Less Than Kind Review

Less Than Kind

Salisbury Playhouse, Salisbury

This is an hilarious little curio that should be seen. Less Than Kind is a recently re-discovered play written by Terence Rattigan in 1944, but since altered to create Love in Idleness. Now the original text is being brought to the stage by director, Adrian Brown. The play opens with Sue Holderness as Olivia Brown, a working class widow and mother who has recently become acquainted with an American tank manufacturer, Sir John Fletcher. She now lives in one of his houses as his mistress and enjoys the trappings of an upper class lifestyle. Olivia portraits a woman who is happy in her new life, but as the past comes rushing back she is faced with the dilemma over whose side she should take.

The highlight performances are Charlie Hamblett as Olivia’s son, Michael Brown, and William Gaminara as John Fletcher, who deliver most of the comedy. Michael is a young dandy who returns home following his education in Canada. He has been influenced by left wing ideals into believing that John Fletcher is a notorious right wing businessman. During the first act, out of love for his mother, he makes every effort to break the relationship up. Brusque and outspoken, Hamblett is quite the Hamlet that Fletcher alludes to at one point. At times he verges on the point of childishness but for the most part he is surprisingly entertaining.

Despite what Michael says, John Fletcher is absolutely charming, though he can easily go on the offensive against the boy's attacks. The arguments between the two over their differing points of view became increasingly tense. The first act is very entertaining, because of the different schemes that Michael hatches. He goes from alluding to Hamlet to inviting Fletcher's wife, Diana (Laura Doddington), around to the house, hoping to expose him. The first act is a tonne fun, and I was left eager for more

At the conclusion of fist act the play could easily have finished with an open ending, leaving the audience retaining some sympathy for Michael. Yet the farcical plot is extended into what feels like an unnecessary second act. That said, there are still some hilarious moments and the play does eventually conclude with the characters finding common ground. The set designs are pretty basic, apart from the complete contrast between the two acts, so it is down to the actors to produce this hilarious play. This they accomplish fantastically, and despite the second act I would recommend this at a high Bargain.

This House Review

This House

NT Live - Olivier Theatre, London

This a fantastic play about a period in British history when turbelance in the country was reflected in the politics of the time. This play follows the events within the Houses of Parliament between the 1974 and 1979 elections, from the point of view of the whips. It has the hints of a Brechtian production because playwright James Graham does not want you to connect with the characters but to observe. From the two whips offices the political situation is described, whilst the rest of the play consists of the whips using whatever means to persuade dozens of MPs to join their side in the voting lobby.

Elsewhere there is a sense that traditions and symbols are challenged and that things are changing within British politics. Gradually the number of deaths amongst the older generation increase and during the second act the conservatives start to mention "she". The play basically shows the events as they happened; a digestible two and a half hour history lesson.

A history lesson however that holds one's attention the whole way through. The play continuously moves, at times at break-neck speed, and thanks to James Graham's writing every point is clearly made, and a lot of the time with humour. What also helps is that the production has the speaker, played by both Matthew Pidgeon and Andrew Havill, identifying every MP by their constituency, as though in the middle of a Parliamentary session.. This helps to distinguish several characters whilst keeping the pace going.

The star of this show however is the ensemble. On the Labour side, the whigs are first led by the tough but pessimistic Bob Mellish, played by Phil Daniels, and then the floundering Michael Cocks, played by Vincent Franklyn. Reece Dinsdale portrays a proud, optimistic and sly Walter Harrison who knows where to find any source of infomation. Lauren O'Neil meanwhile plays newcomer, Ann Taylor, who despite being accepted amongst her co-workers struggles to fit into a male dominated world.

The conservatives are led by an imperious and patronising Humphrey Atkins, played by Julian Wadham. Against Walter Harrison is a flamboyant yet tactful Jack Weatherill, played by Charles Edwards, though the two display a poignant relationship. Another newcomer is the new whip Fred Silvester, portrayed by Ed Hughes as laid back but quick to learn.

The rest of the cast shine because they have to play multiple roles as numerous MPs for different parties and comsitutions. To name a few, Rupert Vansittart as a blustering colonel for Esher, Christopher Godwin as a loyal Alfred Broughton for Batley and Morley, Matthew Pidgeon as a dandy Norman St John-Stevas for Chelmsford, and Helena Lymbery as an idealistic Audrey Wise for Coventry South-West.

