Category: Theatre
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THEATRE REVIEW | This Is My Family, Lyceum theatre Sheffield and National Tour
★★★ | This Is My Family, Lyceum theatre Sheffield and National Tour
Nicky loves her family very much, so enters a competition to win a holiday by describing her family in less than three hundred words. However, her description does not include details of her mother’s boredom at her routine life, her father’s impending midlife crisis, her grandmother’s increasing forgetfulness and her Goth brother’s lovelorn angst. So when Nicky finds out she has won the competition and can chose any location in the world for her destination, she eventually decides on a holiday which none of her family would have ever expected.
Following its debut last year, this new British musical comedy embarks on its first national tour. Written by Tim Firth, writer of Calendar Girls and Kinky Boots, the quick paced script is delivered at a matching speed and produces a number of genuinely funny one liners, with humour reminiscent of the family sitcoms “Outnumbered” and “”My Family”. The show is akin to a sing through musical, with the songs being part of the narrative and moving the story forward (with the cast, in essence, singing their lines) but with sufficient dialogue in between to break up the numbers and a script and story which balanced comedy, conflict and sentimentality very well.
Evelyn Hoskins was every bit the star of the show, with her outstanding voice and upbeat performance as Nicky. But she was very closely followed by Terence Keeley, as Matt, whose singing voice had a mature, powerful and almost operatic quality for such a young performer and whose deadpan delivery was spot on. The entire company had good comic timing, playfully cutting across each other and delivering the wordy script with aplomb.
In the newly refurbished Lyceum Theatre, the sound was crystal clear with every word being audible, despite how quickly the cast spoke. The static set was functional, as was the lighting, but this play is more about the writing than the staging.
Where the play fell short was the songs; which sounded far too alike each other to ever really stand apart from the previous on, and the repeating refrains somehow making the first act seem very slow. In terms of the story, there felt as though there was very little narrative progression in the first act, and it was more about building up characters and relationships than driving the plot forward. But the second act brought everything together quite nicely, and in hindsight, it was clear why the slow build up was necessary, with the show just managing to keep on the right side of sentimentality to head towards a feel good ending.
This is My Family is not your usual musical – if you go expecting show stopping routines and big, bold numbers, you will be disappointed. But if you want a sitcom with songs, with plenty of laugh out loud moments, you will no doubt find much to enjoy.
This Is My Family is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk/event/this-is-my-family-14/ ) before heading out on its first national tour, visiting Royal & Derngate, Northampton; Belgrade Theatre, Coventry; Liverpool Playhouse and The New Wolsey, Ipswich.
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THEATRE REVIEW | The Tempest, Waterloo East Theatre
★★★ | The Tempest
The cover of the programme for Waterloo East Theatre’s new production of The Tempest shows Big Ben toppling under a flood of water. As we entered the theatre, Ariel was suspended in a hammock above the audience. Whilst on stage, various detritus that may have been salvaged from a flood was scattered around, Miranda sitting reading in an empty bath, and Prospero, seated on a crate, quietly talking to her. The press release tells us that the year is 2080, but no other allusion to the year or to London was made, and as the text continued to refer to the courts of Milan and Naples, I doubt many would have got the reference anyway.
The play opened in a burst of energy, with passengers on the ship that is soon to be caught up in the eponymous tempest, dancing and drinking and generally making merry before the storm disperses them on Propero’s island, which is when Prospero starts to have his fun, directing events almost like a puppeteer. Indeed many have sought to find something of Shakespeare himself in the character.
Sarah Redmond’s production was swift moving, managing seamlessly the transitions from high to low comedy, from darkness to light. I’m not quite sure I understood why Miranda and Ferdinand’s marriage should have been celebrated with a lap dance, and I would have welcomed a little more of “the sounds and sweet airs, that give delight and hurt not”, but the score did provide us with “a thousand twangling instruments”. In fact, music was used most effectively throughout.
Would that the text had been delivered with a deal more musicality too, for poetry was somewhat lacking, except in the performance of Guy Wolf, who gave us a Ferdinand of charm and innocence, bringing out both the humour and the beauty of the poetry. It was there too in Chipo Kureya’s mercurial Ariel, and I will not easily forget the radiant happiness that spread over her countenance when Prospero finally set her free. Rebecca Hazel caught well Miranda’s wonder at a “brave new world”, if a touch too lasciviously at times. Though there is no doubt a venal side to the attraction between Miranda and Ferdinand, it should still have a childlike innocence about it, which is exactly where Wolf was so convincing.
