Passion Play Review

Passion Play

Theatre Royal, Brighton

This is an intriguing play about infidelity coming from several different perspectives. Choral member Eleanor (Zoe Wannamaker) and painter, James (Owen Teale), have been married for years, but it is revealed early on that James is having an affair with his art student, Kate (Annabel Scholey). Eventually Eleanor is told of the affair by her friend, Agnes (Sian Thomas), who split with her husband after he too had an affair with Kate. What follows is a series of arguments and alternative outcomes that not only include Eleanor and James, but also their consciences, Nell (Samantha Bond) and Jack (Oliver Cotton). The story seems simple, but with many points of view the results can be complex.

At first Zoe Wannamaker and Owen Teale appear to be a couple in a contented marriage. It is only when the affair is introduced that it becomes clear how much the tiresome James desires the young woman. Agnes tries to warn Eleanor, but certain of the strength of her marriage she refuses to believe this. When she finally discovers the affair betrayal is etched on her face, yet she remains in control as she confronts James. 

Nell and Jack as the two consciences represent the couple's thoughts. As the couple try to deal with the affair through talking, as well as arguing, their consciences prefer to take more direct action. Oliver Cotton as Jack looks upon his marriage with disdain and is in awe of Kate, whilst Samantha Bond is more reactive than Zoe as Nell. The moment she hears about the affair she becomes a force to contend with, and the arguments between her and Jack are fierce. My only problem is that Nell first appears near the end of the first act, and the playwright, Peter Nichols, does not give enough time to introduce her.

At first Nell and Jack try and tell their counterparts to take the right course of action. During the second act it becomes clear that both pairs are acting out alternative scenarios for the affair. By the end it is interesting to watch the play create alternative outcomes. However, if you are unfamiliar with the play it can be unclear what the characters are doing. It is a challenge to follow what is going on during the second act with multiple narratives and discussions going on at the same time.

That said, the supporting cast of Annabel Scholey and Sian Thomas play their roles superbly and make up for the confusing storyline(s). When she is not taking off her clothes, Scholey plays the feminine fatale subtly. She does not play up the sexualisation, yet when she is with James it is clear that she has him in her grasp. Even when she comes over to talk about the affair with James and Eleanor she gradually takes control. Sian Thomas meanwhile is a moralist but nosey Agnes who makes every effort to show Eleanor that she has been betrayed by James.

The set comprises of the living area of James and Eleanor's house. At times it becomes a restaurant, art gallery, or clothes shop, as walls move back and forth across the stage and photos are projected onto them. What stands out however is the red sofa against the overall colour scheme of white, which becomes the centrepiece of the action. It turns on a revolving stage and a highlight comes at the end of the first act, as the discovery of the affair reaches boiling point. The couples perform a tightly choreographed sequence as they move to and fro around the sofa, trying to get the upperhand over the others. Interspersed within the scenes are pieces of choral music, alluding to Eleanor’s job and showing how even the most culturally sophisticated of people can be undermined by infidelity.

This story of passion, betrayal, and countless arguments is a fascinating one to watch. The story can be convoluted to follow by the end, and the play gives the impression that Nicolas himself has nothing to say on the issue. However this play is good enough to be seen at a High Bargain.

The Full Monty Review

The Full Monty

The Mayflower Theatre, Southampton

This a perfect night out for hen parties but for anyone looking for a laugh and a fun time.The play follows Gaz (Kenny Doughty), who once worked in the local steel factory. He is now unemployed, separated from his wife, Mandy (Caroline Carver), and experiencing difficulties gaining access to his son, Nathan. He discovers that there is money to made from male stripping and decides to put together a group himself. Within the deserted steel factory he gets together a bunch of unlikely candidates who then rehearse for their first performance.

This is certainly a hilarious play. There are moments that are cleverly funny and fun to watch, and not just the stripping. There is a moment when Gaz and Dave finds Lomper (Craig Gazey) trying to hang himself, so the three spend a few minutes thinking about a better way to commit suicide. Another scene is set in a conservative club with a Margaret Thatcher bust standing like a blot in the middle of the stage, as Gaz tries to desecrate it.

But the Full Monty would not be a funny play, without a fantastic cast. Playing the leading character is Kenny  Doughty, who is an adventurous and honorable Gaz and who becomes nostalgic when he breaks into the steel factory he once worked in. Roger Morlidge plays an old and weary Dave who is supported by his loyal wife, Jean, played robustly by Rachel Lumberg. Sidney Cole is a crotchety 'Horse' who shows eagerness to join in the stripping and is not afraid to dance. 

The best character is Gerald, who is played wonderfully by Simon Rouse. He is desperate to get a job and reacts with anguish and fury when the others disrupt his interview. Elsewhere, the boy who played Nathan wonderfully expresses the point of view of someone who was not born during the Thatcherite era. He is a complete contrast to his father. However, the main actors did well to portray the underlying theme, which is that in this setting these men have nothing left but themselves to fall back on when trying to survive.