The whole Olivier stage has been successfully turned into the Commons Chamber. Whilst the production was originally put on in an adapted traverse stage in the Cottesloe Theatre, the commons benches are now onstage where members of the audience sat as though they were MPs. The benches are continuously turning around on revolving stages as the play moves between the party offices, and the Commons Chamber. The cast have created some well choreographed moments, such as when the MP Michael Heseltine swung the mace.

Ever present is the face of Big Ben behind the Commons Chamber balcony above the stage. A rock band is situated on this balcony and they occasionally play music to accompany the action, but it was never distracting. The balcony and various hidden spaces are used by the cast as the play necessities it. Lighting helps to distinguish different rooms and at times the deaths of MPs are represented with them "going into the light".

Together with James Graham's writing and the cast there is no weak link in this production. If you are unfamiliar with British politics then this might be challenging to digest, and as I said this play was not written to be emotionally involving. It was written to entertainingly show what happened in a 5 year period of upheaval in British politics. I strongly recommend it at a Full Price.

A Man of no Importance Review

A Man of no Importance

Salisbury Playhouse, Salisbury

I admired this rarely performed musical, despite its flaws. The story follows Alfie Byrne (Mark Meadows) a bus driver and Oscar Wilde admirer, who can't help but read his poems to his passengers. He is also director of an amateur theatre troupe in Dublin. Tired of putting on The Importance of Being Earnest every year, Alfie decides to take a risk and put on Oscar Wilde's controversial play, Salome. During, the production process he meets a newcomer to Dublin, Adele (Laura Pitt-Pulford), who he decides is perfect for the role of Salome. The story also shows how he has feelings for his fellow bus driver, Robbie (Fra Free), and that he has problems dealing with his sexuality

An article in the programme discusses plays and musicals that look at the production process of a play-within-a-play, the conflicts amongst crew members, and the significance of theatre. It claims that this musical is one of them. To be frank the theatre aspect that is meant to be the anchor of the musical does not play a significant role. A lot of the plays and musicals mentioned in the article focus on the production process and multiple stories of cast members. This musical focuses primarily on Alfie. The production process of Salome (despite its outcome) and its cast members are barely looked at, losing the significance of theatre. If it was a play about Alfie, his sexual problems, and Oscar Wilde's poems, then I might have enjoyed it more.

Playing Alfie Byrne is Mark Meadows; passionate for Oscar Wilde, Meadows shows an eccentric side to the character as he reads his idol's poetry on the bus. He shows a reserved man struggling to choose between conforming to what is expected of him or discovering his own feelings. Alfie’s younger sister, Lily, is played by Angela Bain. She is pragmatic and more down to earth than Alfie. For her own reasons she puts her own pressure on Alfie to conform. Robert Maskell as Carney the butcher is pious and upstanding, and he represents the dissenting views of putting on Salome. Laura Pitt-Pulford plays Adele, the nervous newcomer. She shows the girl’s struggle to fit in with the rest of the cast, but like the play-within-a-play she is barely seen and is soon forgotten about.

Fra Free would have to be my favourite as Robbie. Adventurous, outgoing, but caring at the same time, he shows Alfie what he is missing out at one point by taking him around downtown Dublin. The song The Streets of Dublin brings to mind Once as he and the company brilliantly gives an energetic and rhythmic performance in a pub setting. It is such a shame that the musical does not focus on his character a bit more and he does disappear for a while during the second act. This lack of presence takes away the focus on Alfie's ongoing struggle with his homosexuality, and this takes a toll on my empathy with this storyline. 

As part of the musical the whole cast also appear as the orchestra. Since every cast member has an instrument at hand, the musical feels fluent as many a scene transition is taken up with music or a song. Set-wise, I am dissapointed with the Salisbury Playhouse for simply recycling the exact same community hall from Stepping Out. That said the cast nicely recreated a number of scenes, such as a bus, using all sorts of objects.

Overall it was lovely to see A Man of No Importance, but I have no need to see it again. At times it does not know what it wants to be, as it goes back and forth between the values of theatre and homosexuality. But the cast was strong and the production had some neat ideas, which makes it worth a Low Bargain.