I’ll admit that I often have a bit of a problem with Shakespeare’s mechanicals and The Tempest is no different from any of his other plays in that respect. Here their scenes were managed as well as they can be, I suppose, ably led by Matthew Harper’s boorishly bullish Caliban, but still nobody was rolling in the aisles, as presumably they would have been in Shakespeare’s time.
Over all presides the problematic figure of Prospero, and for me the performance of Tom Keller revealed a major problem at the heart of the play. Admittedly, there is not much to like about Prospero for the first half. He is cruel to both Ariel and Caliban, and to Ferdinand, at times dismissive of his daughter. This makes him a difficult character to like, though he redeems himself in the last two acts. Prospero does have a good deal to be angry about, but to succeed in the part, the actor needs to bring out his benevolence as soon as possible. Tom Keller was pretty irascible from the word go, and remained in a pretty bad mood throughout, his delivery of the text unmusical and perfunctory.
The Tempest plays at Waterloo East Theatre until October 26th.
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THEATRE REVIEW | Damn Yankees, The Landor Theatre, London
★★★★ | Damn Yankees, The Landor Theatre, London
Perpetual losers, The Washington Senators, are failing to win at baseball yet again and fanatic Joe Boyd is tempted into a Faustian pact when he sells his soul to the devilish Mr Applegate in return for a series win. Joe soon realises what he’s leaving behind and is torn between the wife he’s left behind versus the chance to take his team to victory and the distraction of the devil’s sidekick, beautiful and vampy Lola.
Adler and Ross’s multi-award winning musical may have one of the silliest plots around but that doesn’t matter at all. Coming straight after their success with The Pyjama Game and a string of chart hits, Damn Yankees was well received and was even made into a film starring Tab Hunter and Gwen Verdon. Sadly, at the height of their success, Ross died aged 29 from complications of lung disease.
This production has already been nominated for an Off West End award for Best Choreographer for Robbie O’Reilly. It’s not hard to see why. The dance routines are breath taking. The production values of the show are up to the standards of a West End production and tickets are a fraction of the price. O.K., The Landor is a fringe venue and has fewer frills in terms of special effects and scenery but is well worth a trip to Clapham North. The lighting, set and costumes are all well put together especially given the constraints of a smaller venue.
The cast are especially strong with wholesome and handsome Alex Lodge putting in a stellar lead performance as Joe Hardy, showing dazzling dance moves and a powerful voice, which considering that he’s a recent graduate shows a considerable talent. He’s definitely one to watch and not simply because of his boyish good looks. Poppy Tierney and Jonathan D Ellis are both hilariously camp as Mr Applegate and his sidekick Lola and give well polished performances. Ellis’s cabaret turn in Act Two was especially waspish and funny and Tierney gives a good rendition of “Whatever Lola Wants”.
Did I mention the boys? I haven’t seen so much bare male flesh in a musical in quite some time. As well as being a stage presence due to their singing and dancing, their abs and pectorals are worthy of some kind of award, surely? The supporting female cast are equally good but with less flesh on show.
This is definitely worth checking out for an entertaining few hours.
Damn Yankees runs until the 8th of November 2014
Buy tickets here: http://www.landortheatre.co.uk/index.php/booking-office/musicals/damn-yankees-90/
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THEATRE REVIEW | The Great Gatsby – Northern Ballet
★★★★★ | The Great Gatsby – Northern Ballet
In 1922, Nick Caraway moves to Long Island, hoping to take advantage of the economic upturn. He buys a house near to his cousin, Daisy, who is trapped in an unhappy marriage to Tom Buchannan as a result of Tom’s infidelity and quick temper. Entering into the decadent and indulgent world of 1920’s extravagance, Nick attends the lavish parties thrown by his reclusive neighbour, Gatsby. Gatsby longs for his lost love, Daisy, and as the two rekindle their love; a chain of events is set in motion which impacts upon all of them as their world of excess and glamour comes crashing down.
