Wonderful Town Review

Wonderful Town

(Tour - The Mayflower, Southampton)

Following Oliver I returned to the Mayflower to see Wonderful Town. Having heard how it was been well recieved at The Lowry, I was excited to see Connie Fisher again in this musical. I had never heard of this musical , but I was hoping to repeat my experience last year when I saw Crazy for You at Regent's Park Open Air Theatre. I had never heard of Crazy for You but loved it which gave me great expectatiobs for this well recieved production.

The musical follows two sisters from Ohio, Ruth (Connie Fisher) and Eileen Sherwood (Lucy Van Gasse), who move to New York to start a new life. Whilst Eileen's beauty attracts every man in the city, Ruth is plainer in comparison and has a knack of repelling men. Both struggle to find work. Eileen wants to become an actress, whilst Ruth hopes to become a journalist. During her attempt to get a job at the Mad Hatter magazine company Ruth meets editor-in-chief, Bob Baker (Michael Xavier), and as the musical progresses the pair fall in love with each other.

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What the Royal Exchange Company produced was a diverse and energetic musical. One of the highlights was the sense of a community. From the opening song, Christopher Street, the musical showed how people from many different backgrounds could be found in Lower Manhatten. The supporting characters included Helen (Tiffany Graves) and gigantic American football player Wreck (Nic Greenshields), who were struggling to find a way to tell Helen's dissaproving mother, Mrs Ella Wade (Annette Yeo) that they were secretly engaged. Mr Appopolous (Sevan Stephan) is an artist who gives Ruth and Eileen his basement, formarly his studio and covered from top to bottom in paint. There is also a stammering chemist, Frank Lippencott (Haydn Oakley), a snobby club owner, Speedy Valenti (Michael Matus), and a slimy press editor, Chick Clark (Joseph Alessi).

The musical was also very comedic. Although the theatre was not full enough to generate a sense of hilarity around me, I was chortling along to moments such as Conversation Piece where the main characters are sitting together with no idea of what to say. What is more the end of the first act was the craziest I have ever seen, where a Conga with Rurh and the Brazilian Nazy soon turned into mass hysteria.

Amongst all these plot lines, the main story about two sisters struggling to make a living in New York was a great one to follow. What is more it manages to move at a steady pace and intertwine amongst everything else that happens, to the point where a lot of the scenes never felt forced. That being said the second act did feel a bit rushed by the end. Also the romance between Ruth and Bob Baker felt insignificant  compared to everything else, although Michael Xavier gave a commanding performance as the pragmatic editor-in-chief during What a Waste. I even felt that the fact that Eileen attracted every man made some events feel inconsequential, especially after the events at the end of the first act.

Connie Fisher seems to have come a long way since The Sound of Music. She may had to leave the tour because of her voice, but she has matured since then and is the best actress in this musical. Her energetic and unyielding acting was perfect for the plain yet strong-willed Ruth. Lucy Van Gasse was enjoyable as the attractive yet juvenile blonde. Together, despite their differences in character and vocals, the two are a great pair during such songs like the memorable Ohio. Praise must also be given to the supporting actors, especially Nic Greenshields as Wreck, who displayed the character's passion for football during his song Pass the Ball.

The set and costumes were very striking. From a street scene that reminds one of Avenue Q, except for the colorful windows and signs, to the avenues of New York that stretched off into the background. A bridge was also lowered at times to add dimension to the scenes, such as Ruth and Eileen's basement apartment that could be seen from the street above through the grilles. I particularly liked how the show used the same color on the costumes and lighting to signify the monotomous uniformity of people going to and from work.

This production is just as great as Crazy for You due to the passion that was put into this musical. Connie Fisher was brilliant as Ruth whilst the rest of the cast presented a diverse community in Lower Manhatten. The production team also did wonders in designing some striking sets and lighting. I would say though that Crazy for You is better since it focuses on a smaller number of characters and manages to end their arcs completely. Yet this musical was never boring, especially the end of the first act, and is recommended at a high Top Price

Oliver! Review

Oliver!

