming tale with characters you can emotionally invest in and a central character who is, quite frankly, nothing special, but actually, doesn’t need to be.

    The story is one of investment of kindness in others; and of letting go. Mrs Harris’ determination to own the dress of her dreams, to bring glamour and beauty into her uneventful life, is laced with a poignancy which somehow manages to celebrate the ordinary. Written and composed by Richard Taylor and Rachel Wagstaff, the show carries with it a sense of tradition, having a real air of an old fashioned musical. Even the songs, which are all brand new, sound somehow familiar and there is warmth resonating from the production as a whole which adds to its seasoned feel.

    Clare Burt’s portrayal of Mrs Harris is tender and down to earth, whilst it is Anna-Jane Casey as Vera, Mrs Harris’ best friend, who steals her scenes; and Lois Maskill is in fine voice throughout in the dual roles of Bob and Andre. Director, Daniel Evans, makes a low key finale to his tenure at Sheffield Theatres, and it is somewhat fitting that his swan song is about the impact of giving to others.

    With gentle references to My Fair Lady and It’s A Wonderful Life; and just a hint of Pretty Woman; Flowers for Mrs Harris is unashamedly sentimental with an emotional ending to a story of love, loss, rebirth and finding out what really counts in life.

    Flowers for Mrs Harris has just had its world première at the Crucible Theatre, Sheffield and plays until 4th June 2016. Visit www.sheffieldtheatres.co.uk for details or call the box office on 0114 249 6000.

     

     

  • Theatre Review | Priscillia – Queen of the Desert – National Tour

    ★★★★ Priscilla Queen of the Desert | In this joyous musical based on the cult film of the same name, three drag queens “unplug their curling wands and go bush” to travel across the outback; as they bitch, bicker and laugh their way across the desert en route to a show in a casino in Alice Springs.

    The trio continuously ensure that they are looking their best whilst “dressing up in women’s clothing and mouthing the words to other people’s songs” as they fall in love, cement their friendship and learn about life on the way to the show of their lives.

    Following the story of the cult film fairly closely (albeit it with some minor changes) it was a show which is unashamedly flamboyant. The show uses a combination of gay club disco classics, including “I Will Survive”, “I Love the Nightlife”, “Go West” and “Finally”, meaning that the whole audience were clapping, cheering and laughing from the moment the curtain went up.

    In terms of the cast, Jason Donvan was functional as Tick, and poked a little fun at his Neighbours days, but played the part with a little bit too much camp, watering down the interplay between the straight laced Tick and outrageous Adam, whereas Simon Green filled the stiletto’s of Bernadette perfectly, with a rounded, character filled performance. The supporting cast were, as you would expect, ludicrously attractive and threw themselves into the musical numbers with energy and gusto.

    The whole thing was colourful, exuberant and thoroughly entertaining with a sharp, funny script, including many of the quotable lines from the movie and all of the characters  that you know and love from the film (including good ol’ Shirl). But where the show really came into its own was in the musical numbers, taking some from the film and adding some new ones just for the show. The routines were over the top, bold, brassy and ballsy, with costumes to match (flip flop dress, anyone?). Everything from dancing paintbrushes, lizards, Marie Antoinette’s, Ostriches and scantily clad, leather wearing dancers were all on stage in a dazzling spectacular.

    If you haven’t seen the show, then go and treat yourself. If you have, then go again, even if it is to spot a few changes in the production this time around, (although not all of them work – especially ditching It’s Raining Men as the opening number). There is an underlying message of acceptance in society and strength in friendship underneath it all, but it is smothered in a thick layer of campness and kitch which plants the show firmly in realms of the feelgood musical.

    Overall, this was a really great, fun show and a piece of feel-good, uplifting and ultimately heart-warming theatre which has its tongue firmly lodged in its cheek. It’s a real feast for the eyes, the ears, the heart, the soul and the funny bone.