Northern Ballet continues to surprise and delight in equal measure with this production. The show has an almost cinematic feel to it, combining detailed narrative, rich characterisations, sweeping scenes and a mixture of choreography, ranging from traditional ballet to the Charleston. The party scenes were an absolutely delightful, producing a genuine smile and conveying the fun and decadence of the era with the uplifting and joyous music and enthusiasm of the cast. This made the juxtaposition with the love story, the themes of loss and regret, loneliness and divided loyalties even more moving.
Giuliano Contadini brought a wide eyed innocence to the role of Nick Carraway; and Kenneth Tindall has never been better than in his role as the scheming and thoroughly unpleasant Tom Buchanan. Tobias Batley brought an effective, subtle performance of loneliness and regret as Gatsby and Martha Leebolt was superb as Daisy Buchannan. The entire cast deserve credit for the way in which; expressed only through dance; they were able to garner such rich depth of character for those involved in the narrative.
The music was very much in keeping with the time period, as were the cloche hats, flapper dresses and smart tuxedo’s, which filled out the cast’s wardrobe. The live orchestra once again played beautifully and the inclusion of two songs within the score added a twist which worked incredibly well, one of which immensely enhanced the beautifully poignant closing scenes.Northern Ballet was named Best Company at the inaugural Taglioni European Ballet Awards in October this year, and with the consistency and quality of their productions, it is not hard to see why. The running time for The Great Gatsby simply flew by and the show was not only utterly absorbing but was very difficult to fault. Very highly recommended.
The Great Gatsby is currently on national tour, visiting Canterbury’s Marlow Theatre, The Alhambra Theatre; Bradford, Saddlers Wells in London and Norwich Theatre Royal.
For more information visit www.northernballet.com
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THEATRE REVIEW | Hello Norma Jeane, Kings Head Theatre, Islington
★★★★ | Hello Norma Jeane, Kings Head Theatre, Islington
The year is 2003. Joe has jetted off to Los Angeles to find and bring back to England his 76 year old grandmother, Lynne, who has escaped from the home she was living in and holed herself up in a motel in Hollywood.
When he finds her, she tells him that she is there, because the world is in dire need of some good news, and that news is that she is about to reveal that she is in fact Marilyn Monroe, that she faked her own death, and that she has been living in obscurity in Essex ever since. Is she really Marilyn or is she just fantasising? Will Joe believe here? Will we? And does it really matter one way or the other?
Dylan Costello’s amusing and often very touching play cleverly keeps us guessing. As he adds layer upon layer of detail to his tale, we are buffered one way and the other, one minute believing Lynne really is Marilyn, and the next absolutely sure that she isn’t, and we are kept guessing till the end. Ultimately though the play is not about guessing games, but about the nature of love, unconditional love; the genuine love between Joe and his grandmother, contrasted with that of Joe and his abusive, cheating boyfriend back in London. And maybe when Lynne jets off to Hollywood, she does so in the hope of making Joe see sense, of Joe finding his true self instead of living in the shadow of his boyfriend.
At the play’s centre is a performance of warmth and humour from Vicki Michelle, known worldwide for the role of Yvette in the TV sitcom Allo Allo. But this is no star turn; Michelle is one part of a talented team. Her relationship with Jamie Hutchins’s sweet, rather gauche Joe is beautifully charted, as their scenes together veer from high comedy to touching drama. Farrell Hegarty differentiates nicely between the superstar Marilyn and the young Norma Jeane, and has a great comic turn as TV hostess Carla Carlyle. Handsome Arron Blake completes an excellent cast as budding actor Bobby and Matthew Gould’s direction is unobtrusively right from beginning to end.
Hello Norma Jeane was one of five winners in Chicago based Pride Films and Plays’ Great Play Contest in 2011, and it is to be hoped that it will have a life beyond its present short season at the Kings Head in Islington.
At the moment it is playing Sundays only at 3.15 and 7.15 until November 2nd at the Kings Head Theatre, Islington.
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THEATRE REVIEW | Next Fall
★★★★ | Next Fall
Imagine meeting a younger man, falling in love and then finding out that he has a very different ideology from yours. How would you cope if you found out that he was a fundamentalist Christian who believes that homosexuality is a flaw, the Bible is a literal document and is waiting for a rapture to occur so that he can be drawn up to heaven?
Adam and Luke have managed to make their relationship work in spite of their differences. Adam is a failed writer from New York and a neurotic atheist with hypochondria issues. Luke is from Florida and is an aspiring actor with strong religious views and a tendency to pray to thank God for food and again after sex to ask for forgiveness. Luke has kept his sexuality secret from his parents, always planning to tell them next autumn but things come to a head when Luke is hit by a car and is lying in hospital in a coma and his long separated parents arrive from Florida along with a closeted male friend and his best female friend.