(UK Tour - The Mayflower Theatre, Southampton)

My summer holiday starts with the touring production of Oliver. My overall experience of the musical consists of the film and an amateur production. I personally struggle with Charles Dickens' literary style, I do appreciate his novels though. I was hesitant of going out of my way to see the musical when it was in London. I do however like the songs and now had the opportunity to see the musical on tour.

The director for this production is a particular favourite of Cameron Mackintosh, Laurence Connor. He had directed both The Phantom of the Opera and Les Miserables 25th anniversary concerts. He also directed the Les Miserables and Miss Saigon tour, and currently the Phantom tour. In all three cases he has drastically altered the scale of the musicals, and their iconic scenes, so they could fit in multiple theatres. For this musical however, it appears that he has maintained much of scale of the London production.

With a large cast a lot of the songs were performed wonderfully. My biggest disappointment though was the song that I was most looking forward to, Consider Yourself. It may be the largest song but it did feel crowded, and the Mayflower Theatre is no Theatre Royal Drury Lane. The first quarter of the song with the children was great, but it felt as if the whole cast was on during the rest of the song. My attention was drawn away from the mass of people on stage to the moving set pieces in the background most of the time, which seemed to have a character of its own. Fewer ensemble members onstage would have been better or alternatively choreographer should have brought on everyone gradually. Finally I did feel that the choice of costumes fore the song looked at bit bland. More variety in color would have made the cast members stand out more.

Generally the cast was very good. I do not think much of "Where is Love" yet the boy who played Oliver, Sebastian Croft, was heart-warming when he sang the song. The Artful Dodger was cheeky as ever, Fagin's gang was such a joy to watch, and Iain Fletcher was a very menacing Bill Sikes. It is the first time I have seen Brian Conley since he played Buttons in the Cinderella pantomime at the Mayflower, and his deep tone of voice is still noticeable. This made him sound less eccentric than other Fagins I have heard, but he does sing well. However, he does not bring a lot of comedic moments to the production. Most of the gags during Reviewing the Situation were produced by the visuals and orchestra. Yet both he and Cat Simmons seemed to improve by the second act. Cat Simmons was a passable Nancy, though I hear that Nancy is more an acting than singing role. It did seem to be the case when looking at Samantha Bark's performance in the trailer before she left the tour (good luck to her on the Les Miserables movie). Yet, apart from the occasional hand gesture, Cat Simmons stood still a lot of the time during the song As Long as He Needs Me.

For a touring production the sets for Oliver looked very layered. From what I could tell, most of it looked similar to the London production. There were a number of levels for the actors to stand on including two platforms at either end of the stage and a bridge that is lowered at times. As I mentioned the set in the background during Consider Yourself was the highlight of the song, as flats showing the buildings of London move in and out of view. It is as if you were walking down the streets of  London with the characters. Strangely, although the costumes worn during Consider Yourself were bland, elsewhere in the musical the costumes had a touch of variety. Who will Buy would have to be the best ensemble piece of the production for this very reason, including the sellers, entertainers and children in uniformed clothing.

This production was very good overall. Although Brian Conley and Cat Simmons were not the best Fagin and Nancy I have ever seen, the rest of the cast were in top form. Despite certain disappointments, I was very impressed by the diverse amount of scenery that was used. I will not be hurrying back to see the musical in the near future, but it is worth seeing at a Bargain.

Epsom Downs Review

Epsom Downs

(Salisbury Playhouse, Salisbury)

The Salisbury Playhouse spring season continues with a play called Epsom Downs. The play premiered in 1977 at the Roundhouse, London, by Max Stafford Clark's Joint Stock. This is an unfamiliar play to me, but the fact that this is was shown at the Salisbury Playhouse was an incentive for me to see it.

To start off there is no straightforward plot line to this play. To describe the play I would like to refer to William Powell Frith's 1858 painting, Derby Day. I was introduced to this during a lecture on leisure, during a university module on Victorian Culture. It shows every member of every layer of the social system intermingling amongst each other during one day of horse racing. This painting was shown at an exhibition, along with other works by Frith, called The Derby and London on the Downs. An article in the programme mentions this painting an and a quote made by Blanchard Gerrold, who put together the exhibition. The quote reads how "the sharp-faced swaggering betting man, the trim, clean groom with a flower in his button-hole, the prosperous, heavy-cheeked tradesman, the ostentatious clerk, the shambling street-singer, the hard, coarse-visaged costermonger, the pale and serious partisan, the frolicsome apprentice in flaming necktie, the bandy-legged jockey, the nouveau riche smug in his ostentation" can be seen on Derby Day.