    Priscilla is currently at Sheffield Lyceum Theatre until May 28th 2016 (www.sheffieldtheatres.co.uk) before continuing on it’s national tour. See www.priscillathemusical.com for details.

     

  • THEATRE REVIEW | The Sins of Jack Saul

    ★★★★ | The Sins Of Jack Saul

    The Above the Stag Theatre is now presenting the new musical ‘The Sins of Jack Saul.’ Well who is Jack Saul you might ask?

    Jack Saul was a male prostitute in London who went by the name ‘Dublin Jack,’ because he was from Dublin. He left for London at the age of 22 and wasn’t sure what to find there. He eventually fell into prostitution and was involved in two major homosexual scandals. For it being the late 1800s, homosexuality was scandalous and even criminal behaviour.

    But what made Jack Saul famous (or infamous if you will) was his involvement with a lieutenant in the Irish army, and working in a male brothel in London – at 19 Cleveland Street (which in itself was a musical at the Stag called ‘Cleveland Street – The Musical‘) . So ‘The Sins of Jack Saul’ tell his interesting and scandalous life through song and a bit of dance, and a helpful narration by the devil (provided by the handsome yet evil looking Michael Gonsalves).

    It’s a typical production for Above the Stag, and through this production we get to learn who Saul is and what were his sins.

    ‘The Sins of Jack Saul’ is based on the book ’The Sins of Jack Saul – the True Story of Dublin Jack and The Cleveland Street Scandal’ by Scottish playwright Glenn Chandler.

    Saul is played by Jack McCann, who is very good and believable. We get to relive his life, his life back home in Ireland with his mother (Felicity Duncan, who also plays other roles, including a French Prostitute) and his disapproving brother (Ciaran Bowling – who also geniously plays Lieutenant KIrwan – the army officer Saul gets involved with).

    We see Saul become an in-demand call boy – sleeping with very important people, including Lord Euston (David Mullen), a relationship that would eventually be the catalyst for the downfall of the brothel, and for Jack. ‘The Sins of Jack Saul’ is set to music, with appropriate songs to match the plot (‘I Always Wanted a Man in Uniform’ and ‘Pornography’) being a couple of the standouts.

    ‘The Sins of Jack Saul’ is a satirical romp through the eyes of one of London’s most notorious rent boys.

    The Sins Of Jack Saul plays at Above The Stag until 12 th June 2016

  • THEATRE REVIEW | This Is Living

    ★★★★ | This Is Living

    Alice and Michael are soaking wet and alone in a field by a river at night. Alice can’t remember what bought them there and wants to go home. The problem is that Alice can’t go back again and the big question is what bought them to this point.

    CREDIT: Alex Harvey-Brown

     

    Liam Borrett’s exploration of grief and loss is very impressive. The real achievement isn’t the story itself or the dissection of the aftermath of tragedy but in the characterisation. Alice and Michael are a couple in their late twenties, married with a young daughter. You almost certainly know them. Alice is outspoken, wilful and brimming with unrealised ambition. Michael is a little gauche and awkward and completely in awe of Alice. Michael Socha (E4’s Aliens, This Is England, Being Human) and Tamla Kari (The Inbetweener’s Movie, The Musketeers) are remarkably good and both give robust and forceful performances.

    We see their lives together through a series of potent and cleverly inter-cut flashbacks: their clumsy first meeting on a bus via drunken nights and bad dancing after a lot of Echo Falls, through to the news that Alice is carrying the baby that Michael so desperately wanted. The beauty of the characters is how familiar and ordinary they feel and the celebration of how seemingly ordinary people have extraordinary traits and fascinating stories within the routine of daily life. Sarah Beaton’s waterlogged set leaves the viewer feeling cold and damp and clever sound and lighting design allows for the brisk flow back and forth between past and present.

    The play has a lot of funny moments and Kari’s depiction of Alice’s seemingly brash Northern charm complements Socha’s devastating but understated portrayal of Michael’s ungainliness. The script is tight with a few minor slack moments. The painful subject matter is depicted with charm and grace and rarely feels unbearable but is still devastating and painful to watch.