This multi award winning play by Geoffrey Nauffts is so much more than an issue centred play but works on varying levels: as a tender exploration of human frailty and diversity, a moving drama and also a really witty comedy with laugh out loud moments. Charlie Condou (Coronation Street) and Martin Delaney portray the couple at the centre of the play with skill but the real stars of the play are the supporting cast. Nancy Crane is exceptional as Luke’s flaky mother with drug issues and her comic timing is absolutely impeccable. She delivers killer line after killer line without batting an eyelash. Sirine Saba and Mitchell Mullen are equally brilliant in their portrayal as Adam’s New Age best friend and Luke’s bullish father, struggling to cope with his suspicions about his son’s sexuality.
The set is versatile, making use of the intimate space in play at Southwark portray hospital waiting rooms, apartments and even a street scene. The theatre is a perfect space for a play of this intensity and warm humour.
This is a play that is really worth catching. It’s definitely worth a trip to Southwark for a rare opportunity to see a play that has the potential to make you cry with both laughter and sorrow.
Next Fall runs until the 25th of October 2014
Buy tickets here: www.southwarkplayhouse.co.uk
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Beautiful Thing Comes To Birmingham
Nikolai Foster’s celebrated anniversary production of Jonathan Harvey’s Beautiful Thing comes to Birmingham Hippodrome’s Patrick Centre from 30 March – 11 April 2015.
Multi-award winning actress Charlie Brooks, best known for her role as Janine Butcher in EastEnders, will lead the cast as Sandra in the forthcoming performance of Beautiful Thing. Other notable credits include Jenny in Bleak Houseplus being crowned the Queen of the Jungle in I’m A Celebrity, Get Me Out Of Here! and winner of the mirror ball trophy in the Strictly Come Dancing Christmas Special in 2011. She also recently enjoyed a critically acclaimed stage performance in Our Country’s Good at Liverpool Playhouse.
Thomas Law, whose roles include Peter Beale in EastEnders, Matt Haddon in Casualty and most recently as a young Simon Pegg in blockbuster film The World’s End will star as Ste.
Sam Jackson, whose roles include Alex Henley in Skins (E4), Jack in Drifters (E4) and a critically acclaimed performance as Billy Casper in Kes (Derby Theatre) will star as Jamie.
Director Nikolai Foster was recently appointed Artistic Director of Curve Leicester. His work has been seen in most of the UK’s leading regional theatres, touring houses and internationally, and recent productions include The Hired Man (St James), Calamity Jane (UK tour), Brecht’s The Good Person Of Sichuan (Mercury, Colchester), Flashdance (West End), Hayfever (CFT), Merrily We Roll Along (Clwyd Theatr Cymru), The Diary of Anne Frank (York Theatre Royal & The Touring Consortium), and Annie (WYP, Leeds).
Beautiful Thing is a glorious urban love story between two young men set on an inner city housing estate. It tells the story of teenager Jamie’s relationship with classmate and neighbour, Ste. Together the two boys find comedy, warmth and the music of Mama Cass through their loud-mouthed next door neighbour Leah. Jonathan Harvey combines comedy with drama in his critically acclaimed award winning play. Beautiful Thing truly captures what it is to be a teenager and to fall in love.
Executive producer Tom O’Connell said, “Having produced the original anniversary production, I am honoured to now partner with Nottingham Playhouse and Curve theatre, Leicester, two fantastic producing theatres, to bring Jonathan’s hit comedy to the stage one more time. Nikolai and I made a promise to each other that if we ever re-visited his production it would play cities and theatres that it hadn’t been to before. We feel with this new cast and with some new elements added to the show, this new production will have audiences smiling all the way home.”
Stuart Griffiths, Chief Executive, Birmingham Hippodrome said “The arrival of Beautiful Thing in the theatre’s Patrick Centre continues an expanding programme for the venue and Birmingham Hippodrome’s commitment to presenting an expansive and varied list of performances for a diverse range of audiences.”Jonathan Harvey wrote Beautiful Thing when he was just 24. It premiered at the Bush Theatre in 1993 and sold out its five-week run before transferring to the Donmar Warehouse, and then the Duke of York’s, eventually winning its author an Olivier Award nomination and the John Whiting Award. A screen adaptation of the play was released in 1996 by Channel 4 films, which went on to be a cult hit. Jonathan is a regular writer for Coronation Street and wrote the TV hit series Gimme, Gimme, Gimme, as well as the best-selling 2012 novel All She Wants. His plays include Canary and Corrie!