119 years after the painting was created and it seems as if the atmosphere at at these races has not changed one bit. A cast of 9 each played 3 to 8 different members of society. At a running time of 2 hours and 25 minutes, it is not surprising that most of these characters were broadly represented. What is more, apart from making the occasional statement, such as tipping a load of rubbish onto the ground from above for the local convicts to tidy up at the end of the day, the play did not have anything particular to say. Yet it was clear that the play was providing its own thought-provoking version of Derby Day for the audience to observe.

The main plot strands included a wife (Lorraine Stanley) and husband (Simon Muller) with two bickering kids (Mark Meadows and Frances McNamee) and a decrepit grandfather, who risk their life savings on a horse. A Christian couple (Mark Meadows and Lucy Black) came on to protest against gambling, though the temptation to make money eventually overcomes the man. A gypsy girl (Frances McNamee) is split between her family's values and a stable boy (Ben Wigzell). At the same time the ghost of Emily Davison, the suffragette who got trampled down by the King's Horse at the The Derby in 1913, disdainfully watches the wife act the role that she was campaigning to break away from. Others included a member of the Labour party, some competing bookies, an elitist horse trainer, a Kermit the Frog seller, a tramp, some Lords and Ladies, and the odd drunkard.

Seeing every cast member play a number of different characters was one of the highlights of the play. Another highlight was the race that happened during the second act. Even beforehand the excitement amongst the cast was rising and at times the stage would go dark whilst each character had their moment in the spotlight. During the race, barriers around the racetrack would be brought on and were moved about so the cast would show different people at different areas around the track. There was even a moment when they would play the racers themselves dashing down the track. The tension would increase as the actors leaned forward against the barriers and pushed them forward. Whilst this was going on Paul Slack played a representational the running of the Derby race and gave a commentary on the race itself.

The set for this production is pretty basic. It basically shows the fields surrounding the racetrack. Plaudits to the set design team however for providing a landscape where a sprawling sea of grass rises and dips from the background right into the audience. There were also some nice touches, including a kite and the supporting pegs attached to a marquee tent offstage. However the use of lighting effects to indicate the arrival of some helicopters did look out of place, especially when the sound and wind effects fared well on their own.

The characters may be broad, but then again nobody asks what the story is behined the man in the cream coloured coat and top hat in the Derby Day painting. Like the painting I saw this play as an observation of the Derby at Epsom Downs in 1977, and for what it is I had a great time. It is worth a low Top Price.

Richard III Review

Richard III

(Swan Theatre, Stratford-upon-Avon)

My holiday in Stratford-upon-Avon continued with the Nations at War season's second offering, Richard III. This play about a deformed man plotting to take over the throne of England is one of my favourite Shakespeare plays. However I was slightly dubious about the fact that Irish actor, Jonjo O'Neill, was playing the title role, especially after seeing his graphic, albeit funny, Queen Mab speech as Mercutio in Rupert Gould's 2010 production of Romeo and Juliet. I felt he would be too young for the role, although the real Richard III was about his age when he died. I guess that the Richard IIIs I have seen were older than Jonjo when they played the role, e.g. Laurence Olivier, Ian McKellan and Kathryn Hunter, or else appear ideal for the role, like Jonathan Slinger. This production was therefore a different take on the play for me.