    The play seemed to initially lose focus slightly after the interval but soon regained the mood and may perhaps have been carried better as a one-act piece. Nevertheless, this is an incredibly powerful piece of theatre and a chance to see two very talented actors realise the potential of a beautiful script. This is also Socha’s West End debut. He stated in a recent interview that he was feeling nervous. He needn’t have worried.

    This Is Living plays at The Trafalgar Studios until 11th June

     

    @chrisb715

  • THEATRE REVIEW | Northern Ballet’s Jane Eyre

    ★★★ |  Northern Ballet’s Jane Eyre

    In an adaptation of Charlotte Bronte’s iconic novel, Jane Eyre is an orphan who is treated cruelly by her Aunt and sent to an institute for young girls. From there, she moves to work at Thornfield Manor as a governess and swiftly falls in love with her employer, Mr Rochester. But the Manor House harbours dark secrets, and as their love grows, Jane’s independence and fiery temperament surfaces as those secrets are revealed.

    Trying to cram the complex and multi-layered classic novel into a 100 minute ballet was always going to be a difficult challenge, and one which choreographer Cathy Marson takes on with confidence.  The staging of the ballet itself is inventive, with the use of curtains which are moved and positioned across the stage to effectively and cleverly convey both the confines of Thornfield Manor House and the sweeping moors.

    At times the choreography was beautifully done, leaning far more towards the contemporary rather than the traditional, with a lot of delicate lifts, floor work and precise movement, contrasting moments of tender intimacy with complex ensemble pieces. Both Dreda Blow and Javier Torres’ performances were more than noteworthy and displayed their professional competence; whilst overall, the supporting company’s movements were of their usual high quality.

    Whilst the technical excellence of the company meant foot sure and stumble-free performances, the production did falter slightly over the issues of narrative and characterisation. The novel itself portrays so many aspects of Jane’s life, and the ballet hits most of the significant events, but with so much to cover within so little time, the narrative felt rushed, superficial and unclear; whereas the characterisations were not as clearly defined as one would hope, leading to further confusion.

    Overall, adapting Jaye Eyre is a huge task and one which is beautifully staged and performed, but the juxtaposition of the contemporary dance and the period setting, coupled with the rushed narrative amounts to a production which is enjoyable, but doesn’t quite come together to be more than the sum of its parts.

    Jane Eyre had its world premiere at CAST Theatre, Doncaster; who hosts a varied range of performances. Visit their website at www.castindoncaster.com for full details. Northern Ballet is currently touring Jane Eyre, with productions of 1984, Romeo & Juliet, Wuthering Heights and Beauty and the Beast to follow later on this year. Visit www.northernballet.com for details.

     

  • Theatre Review | Matthew Bourne’s Sleeping Beauty – Lyceum Theatre, Sheffield

    ★★★★★ Matthew Bourne’s Sleeping Beauty | In a reworking of the classic fairy tale, Princess Aurora is cursed by the dark fairy, Carabosse, to die after pricking her finger on a rose on her 21st birthday. But after Carabosse dies in exile, her son Caradoc vows to avenge his mother and fulfil her curse. But things don’t go according to plan and instead, Aurora falls into a deep sleep for 100 years, meaning that is down to Leo, the royal groundskeeper and Aurora’s true  love, and Count Lilac, King of the Fairies, to save her; in this gothic, romantic, love story that transcends the centuries.

    Photo Credit: Johan Persson

    Bourne is known for placing a contemporary spin on a classic ballet score, having already taken on two of Tchaikovsky’s greatest, The Nutcracker and Swan Lake with great success; and he completes his trilogy with Sleeping Beauty, setting a fresh take on the story to the time honoured traditional score, with an elegant production.