Over its 20 year history, the play has featured in the careers of many famous actors including Jonny Lee Miller, Suranne Jones, Hugh Bonneville, Philip Glennister, Andrew Garfield, and Rhys Ifans, and has been produced over 25 times worldwide, with international dates in China, France, Canada, Australia and Holland.Lighting design is by David Plater and sound design by George Dennis, Beautiful Thing will be a co-production between the Nottingham Playhouse, the Curve Leicester and Tom O’Connell for QNQ Ltd.
Beautiful Thing runs at Birmingham Hippodrome’s Patrick Centre from Monday 30 March – Saturday 11 April 2015. The first 100 tickets at every performance are priced at an early bird rate of £25 – call 0844 338 5000 or book online at birminghamhippodrome.com. 5% transaction charge applies (excl. cash sales in person) postage from £1. Phone calls from 5p per minute. Prices and discounting subject to change.
Perf times: Mon-Sat eves 7.45pm, Fri & Sat mats 2.30pm.
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THEATRE REVIEW | Opera North La Traviata – National Tour
★★★★ | Opera North La Traviata – National Tour
Set in Paris circa 1700, Alfredo Germont, a demure young man falls in love with Violetta, a courtesan, who is the toast of society because of her lavish, debauchery filled parties. But Violetta is dying and despite initially dismissing him, she falls for Alfredo and gives up her lifestyle to be with him. As they move to the country and with her fortune dwindling, Violetta is visited by Alfredo’s father, who is worried about the impact upon his daughter’s marriage prospects as a result of Violetta’s former profession, and he talks her into leaving Alfredo to secure the family’s future. But with Alfredo confused at why his love has abandoned him and with Violetta’s health failing quickly, can love bring the two back together before it is too late?
Opera North has produced a simply sumptuous production of Verdi’s beautiful and heart-breaking opera, both in terms of performance and presentation. During the opening scene where Violetta appears, silhouetted by a full moon, the combination of modern theatricality and traditional opera makes it clear that you are about to watch something special. From the sexually charged ensemble piece of Violetta’s party during the opening, to the ghostly visitations voyeuristically poised over Violetta’s death bed, the director, Alessandro Talevi, provides a refreshing take in terms of the opera’s presentation.
Hye-Youn Lee, as Violette and Ji-Min Parkas Alfredo were well matched in terms of their performances, with Lee providing a sweet and sensitive performance, whilst Roland Wood stood out from the remainder of the cast as Alfredo’s desperate and scheming father. It is only when you hear opera sung live you are hit with the sheer power of their voices, especially as the soaring sounds echoed around the opulence of the Leeds Grand Theatre. The live orchestra sent a shiver down the spine, from the opening notes played by the piercing strings to the swelling crescendos of the closing moments, and sounded exquisite.
Opera is often overlooked by theatre goers because of the perception of it being impenetrable and highbrow, but Opera North have produced a theatrical piece which is beautifully put together, but accessible to all. La Traviata is embedded in popular culture and you will recognise it from the silver-clad roof top bus ride in Priscilla, Vivien’s first opera in Pretty Woman or the story of Satine and Christian in “Moulin Rouge!” Whether you are an opera novice or aficionado, this production oozes quality and has much to recommend it.
Despite being sung in Italian, the show has surtitles; two screens which provide the audience with details of what is being said. These surtitles are detailed enough to enhance and drive forward the narrative, but do not translate every single word, thereby allowing you to easily understand the interactions of the characters without it ever preventing you from being able to watch the stage and to appreciate the music, staging or performances.
La Travita is currently being performed alongside a two other productions, The Bartered Bride and The Coronation Of Poppea (the latter two being sung in English) which comprise Opera North’s Autumn season and are being performed at different venues around the country, including Leeds, Nottingham, Belfast, Manchester and Newcastle.