This production can best be described as light-hearted. Having seen Michael Boyd's Histories, I realised that I was once again seeing a stand alone Richard III production that does not necessarily need to reflect upon Shakespeare's first tetralogy. I was not entirely convinced by Jonjo O'Neill's 'Now is the winter of our discontent' speech, but as soon as I realised what direction the production was taking I warmed to him. He is not the 'bottled up spider' that I would imagine (Shakespeare's) Richard to be. He only had a raised shoulder, a slight limp, and an injured (or cursed) hand, whilst his hair was sticking up. Instead, he is a darkly humorous Richard, as he revels in his announcement to become a villain. He emphasises Richard's quips, such as casually giving one of Henry VI's coffin bearers his 'was ever a woman of this humour wooed' line to be met by no response, before giving the next line to the nearest member of the audience, each time starting by saying 'hey'. This was a nice touch which allowed him to connect to the audience.  However, it might had been nice though if his attitude and reactions had changed as events became more serious by the end. In fact it felt as though director Roxana Silbert was struggling to change the mood for the Battle of Bosworth, thereby leaving a rather subdued and forgettable ending.

This is also the first time I had seen a Richard III production where I could tell that a number of Richard's supporters like Buckingham (Brian Ferguson) and Catesby (Alex Waldman) were being played by young actors. The production was emphasising that a younger generation was taking over the country from the older generation comprising Edward IV (Mark Jax), Elizabeth Woodville (Siobhan Redmond) and Lord Hastings (John Stahl). I also liked how Richard was being portrayed as less the evil mastermind and more a man who plotted the first few steps to taking the throne, but did not foresee what would happen as a result. The moment when he addressed the people of London was clearly thought up at the last minute. Hearing people struggling to prepare the event backstage was a nice idea, though the comedic side to it did become tiresome. Elsewhere, despite short in stature whilst wearing baggy clothing, Paola Dioniscotti was a wild yet strong Margaret, as she stamps the floor and points at the members of the Yorkist family cursing their eventual demise. Natalie Klamar also played a strong Elizabeth of York who maintained her dignity, yet languished at the news of the young princes' death.

I liked the grey metallic walls at the back of the stage which gave an impression of a prison, though as a background to the humour it felt out of place apart from the scenes that required a prison setting. It did however allow some striking shadows and colourful lighting. I did not know what the idea was behind the hanging bulbs above the stage. I was half expecting some electrifying motifs during such moments as Margaret's curses, yet they were just there. The music that came in on cue at times also felt unnecessary and annoying at times.

This whimsical approach was well supported by a young cast which made the production enjoyable to watch. In turn it allowed me to appreciate Jonjo O'Neill's Richard III even more. It was however a mixed bag at times and was not well supported by the later events of the play and the overall design. Also, having seen two of the three productions I have to wonder how the contents of these two productions link into the theme Nations at War. Neither seemed to have a clear idea what war between nations meant to them, but just danced around the subject. This however, like King John, is worth seeing at a high Bargain

King John Review

King John

(Swan Theatre, Stratford-upon-Avon)

As part of the World Shakespeare Festival, the Royal Shakespeare Company is putting on plays within two different themes, Nations at War and What country friends is this. I will see the latter's offerings during the summer, but for now I will review two offerings from Nations at War, King John and Richard III. As the title suggests, the theme is built around countries at war and the  resulting effects for the countries. First up is King John, which is also the second Shakespeare play I saw for the first time this year.

Following the death of Richard I, his brother King John (Alex Waldmann) succeeds to the throne. However his claim is challenged by the French King Philip (John Stahl), who supports John's nephew Arthur as claimant. Meanwhile, before going to France John has a bastard of Richard's (Pippa Nixon) knighted. Conflict between England and France ends when it is proposed that Philip's son, Louis the Dauphin (Oscar Pearce), should marry John's niece, Blanche (Natalie Klamar). However war breaks out again when John denounces the Pope, after he is accused of interfering of the choosing of an Archbishop of Canterbury. John is victorious and takes Arthur prisoner, yet his extravagance and the apparent murder of Arthur causes his nobles to rise up against him

The overall idea behind the production is an odd one to describe. Starting with the designs would be best because it is more of a visual production than anything. The overall design of the set is that of a party, which eventually happens by the middle of the first act. At this point the set reminds one of a local community hall hired for such an occasion, with cheap looking carpets covering the entire stage. Large balloons are held within some netting at the back, and remained there until the second act during which they come bouncing down a large set of stairs. By the end the whole stage is littered with balloons, bottles and party hats, symbolising how money is being frittered away under King John's rule.

