People Review

People

NT Live - Lyttelton Theatre, London

Alan Bennett is known for attacking institutions and in his latest play, People, he is targeting the National Trust. The central character is ageing aristocrat Dorothy Stacpoole (Frances de la Tour). She has retired from fashion modelling and is now languishing with her companion, Iris (Linda Bassett), in her deteriorating stately home. She is being pestered by her younger sister, archdeacon June (Selena Cadell), to hand over the estate to the National Trust. Dorothy hates the idea of opening the estate to the public, and instead tries to find other users or buyers for the property.

When watching the play I was laughing along to many of Alan Bennett's digs at the issue of heritage. It is clear that he has not lost the ability to write up witty dialogue. Yet whilst he cleverly shows many of the problems within the heritage industry, he never seems to have anything to say about the issue himself. The production overall feels safe, with nothing really to take away and think about.

It does however have a strong cast. Both Frances de la Tour and Linda Basset play the old and dignified aristocratic and long serving follower well. They are indifferent to the decaying state of the house and react indignantly to the idea that the place should be put on display. As Dorothy defiantly declares at one point "This is not an allegory house". Like the house they have become isolated and worn down by age, but when the porn company arrives Dorothy is revitalized and returns to her youth.

Visiting the pair are Miles Jupp as Bevan, a slimy front man for a group of buyers, and Nicholas Le Prevost as a passionate National Trust representative. Selina Cadell as June is insistent that the house should be given to the National Trust, but at the same time she is a caring sister to Dorothy. Overall the characters are constrained by the superficial points that Bennett makes but does not expand upon.

The set shows a decaying aristocratic state room. Chairs are covered in sheets, portraits stand up against the walls, and numerous objects clutter the room. It is worth seeing the room transformed into its original pristine state during a ballet-esque restoration sequence.

This is not one of Bennett's best, and weeks after seeing this I have forgotten most of the points he was trying to make. That said, it is worth a Bargain to enjoy Alan Bennett's witticisms  and some solid acting  by Frances de la Tour and the cast.

Smallholding Review

Smallholding

The Nuffield Theatre, Southampton

Smallholding is based around the over familiar subject of a disintegrating relationship. The play opens as married couple, Andy and Jen, arrive at a dilapidated farmhouse. Andy is a drug addict and because of this their daughter has to live with Jen’s parents, who will only give her back if the pair can sort out their lives and make a success of the farm.

Sadly it is obvious where the story is going. Chris New dominates the production as Andy. He makes every opportunity to posture and spout empty words. He promises a lot but does not deliver, and he then tries to avoid the subject whilst acting irresponsibly. Matti Houghton is the more proactive of the two as Jen, who hopes to start a new life on the farm, yet has to put up with Andy’s lack of responsibility in the first few scenes.

The play does not lead the audience into the story gradually. The first half is basically a downward slide into hardship. It does however pick up when, at their last tether, the couple resort to drugs. The highlight of this production is a Christmas scene, where they imagine they are having a party with Jen’s parents and their daughter.

Between each scene the play jumps ahead a few weeks to keep the plot going, though it does jump a couple of years for the last scene and only gives the audience a general idea of what has happened. The play also continuously brings up references to people and certain objects, such as an oar that Andy claims to be the one that Steve Redgrave used in the Olympics. It feels as if there is meant to be theme behind these references yet by the end they are forgotten.

Thankfully the play consists of one act and the jumps in time means it moves at a good pace. Yet the overall story has been done before, and it is hard to relate to the characters for that reason. The set is simple comprising of a few doors and some furniture, though a bizarre moment occurred during an inordinately long scene transition at the end. The play does not bring anything else to the proceedings to keep the audience interested, and should only be seen at a high Restricted View.

9 to 5 Review

9 to 5

The Mayflower Theatre, Southampton

With the Dolly Parton and film connection you expect 9 to 5 to be a feel good musical. However it lacks a sympathetic personality to engage with. Most of the leading characters are wafer thin stereotypes within a story about female empowerment. Mark Moraghan plays a misogynistic CEO of Consolidated Industries, Franklyn J. Hart, who goes to great lengths to make the main characters’ lives a misery.

Jackie Clune is workaholic Violet Newstead, who is cheated out of a promotion that Franklyn gives to a man. Natalie Casey plays the newcomer to Consolidated Industries, Judy Bernley, newly divorced, who has never worked outside the home. Amy Lennox stands out from the trio as the Dolly Parton character, Doralee Rhodes, who shows that there is more to her than being Franklyn’s secretary during her song, Backwoods Barbie.

During the first act the plot meanders as it establishes the character’s problems with their boss. The musical is full of reoccurring jokes that are not funny, including an alcoholic secretary, Margaret. The “token good guy” of the story, Joe, is played capably by Mark Willshire though the character is underused . It is only by the end of the first act that the story picks up, when a misunderstanding leads to a harebrained scheme to kidnap Franklyn and find a way to discredit him. Yet it is clear during the second act that the plot feels predictable.

There were some bright moments. Bonnie Langford was the highlight of the show as Franklyn’s crotchety executive assistant, Roz Keith, who gives a weirdly enticing performance during Heart to Hart, in which she expresses her secret desire for Franklyn. Dollie Parton makes appearances in the form of a projection at the start and end of both acts to give a narration of the story. There is some great choreography on the ensemble’s part which could have made for a fun musical. Yet 9 to 5 lacks heart, making it difficult to relate to a thinly drawn story. Only see it at a Restricted View.

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.