For full details, visit their website at http://www.operanorth.co.uk
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Dan Osborne Show Off His Beanstalk In Liverpool For Panto Season
The festive season made an early appearance in Liverpool today as an all-star cast officially launched the biggest panto in town, Jack and the Beanstalk at the Epstein Theatre.
LHK Productions return to the Epstein Theatre this Christmas with one of the world’s favourite fairy tales from Thu 11 Dec 2014 – Sun 4 Jan 2015 for an incredible 49 shows. As always the show promises to deliver the incredible fun of traditional pantomime with a fresh twist that made the acclaimed Cinderella, Snow White and the Seven Dwarfs and Aladdin such huge, runaway successes.
LHK are renowned for bringing top stars to the stage in all of their productions and 2014 is no exception, in what promises to be the greatest celebrity cast yet.
Certain to get hearts fluttering right across Liverpool, ITV’s Towie and Splash star Dan Osborne is set to tread the boards for the very first time as he makes his panto debut as leading man Jack. Also coming to panto for the very first time is the Fairy Godmother of Big Fat Gypsy Weddings Thelma Madine – swapping the needle and thread for a magic wand and donning a fabulous frock of her own when she stars as the Fairy.
After entertaining audiences at last year’s panto as the Magic Mirror, Celebrity hairdresser and beauty guru Herbert of Liverpool makes a welcome return as the voice of the Giant. Brookside’s Suzanne Collins returns to the Liverpool stage as Mrs Fleshcreep and Grease is the Word’s Alison Crawford returns to the Epstein as Jill completing this year’s glamorous, star-studded cast.
This gigantic production promises a whole host of Christmas fun in another magical show at the Epstein Theatre. With magic beans in abundance, a beanstalk reaching the heavens, golden geese and hungry giants, this show really is too big to miss. Jack and the Beanstalk is the perfect family treat and runs from Thu 11 Dec 2014 – Sun 4 Jan 2015.
Performance details:
Jack and The Beanstalk
Epstein Theatre, Hanover House, Hanover St, Liverpool L1 3DZ
Thursday 11th December 2014 – Sunday 4th January 2015
Tickets from £12.50
Performance times vary, please check with Theatre Box Office.To book call 0844 888 4411, visit www.epsteinliverpool.co.uk or book in person at the theatre box office (open 2pm-6pm Mon-Thu & 12pm-6pm Fri-Sat)
Or via TicketQuarter: To book call 0844 8000 410 or visit www.ticketquarter.co.uk
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THEATRE REVIEW: You Should Be So Lucky, Above The Stag
★★★ | You Should Be So Lucky, Above The Stag
For their opening play of the new season, Above The Stag have chosen a madcap comedy from the pen of Charles Busch, a New York writer and drag artist, who also played the male lead in the original New York production of the play.
A modern day Cinderella story, the play concerns Chris, a shy and slightly eccentric electrologist who accidentally electrocutes and kills his customer, the elderly Mr Rosenberg, unexpectedly inheriting Rosenberg’s millions. This sets off a chain of crazy events, including appearing on a TV reality chat show, under the guidance of his fairy godfather Mr Rosenberg, who returns as a ghost to take care of his surrogate son, and make sure his wishes are carried out in the face of his vengeful daughter disputing the will.
Apart from one brief scene in the TV studio, the entire action takes place in the one room of Chris’s Greenwich Village apartment, a very clever and elaborate set by David Shields. Busch is a seasoned writer, his writing reminiscent of 1930s screwball comedies, and the laughs come thick and fast.
I had my reservations, though and these were much the same as those I had with last year’s Gay Naked Play, also directed by Andrew Beckett. Too much of it was played on one frenetic level, with a surfeit of mugging to the audience, and an energy level far in excess of what was needed in this small house. Chris Woodley’s Christopher started well, and in his first couple of scenes with Colin Appleby’s warmly gentle Mr Rosenberg, created a touching portrait of a slightly lost young man, but as events got more and more out of control, so too did his performance. Stacy Sobieski was on firmer ground as Christopher’s completely over the top drama queen sister, Polly, as was Ellen Vernieks as Rosenberg’s daughter, Lenore, but they too would benefit from reining things in occasionally, as could Lucas Livesy’s Walter.
The role of the TV host Wanda Wang is being shared by several actors. On the night I attended we had a nicely nuanced performance from Ishani Basu.
Maybe the pacing will settle down a bit as the play gets further into its run. An entertaining evening none the less.