The choice of costumes was rather confusing at times. Understandably John and his followers were dressed up in colourful and casual costumes, except during wartime when they would dress smartly in uniform. The French however were a mix of casual and formal, especially during wartime. Even John Stahl in a light blue uniform looked outlandish, despite his angular and commanding face. The pope's messenger Pandulph (Paola Dionisotti) though, looked like something out of The Matrix or Men in Black by wearing black clothing and tinted glasses, thereby establishing the papacy's power to change alliances and manipulate events. Meanwhile, rhe English nobles looked like traditional versions of Shakespeare's characters, by wearing military and dark clothes during the entire production.

The theme of leadership is apparent in this production. King John is one of Shakespeare's least known plays due to its episodic structure. The first half shows King John celebrating his succession. The second half shows the consequences of King John's style of kingship. This contrast is shown in this production. Act one gives us a 5-10 minute party sequence, whilst the second act shows the English Nobles striding though piles of balloons and bottles to confront the King. If I do have an issue, it is that for all the visual moments this production has it spends little time on the messages it is trying to convey. The episodic structure may be the cause of this, but a sense of the growing consequences would have been nice during the first act. The theme of nationalism for one is only shown briefly at times. The Bastard comes on at the start and plays Rule Britannia on a guitar, and a neon sign was revealed behind the balloons, which said for god and england, but that was just about it. If director Maria Aberg had focused less on the visuals and more on the context then this production would have been more meaningful than it is.

That it is not to say that this production was not entertaining in the acting department. Alex Waldmann played King John with energy and playfulness, as he struts around the stage, cigarette in hand, whilst posturing towards the French. Yet he had a determined edge as he gave commands with resolution, especially when his decisions would have been seen as immoral by others. As his grip on power loosens however, he becomes a sorry sight as he tries to attempt a dance number whilst imagining one of his previous moments of glory. Changing the gender of the Bastard would seem odd, but Pippa Nixon was feisty as the character. It was easy to connect with her during moments when it was clear that the action was being shown from her point of view when she talks aside to the audience. She also brought a moral side to a number of scenes in the second act, which made her actions credible. The others played their parts well within the light hearted direction the production was taking, though I did not like some the decisions that were made. The people of Angers for example were shown as stereotypical Frenchmen with trench coats, berets and moustaches.

I like radical changes to plays. Rupert Gould's The Merchant of Venice was a very entertaining take on the play by setting it in Las Vegas. I enjoyed how this production took a different direction for this history play, but what was great about The Merchant of Venice was that it had a point to make. This production was showing different themes in the play with style and huge amounts of energy from the leading actors, yet never had anything to say about them. This is worth seeing at a high Bargain.

Uncle Vanya Review

Uncle Vanya

(Minerva Theatre, Chichester)

Like Salisbury Playhouse, the Chichester has put on some strong productions during the last few years. The difference being that it attracts some well known actors, actresses and directors, and a number of its productions have transferred to the West End, such as the currently residing Singin' in the Rain and Sweeney Todd. As a starter to its 2012 festival I was therefore looking forward to seeing Anton Chekov's Uncle Vanya for the first time, starring last year's Laurence Olivier Award winner Roger Allam, and Timothy West.

Professor Serebryakov (Timothy West) returns to his first wife's house in the countryside, along with his second wife, Yelena (Lara Pulver), and his daughter from his first marriage, Sonya (Dervla Kirwan). The estate has been maintained by Vanya (Roger Allam), the brother of the professor's first wife for many years, along with the rest of his family and servants. All the characters regret the position they are in, whilst sexual tensions arise between Vanya, Yelena and the local doctor, Astrov (Alexander Hanson). Conflicts come to a head when the Professor announces his plan to sell the estate.

For his first entrance Roger Allam lumbering onstage suffering from a hangover with his hair unkempt, showing his misery after many years taking care of the estate for the Professor, whom he hates. His mannerisms are perfect for this melancholic character, as he wearily makes sneering remarks about the Professor. Elsewhere he flirts with Yelena like a hormone driven adolescent. After the Professor makes the announcement he tears apart some roses and lets the petals fall through his hands to the ground, before bursting out in anger at his plan. Lara Pulver first appears as Yelena like an enigma as she goes into the house in pure white without saying a word. As the play progresses she becomes overcome by the attention she was receiving from the men. Dervla Kirwan  a modest yet compassionate Sonya and the ending moments of the play produced a heartwarming moment. With the addition of Roger Allam, this was the high point of this production. Timothy West played the his professor character as a realist, and as the outbursts started after his announcement, the reality of the situation becomes clear from his point of view, no matter how Vanya viewed it.