As You Like It Review

As You Like It

Royal Shakespeare Theatre, Stratford-upon-Avon

This fantastic production shows the talent behind some of the RSC's rising stars as well as, to some extent, the director. Of course this review cannot examine this production without discussing the leads. Having played a disappointing Ophelia, Poppa Nixon has come up trumps as Rosalind, and is just as good as Katy Stephens. Strong willed and energetic, she shows a wonderful relationship with Joanna Horton's childlike and playful Celia. Her physicality and spriteliness makes for a convincing transformation into a boyish Ganymede. It is easy to relate to Alex Waldmann's Orlando. Brushing off leaves at the start and sporting a woolly hat, he comes over as good natured, honest, and passionate. The wooing scenes between him and Pippa's Ganymede are endearing to watch.

Playing Duke Frederick is understudy, Robin Soans, who did well to present a maniacal tyrant. Luke Norris is a sly yet incapable Oliver, whilst Mark Holgate is quite the brute as Charles the wrestler. Playing Adam is David Fielder, who makes for a a touchingly pitiful but faithful servant to Orlando. Cliff Burnett is a commanding but charming Duke Senior. Natalie Klamar is a suprisingly wild and crazed Phoebe. As for the clowns, Nicolas Tennant's Touchstone is enjoyable to watch as he laughs at his own misfortune for being dragged along with Rosalind and Celia into the Forest of Arden. Oliver Ryan's is overshadowed by to Forbes Masson, but his Jacques is quite an oddball. He rarely stays still and his disdainful "All the world's a stage" is charming to watch.

If there is a flaw with this production then it is the pacing. 3 hours and 10 minutes is quite long for a comedy and the production has a lot of filler that should be cut out. The director, Maria Aberg, has incorporated a number of dance sequences that are unnecessary. There is a weird one during the court scenes to show how uniform and rigid it is under Duke Frederick, which can be distracting when characters are speaking. A clever moment is when Celia and the onstage band try to perform the rubbish poems that Orlando writes, but that too outstays its welcome. Touchstone is also given moments of ad-libbing that not only detracts from the text but is stretched out unnecessarily long. The start of the second act shows him bored out of his mind whilst shepherding with Corin, and later on he verges on stand-up comedy by asking members of the audience whether they are married.

The set at first consists of an industrial setting to represent Frederick's oppressive court, with metal girders standing around the stage. Using lighting however the girders beautifully become the trees of the Forest of Arden, whilst moving on a revolving stage, which makes the scenes feel fluent. The first transformation into the forest for one sent goosebumps down me. Maria Aberg has set this play within a Glastonbury festival type setting and the banished court of Duke Senior is seen in assorted costumes whilst littering the stage with all kinds of objects.

The other highlight of the production is the energetic folk music that is played during the forest scenes. Indeed having seen Rosalind and Alex Waldmann finally reunited the final music and dance sequence left me smiling. Maria Aberg's production may not be perfect, but the performances from Pippa Nixon and Alex Waldmann combined with the production values makes As You Like It a worthwhile production. I recommend this at a low Top Price.

The Empress Review

The Empress

Swan Theatre, Stratford-upon-Avon

This is a production that gives an interesting insight into India and the British Empire, though it does lack depth. The play includes three intertwining stories. One follows a young ayah, Rani Das (Anneika Rose), as she arrives in England together with a lascar she has befriended, Hari (Ray Panthaki). A lot of the play focuses on the pair struggling to live under the rule of the prejudiced British. During her voyage Rani meets two historical figures, whose stories make up the rest of the play. One is Abdul Karim (Tony Jayawardena), the Indian servant to Queen Victoria (Beatie Edney), and the audience gets to see the developing relationship between the two despite opposition. The last plot addresses the first Asian British MP, Dadabhai Naoroji (Vincent Ebrahim) as he campaigns to represent India in the House of Commons.

The overall theme of the play is the British Empire and its Indian subjects during their long struggle to gain equality late in the Victorian era. It is clear that the writer, Tanika Gupta, has researched this thoroughly in order to write this play. Despite this she is trying to deal with some hefty subjects and sadly a good deal of the play falls apart under the weight.

The main focus is on Rani, as Gupta attempts to give the point of view of the Indians who emigrated to England. The story about Queen Victoria and Abdul Karim is the secondary focus, whilst Dababhai Naoroji disappears until the second act. What is more the episodic structure of the play, as it moves between plot lines, means that a good number of the scenes jump ahead in time, losing any sense of progression. For instance, the end of the first act shows Rani at her last tether but as the second act gets going she is quickly back on her feet and any sense of crisis is lost.