The story takes place amongst the skeletal remains of the steel factory. Set pieces and props are brought on to denote different settings, but the main setting is a constant reminder of the difficulties faced by the main characters. Not that there are not  moments of hijinks along the way, such as when Gaz, Dave and Nathan are locked in the factory when trying to steal a girder. What is more, the final strip is a tour de force.

Maybe the underlying theme is lost amongst the cat calls whenever some flesh is shown, but the play remains relevant as the audience of hen parties laughed at all the appropriate moments. I myself never lost sight of the issues and I thought that together with the cast this production had a lot of heart. This should be seen at a low Top Price.

RSC Live Broadcasts

RSC Live Broadcast

Watching Michael Boyd's 2009 production of As You Like It on Digital Theatre left me wondering if the RSC would record or broadcast their production for the public in the future. It now seems that the company has answered by starting their own live broadcasts to cinemas and schools

The first to be broadcast, on November 16th, is Gregory Doran's upcoming sell out production, Richard II. The show will be starring the "10th" Doctor, David Tennant, in the title role, Oliver Ford Davies as the Duke of York, Michael Pennington as John of Gaunt, and Nigel Lindsay as Bolingbroke. Richard II is the first of three Shakespeare plays to be broadcast, both of which will be announced in September along with, hopefully, the 2014 Summer Season.

Whilst broadcasts do not give the same experience as being at the theatre itself, I do think live broadcasts are more convenient. If the RSC continues to broadcast their productions like the National Theatre, then it would mean I can see them cheaply without having to go up to Stratford. I only hope the RSC will reveal their broadcasts when they announce future seasons, so it will be easier to plan ahead.

To find out which cinemas will be screening Richard II, as well as further information on the broadcasts visit http://onscreen.rsc.org.uk/

Once Review

Once

The Phoenix Theatre, London

Like The Book of Mormon, this musical has received critical acclaim and many of awards over in America before transferring to the West End. It follows an unnamed Irish guitarist, the Guy (Declan Bennett), whose life consists of playing music in a local bar and repairing hoovers. He meets an unnamed Czechoslovakian Girl (Zrinka Cvitesic) who asks him to repair her hoover. In return she offers to accompany the songs he has written for his girlfriend, who now lives in New York. The girl is enamored by his songs, and suggests he records his music and take it to New York. As they work to get the Guy's recording the pair start to fall in love with each other.

Sadly however, I can only describe the pair as the best of friends. On that level the writing exceeds, especially with the two actors playing them. During their first meeting, the girl laughs at the idea of destiny after fortuiously bumping into a hoover repairman when she needs her hoover repaired. She comes off as a lovable, hilarious character who will not take no for answer when persuading the Guy to play his music. Declan Bennett as the Guy is indifferent at first, but he begins to soften as he plays his music to her. When it comes to the romance, there are moments that show the pair falling for each other, particularly at the end of the first act. Yet there is no sense that the romance is developing and the complications at the end did not resonate with me.

The playwright, Enda Walsh says in the programme that he wanted "the music to be central to (the characters') storytelling. There is a sense of a bond between the pair as they play some of the most beautiful music I've ever heard. Their voices compliment each other wonderfully. My favourite song would have to be Falling Slowly because just listening to the harmony itself almost had me shedding a tear. Unfortunately the lyrics are not audible enough, and I could only catch phrases here and there, making it difficult for me to understand the subtext.

I have mentioned before how the audibility of previous musicals I have reviewed makes it hard to hear the lyrics clearly, Legally Blonde in particular. Instead, these musicals used spectacle and dancing to get the point across. This musical is going for minimalism and intimacy. When I went up onto the stage before the musical started (which I recommend) to hear the band play some songs I could hear them clearly. Yet when sitting in row L of the stalls it was not the case. A smaller theatre would have been better for this musical, otherwise they should work on the sound system so that the actors can be heard clearly.

Another problem I have with the musical is the sub-plot where the Girl gets together the locals to help record Guy's music. The musical diverts away from the main story to show this divided band of musicians, with different backgrounds and personalities, coming together. Yet the story feels underwritten. The actors get some brief moments each to put across who their characters are. Aidan Kelly is over-reactive to everything as the Girl's tetchy neighbour, Billy, whilst Jez Unwin plays a nervous Bank Manager. It is enjoyable to watch the few moments where the two argue over capitalism. Ryan Fletcher meanwhile plays up the insecurity of caffeine addict, Svec. Nonetheless, it is such a shame that the musical does not explore these characters further.