    Bourne delivers some intricate and masterful choreography that veers between the playful, the romantic and the dramatic; as he floods the stage with waves of movement to completely mesmerise the audience, clearly define the characters and progress the narrative. Where he really succeeds is the pacing of the piece, as it opens strongly and keeps building and building, with each set piece seemingly bettering the one before.

    The cast were universally outstanding, with Ashley Shaw demonstrating a natural grace and skill with her portrayal of Princess Aurora. Chris Trenfield was delightfully charismatic and alluring as Leo and Adam Maskell revelled in his deliciously dark dual roles as both Carabosse and Caradoc, roles which he has clearly now defined. But equally, there was very little to separate out the remaining ensemble whose technical skill, timing, precision and uniformity was impeccable, from their delicate and intricate movements to their facial expressions.

    From the jolting opening scene with its booming thunder to the thrilling final act (which I shall not spoil), Sleeping Beauty is a sumptuous production with an overlay of vampirism, gothic beauty and visuals which enchant and enthral. In a show which oozes quality from every aspect, in terms of set, costume, lighting, direction, performance and visuals, it amount to two hours of simply breath-taking, flawless and unforgettable theatre.

    Sleeping Beauty is currently at Sheffield Theatres until 21st May 2016 (www.sheffieldtheatres.co.uk). Matthew Bourne’s New Adventures have recently announced Matthew Bourne’s new production, The Red Shoes, which will have its world premiere in Plymouth in November 2016 and which is to tour nationwide in 2016/17. Visit www.new-adventures.net/ for details.

     

     

  • Theatre Review | End Of The Rainbow – Sheffield Theatres and National Tour

    ★★★★ | End Of The Rainbow

    Set primarily in a hotel room as Judy Garland embarks on a set of comeback shows in a six week residency in London,  End Of The Rainbow examines the on and off stage crumbling of an iconic figure and her ongoing battles with her personal demons

    Photo Credit – Pamela Raith Photography

    As Judy succumbs to a cocktail of drink and drugs. Garland tries to hold things together as she is pushed to the brink by her fiancé, who is torn between his desire for them to share a private life and successfully reviving her career and fighting off her financial difficulties.

    Starring in the role of Judy is Lisa Maxwell (Loose Women), who gives a simply superb performance, capturing not only the mannerisms and melodic intonation of Garland but effectively portraying the contrasts between her brashness and her vulnerabilities and offering genuine raw emotion in numerous scenes showing just how tragic many of the aspects of Garland’s private life was. Alongside her was Gary Wilmot, who offers a gentile and steady portrayal of Anthony Chapman, Garland’s gay pianist and confidant; and Simon Pontin as Micky Deans, her fiancé.

    Peter Quilters play is lovingly written, juxtaposing the wit, bravado and sheer brashness of Garland with her heart-breaking vulnerabilities and desperation. The play shows Garland at her best and worst and provides scenes which really do gut punch you. As a drunken Judy, a quivering mess, lays on the floor begging for pills and to be loved, you can’t help but feel sorry for her. Aspects of Garland’s life are sensitively handled; yet don’t lose any of their power, in particular as she talks about being force-fed pills from a very young age by both the movie studios and her mother.  But it isn’t all downbeat, as Judy’s legendary rapier sharp wit cuts through the drama and the scenes in the hotel are interspersed with a smattering of some of her classic hits, which are belted out with aplomb by a vocally impressive Maxwell, all of which is sufficient to lighten the mood.

    End of the Rainbow avoids being a saccharine coated tribute by a country mile, and instead is a warts and all portrayal of Garland as she descends back into the pill taking and drinking that would soon consume her; and which examines the person she had become as a result of the years of the pressures of fame and the treatment of her by those around her. Yet despite all of that, Garland never really comes across as a victim in all of this, but instead remains an unstoppable, headstrong force of nature whose confidence and bravado no doubt masked a fragile and helpless woman.

    End of the Rainbow is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until Saturday 15th May 2016, before continuing on its national tour. See the show’s official website at www.endoftherainbowtour.co.uk for details.