Anneika Rose however did well to show an innocent and naive Rani maturing into an adult as the play progresses. Ray Panthaki is a simple minded and laid back Hari, but he shows how much the character cares for Rani. During her story, Rani meets all sorts of characters, including the rough and sassy Lascar Sally (Tamzin Griffin), the sly Sir John Oakham (Ed Woodall), and his orderly servant Georgina (Emily Mytton). The play does tend to portray a lot of the British as one dimensional, and the upper classes are shown as prejudiced stereotypes, in order to get its point across.

The scenes with Queen Victoria and Abdul Karim are some of the best scenes of the play. It is such a shame that Tanika Gupta did not write a play solely based around them. Beatie Edney's is quite the imperial Queen Victoria, as she continuously makes clear her views on Karim, despite opposition from both the government and her own family. Tony Jayawardena as the loyal Karim is a big hearted and noble servant to Victoria. There are scenes where he teaches her Indian culture, and one of the highlights comes near the end where he "brings" India to her, a poignant moment. Kristin Hutchinson, as Victoria's strict Lady-in-waiting Sarah provides the conservative point of view of the government and the Royal Family about the relationship. Vincent Ebrahim meanwhile is a generous and respectful Dadabhai Naoroji.

The plays earns points for production values. It almost seems that it was originally written as a screenplay. At times a sail fills the back of the stage, on which projections of a sea, the night sky, an elephant, the title of the play, and even some ending credits along with the bows are shown. The whole theatre is like a boat, reflecting the opening scenes as the characters arrive in England. Ropes aplenty fill the performance space and the stage floor consists of wooden boards surrounded by water.

Behind the sail a typical representation of London is shown through cut out black and white photographs of landmarks. The effect is like a postcard. The only design choice I did not like was presenting children through actors holding up clothes on a coat hanger. It is understandable if they could not afford child actors, but they might as well have allowed the actors themselves to play the roles. Also, whilst I liked the music being performed by a sitar, the music was almost continuous and there were times when it unnecessary and distracted from the mood created by the actors. That said the presentation was fantastic, especially when the play ends with the cast putting burning paper boats on the water.

Behind the colour and splendor however, Tanika Gupta only gives a basic overview of a subject that is rarely discussed. It is such a shame because there are some bright moments, especially on the actors' part, and Tanika could have easily focused on one of the three stories. This production should only be seen at a Bargain.

Hamlet Review

Hamlet

Royal Shakespeare Theatre, Stratford-Upon-Avon

Whilst David Farr has brought some interesting ideas to this the production, they do not come together effectively. The first thing you notice is the set design which does not gel together well. The whole performance space has been transformed into a run down fencing hall. It does foreshadow the final scene, but is this a good enough reason to change the play's setting? There was no sense of a royal court, but rather the faded and down-at-heel lifestyle of a local big-wig.

Furthermore, during the second act the floor is stripped away to show the skull-laden ground underneath. It is foreshadowing the graveyard scene, and Ophelia's grave does remain onstage for the rest of the production; an addition to the bodycount at the end. Despite this, the combination of fencing hall, graveyard and even a revealed backdrop of a moor during the final scene is disconcerting.

Last year, Jonathan Slinger proved he could play Malvolio and Prospero under David Farr's direction. When it comes to the Dane, Jonathan does show humour when he becomes mad, singing Ken Dodd's Happiness before delivering the "To be or not to be" soliloquy. Later he begrudgingly tosses Yorick's skull  aside after accidentally breaking the jaw off. He also goes into bouts of rage and the "Get thee to a nunnery" moment is savage.

His dictation however does get tiresome. He has used it perfectly before, but when watching the longest Shakespeare play I wished David Farr had restrained Slinger. For most of the 3 hour and 35 minute production it is like being on a rollercoaster of Slinger's vocal range, at times going into the deepest, darkest catacombs of his voice. He also puts too much emphasis on some of the words. I could have made a sandwich whilst he said "All...is...not...well". His delivery detracts from the text and a few good minutes could have been cut if he had sped up a bit.

Having seen him in The Winters Tale, Julius Caesar, Antony and Cleopatra and King Lear, I personally feel that Greg Hicks is just being Greg Hicks. It may be his way of delivering Shakespeare's words but his tone of voice has always remained the same. Also, he may well have been playing a local big-wig rather than a King because despite being steely and brutish he just lacks presence. His scenes as the ghost however were majestic and combined with Hamlet, the pair showed a father-son affection for each other which was touching.