The set comprises of an Irish pub, since the musical is staged to the backdrop of the rich Irish tradition of storytelling and music. Indeed when I went onto the stage to listen to the musicians playing some songs, I got to hear all sorts of stories being sung. The musicians are full of passion, rhythm, charm, laughter, nostalgia and spontaneity, which is such a joy to watch.

The set itself is quaint. The walls are covered in mirrors, which allows the audience to see the action from different angles. Nearly every setting is created in this pub. There is the occasional clever touch, such as a scene where the couple are looking over the bay of Dublin, which is beautifully done. However it is at times hard to tell whether there is a scene transition. A change of lighting would have helped, and simply pushing on a hoover suddenly does not help.

I have recently listened to the Original Broadway Cast Recording and have a better understanding of the songs. I now like the musical more, though I wish I can say the same for the production I saw. On a technical level, I thought the production struggled to get the story across and I do think that the story is not one hundred percent perfect. That said, the main characters are wonderfully well-written and the music alone is a treat to listen to. I would say see Once at a high Bargain, but recommend sitting at the front to appreciate the musical more than I did.

The Seagull Review

The Seagull

The Nuffield Theatre, Southampton

Under the direction of award winning Blanche McIntyre, this modern update of Anton Chekov’s The Seagull is fascinating to watch.  Adapted by John Donnelly, this production still retains the melancholic atmosphere of the play as it follows the conflicts between four different artists who desire love and admiration.

In addition the production has a firm cast. Abigail Cruttenden does not display much grandeur as Arkadina, but she plays the overbearing and vain actress well. Alexander Cobb shines as a tortured and sour Konstantin who longs for his mother’s acceptance. A highlight of the play comes during their ironic argument in the third scene, as they insult each other’s artistic integrity amidst oohs from the audience. Pearl Chanda meanwhile is an innocent and passionate Nina, but by the end she gives a touching and dignified performance.

Gyuri Sarossy produces a reclusive and contented Boris, but by the third scene Arkadina’s hold on him is clearly shown as he frantically masturbates for her pleasure.  Elsewhere, Colin Haigh’s Sorin is jovial but melancholic as he looks back at the disappointments of his life. Despite the naturalistic style of the play the clarity of line delivery makes some of the secondary characters less easy to follow, but on the whole the cast is top-notch.

The set is more minimalist than naturalist. The backdrop consists of a blank piece of paper, and the occasional prop is brought on for each scene. To give a sense of location, the ensemble members come on to paint drawings of things like the lake, seagulls, suitcases, and graffiti. What is continuously present is a long wooden platform that is used as a jetty, table and a see-saw, and at times it presents some of the symbols inherent in the production.

The lighting team did well to create the atmosphere of each scene, including the lake at night-time and Sorin’s estate in semi-darkness. There is occasionally some confusion over the modern setting, such as the use of horse drawn transport, but overall the update was believable. Overall this is a captivating production, and together with the cast and designs this is an adaptation that is worth seeing at a low Top Price.

The Misanthrope Review

The Misanthrope

Oxford Playhouse, Oxford

As the last in a trilogy of Moliere plays that have been adapted and directed by Roger McGough and Gemma Bodinetz, The Misanthrope should not be missed. It opens with a masked ball, during which the guests pass secret letters between each other. This is an artificially polite world full of secrecy and deception that renowned poet Alceste (Colin Tierney) wants to disassociate himself from, as he tosses away his wig and mask. He announces to his reasonable friend, Philinte (Simon Coates), that he wants to be honest and frank with everyone. What follows is a series of rivalries and revelations that threatens to upset this "elegant" world.

What makes this production so hilarious is this witty adaptation of Moliere's play. Roger McGough has once again adapted the 12 syllable rhyming couplets, or Alexandrines, inherent in Moliere's plays and varied the verse forms to suit each character. Alceste for one is the only character to speak in plain verse. McCough also plays around with the words as characters slip up on rhyming words that do not make sense. Neil Cople for one has a hard time as the simpleton man servant, Du Blois, as he attempts to speak in verse. Whilst The Book of Mormon attempted to make dozens of puns, some of whom were repeated, The Misanthrope focuses on the dialogue, which results in some consistently fresh and witty puns.

Not only is this play witty but it is performed by a strong cast. Colin Tierney presents Alceste as a bitter and petty man who stands out for his plain speaking amongst the sycophants of Moliere's world. Scenes turn into a war of words as the rules of social intercourse are stripped away and characters spit acid at each other. At one point he makes sarcastic interjections as budding poet, Oronte, reads what is only an average poem.

Daniel Goode was flamboyant yet imperiously indignant as Oronte and his rendition of the poem was met with an appreciative applause from the audience. Together Goode, Leander Deeny as Clitandre, and George Potts as Acaste  can be seen as the perfect clones of what is perceived as a courtier in the world of The Misanthrope. They portrait extravagant yet gullible fops, as they try to court the other leading character of the play, Celimene. Zara Tempest-Walters as Celimene waltzes around these men with a show of flirtation teasing and gossip which hides a scheming, astute mind.