Indeed before that scene it seemed as if the play was showing a one-sided view by focusing on Vanya more than the Professor. Even the tranquillity of the world that he was trying to preserve is dominant in the scenery. Nature seemed to be a part of the house, with birch trees scattered around edges of the stage. These trees are also seen at the back of the stage through the line of windows set in the back wall of the house. Even the brown and light colours of the costumes the characters wore reflected the world they lived within. Other nice touches were the rain that came pouring down behind the wall at one point, and the sounds of birds in the background.

This production was a well directed and performed delight. Plaudits also go to the designs, which conveyed the world of Uncle Vanya. Yet it was the final and emotional moments that gave this production a high Top Price.

The Seven Year Itch Review

The Seven Year Itch

(Salisbury Playhouse, Salisbury)

For the last few years the Salisbury Playhouse has surprised me. It has put on some fine productions such as A Taste of Honey, Arsenic and Old Lace, and Private Lives. I was even impressed by the way they would go to great lengths when designing and constructing the sets, from the van in The Lady in the Van, to a temporary theatre-in-the-round for last year's Way Upstream, with the stage consisting of a water tank with a real boat within. I was quite interested in seeing one of their first productions this year, The Seven Year Itch, a 1952 play by George Axelrod on which the 1955 film with Marilyn Monroe was based. But does this production hold up to the Playhouse's preceding productions?

A publishing executive, Richard Sherman (Gyuri Sarossy), stays in his apartment whilst Helen Sherman (Hattie Ladbury), whom he had married seven years ago, and his son go on their summer holiday. He meets a girl (Verity Rushworth), a model who is living in the apartment above him, after her tomato plant of hers falls and narrowly musses him on his balcony. He becomes attracted to her and invites her down to his apartment. His growing desires leaves him divided between his wife and this girl.

The best moments of the play are when Richard Sherman is on his own, during which he breaks the fourth wall and tells the audience his thoughts. This slice of life was quite interesting to observe, and Gyuri Sarossy was convincing as an 'average joe' who tries to fight off his desires for the girl. It almost felt as though I was sitting in his apartment and chatting with him like an old friend. I would have preferred to listen to him  rather than Verity Rushworth as the 'girl'.

Fortunately I have not seen the film, so I cannot start comparing Rushworth to Marilyn Monroe. She does show the girl's naivety to Sherman's advances. Yet she did not seem convincing as a girl who would attract Richard to the point where he would go back and forth between her and his wife with such passion. Any further advance made by Richard did not seem believable. I even wondered whether the tomato plant incident was a moment of ambiguity. Was it an accident or intentional? Yet Rushworth made this sense of ambiguity feel void of any need to consider.

Otherwise the supporting cast members provided some comedic and entertaining moments during the play. Gerard Murphy plays Dr. Brubaker, a psychiatrist who has his novels published by Sherman, a large, puffed up man who attempts to assess his publisher's desires. Hattie Ladbury and Michael Stevenson play Helen Sherman and Tom Mackenzie who, according to a suspicious Richard Sherman, is her supposed to be her lover. They play the love scenes Richard imagines dramatically

These imaginary scenes were well stylised. The set would be lit in pinks and blues to show Richard's neurotic mind. The scenes were played as though they were straight out of a movie, the high point happening during the second act, where a homely scene takes a dramatic U turn. Again the Salisbury Playhouse has done wonders creating a big apartment onstage, with kitchen, balcony, staircase and piano included

Once again the theatre has proved that a local in-house production can pull the stops out to create a detailed setting. The supporting characters brought some great moments to the production, yet the main elements of the story could not carry the production entirely. Gyuri Sarossy could on his own, yet Rushworth did not have the charisma to pull off the alluring girl that Sherman madly falls for. This overall is worth a low Bargain