I was looking forward to seeing Pippa Nixon play Ophelia; indeed she does well playing the dutiful father's daughter who is left vulnerable to Hamlet's attacks, and her madness scene is her best moment of the production. However I thought she held back. Not that I was expecting the Bastard (or Rosalind for that matter), but I warmed to Mariah Gale's Ophelia more than Pippa in the role.

There are some bright spots. Charlotte Church plays an upstanding and regal Gertrude, and the death of Polonius leaves her broken. Robin Soans is a very discerning Polonius who easily wanders off the subject, whilst Oliver Ryan and Nicolas Tennant are raunchy and boisterous as Rosencrantz and Guildenstern. Otherwise Alex Waldmann is charming as ever playing Horatio. Overall however I feel David Farr has not directed the cast to their best ability.

With the modern setting comes the suits and formal dresses, though it was combined with Ophelia and Horatio wearing jumpers, as though they had just come off the set of a Norwegian crime TV series. When Hamlet becomes mad he dons a fencing doublet as though it was a straitjacket, whilst clutching onto his father's fencing mask. Having the ghost wear fencing clothes to represent his armour was a neat idea too. One costume choice that does not work appears during the dumb play, when one of the players comes out of no where in goth clothing. She is meant to represent death but it really was a "what the heck was that" moment.

There are good moments to enjoy, but the production feels as though David Farr did not put much thought into the acting and making his ideas cohesive. At 3 Hours and 35 Minutes this is not the most engaging production and should only be seen at a Bargain.

Rutherford and Son Review

Rutherford and Son

Theatre Royal Winchester

This is a brilliant play, with a superb cast and full of shocks and surprises. John Rutherford (Barrie Rutter) is the owner of a glassmaking factory in an unnamed Northern English town. He is dissapointed in his eldest son of the same name (Nicholas Shaw) for not following in his footsteps. What is more he is angry that his has married a woman from London, Mary (Catherine Kinsella).

Concerned about making a fortune for himself, Mary and their newborn son, young John Rutherford has developed a new metal that could save his fathers declining factory, though he regards it as his to sell to any business. His father feigns disinterest, yet he is secretly determined to get hold of the metal. Soon afterwards John Rutherford (Sr.) discovers that his right hand man, Martin (Richard Standing), who has helped his son develop the metal, is having a relationship with his eldest daughter Janet (Sara Poyzer).

On a static set of the dining room of the Rutherford household, the play is basically a performance piece. But within this dark, prison-like room, the play brilliantly shows the family members and those closest to them trying to survive under the watchful gaze of John Rutherford (Barrie Rutter). The best thing about this play though is that the audience cannot predict what will happen next; hope and disaster go hand in hand.

Barrie Rutter said during a post-talk how much he loved the play and that he wanted to put this on, and it really shows in his performance. As the master of the household and owner of the factory, he is overbearing, bullish and always verbally grinds everyone down to submission. At one point he does show a tired and pragmatic side to John Rutherford who wants to do what is best for the factory, yet moments afterwards he turns back into a monster.

Another stand out performance is Sara Poyzer as Janet. At first she despondently keeps to herself, feeling that she is a failure to her father. When the relationship is discovered she shows a different side to her character as she displays pride, joy and hope for her and Martin’s future..

Nicholas Shaw as the young John Rutherford is similar to Andy in Smallholding. Brash and in a world of his own, he continuously boasts that his invention will change his and Mary’s lives altogether, yet he easily becomes defensive when challenged. The play however takes its time to establish his character before he starts spouting empty words, and it is surprisingly sad to watch him struggle to impress his father. For most of the play, Catherine Kinsella plays the obedient wife from London who struggles to settle into her new home. However, she does give Sara Poyzer a run for  her money in the final moments of the play.

Elsewhere, Kate Anthony is a strict and orderly Aunt Anne. Andrew Grose as Richard Rutherford is to the point and tries to be tactful with his father. Wendi Peters provides a point of view from the working classes as Mrs Henderson, when she comes to plead with John Rutherford to re-employ her son, showing defiance and resentment towards the old man. Lastly, Richard Standing plays Martin, an honorable worker whose loyalty to John Rutherford is constantly challenged.

Every actor in this play shines and under the direction of Jonathan Miller they bring the play to life. The play can be morbid and the ending is not a happy one. But beyond that Githa Sowerby has produced a brilliantly written story that keeps on surprising the audience. I could say more about the story but that would be spoiling what is one of my favourite plays so far this year. I recommend it at a high Top Price.