Elsewhere, Simon Coates is the voice of reason as Philinte, who advises Alceste to tread carefully, which the poet ignores. Harvey Virdi plays a pious, but hypocritical, Arsinoe, and a highlight is watching her and Celimene straining to be polite as they trade sweet-coated insults at each other.

The creative team have cleverly designed a set that shows a room with walls comprising of frames against some backdrops. The lighting allows the backdrops to change colour, which stylistically changes the settings, and clever use is made of the props. The outlandish 17th century costumes conform to the colour white, and Alceste's dissent is made even clearer when he changes to modern clothing by the end.

Although the production slows down occasionally, Roger McGough and the cast helps to make this adaptation of one of Moliere's treasured plays hilarious. I would recommend this over The Book of Mormon and say The Misanthrope is worth booking at a Top Price

The Book of Mormon Review

The Book of Mormon

Prince of Wales Theatre, London

This is a musical that has received much praise in America for its controversial wit and humour aimed at the Mormon Church and organised religion. Now this production has finally arrived at the West End and critics regard it as either brilliant or overtaken.

The story follows an unlikely pair of Mormon missionaries, Elder Price and Cunningham, who are sent to Uganda as part of their two year mission. When they arrive they discover that the Ugandans, ridden by AIDs, famine, poverty and a warlord, are not willing to convert to such a meaningless religion. Cunningham, who is prone to make things up, decides to give his own version of the Book of Mormon to the Ugandans in order to persuade them to convert.

From the start I enjoyed the jokes written by Matt Stone and Trey Parker, the creators of South Park, and Robert Lopez, who created Avenue Q. I was not disapointed with the jaunty opening song Hello and the Ugandan's own 'Hakuna Matata' song, Hasa Diga Eebowai (or Fuck you God), as a solution to their problems. I enjoyed recognising the homages that the writers were making to previous musicals, including the song You and Me (But Mostly Me) and its allusions to Wicked.  For anybody who does not know the story behind the Mormons, then this production gives highly stylised, and satirical, overview of Joseph Smith's creation of the Mormon Church

For a lot of the first act however I was only chuckling. Matt Stone and Trey Parker are well known for their shock value comedy, something I do enjoy at times, but in this musical it gets tiring after a while, especially after repeating "I have maggots in my scrotum" half a dozen times. Also, despite all the clever moments I previously mentioned, the musical is dealing with too many issues. At one point I was confused over whether the song Turn it off meant ignoring one's problems or suppressing one's homosexuality. It is both, but at that point homosexuality felt like one reference too many, especially when it is not used again.

It is only when Cunningham begins making up stories that the hilarity picks up. From the last song of the first act, Man Up, the musical becomes increasingly crazy as Cunningham's imagination goes awry. The result is a take on Uncle Tom's Cabin from The King and I where the Ugandans show a disgusted Mission President the made up versions of the Mormon stories called Joseph Smith American Moses. Furthermore, despite all the references and satire, the musical ends with a lovely message, that believing in something can bring some good if it is not taken literally.

What is more the musical is played by a fantastic cast. Coming over from the US tour are Gavin Creel and Jared Gertner as Elder Price and Cunningham. I myself prefer Jared Gartner, not only because his character made for a hilarious second act, but also he played a childish and neurotic missionary without becoming annoying. Gavin Creel too was great as the optimistic and ambitious Elder Price and he sings I Believe with passion and resolution.

The Mormons are a beaming and buoyant group of missionaries and during the satirical song Hello their door to door evangelising verges on the maniacal. Stephen Ashfield is fantastic as the crazed leader of the Ugandan Mormon missionaries, Elder McKinley. Amongst the natives there is Alexia Khadime as Nabulungi. I was not too keen on her Nala in The Lion King, but this adorable role suits her.

As part of this satire on religion, the set is elaborately evangelical. The proscenium consists of church spires and stained glass windows against a background of stars and planets. The set designs are pretty basic, consisting of backdrops, flats and platforms. The backdrops of Salt Lake City are nicely detailed and colourful, a contrast to the downtrodden and muddy sets of Uganda. The costume department too produced some creative designs for Joseph Smith American Moses. That said a bit more imagination could have gone into the set design of Spooky Mormon Hell Dream.

Overall the production does live up to expectations. Is it one of the best musicals of all time? Not really. Trey Parker, Robert Lopez and Matt Stone did not need to continuously repeat some of their jokes, and the references could have been cut down. Yet the musical moves along at a jaunty pace and the characters are easily relatable to, thanks to a superb cast. Go and see it at a Low Full Price.