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.

Joking Apart Review

Joking Apart

Salisbury Playhouse, Salisbury

After a fantastic production of Way Upstream, the Salisbury Playhouse has brought the Nottingham Playhouse Theatre Company's production of Joking Apart to their stage. The premise of the play is a simple, slice-of-life story that follows four sets of neighbouring couples in middle class suburbia over 12 years. Set in the garden of Richard (Robert Curtis) and Anthea (Emily Pithon), the passing of time is acknowledged by references to their unseen children. The play ends with Richard and Anthea allowing their daughter, Debbie (Katie Brayben), to celebrate her 18th birthday with her friends in the garden. This happy ending is deceptive as long before this cracks have appeared beneath this idyllic setting.

Alan Ayckbourn is known for creating stereotypes in his plays, and it is easy to notice most of the characters' flaws. What is clever is that Richard and Anthea are the least stereotypical of all the characters, with their noticeably happy attitude their own flaws, while only gradually became apparent. Moments of revelation and tension break the gradual pace of the play, and as it ends there is a slight taste of sourness in the air. However, Ayckbourn's witty dialogue is sprinkled throughout to create what is, on the whole, a lovely comedy.

Some of the characters and their personalities soon became tiring. Thorston Manderlay plays Sven, who speaks with a rather jarringly knowing and cynical tone of voice, though as he revealed his frustrations I was able to sympathise with him. Sally Scott played nervous Louise, however I felt the character's gradual break down is portrayed heavy-handedly which impacts upon the final scene.

Will Barton was the most sympathetic as Brian, the new vicar. His difficulty in being accepted amongst his neighbours is made worse by his reserved character. Robert Curtis and Emily Pithon made a lovely couple as Richard and Anthea. Even as their motivations are revealed, I would never have guessed what was behind their cheerful guise.

The the sense of anxiety cannot be missed with Edward Harrison playing Hugh, who recognises the facade that Richard and Anthea put on, and from the start shows the bitterness that gradually spreads throughout the play. In each scene he is accompanied by different, but equally eccentric girlfriends, all of whom are played wonderfully by Katie Brayben before she appears as Richard and Anthea's daughter at the end.

Yet again Salisbury Playhouse is adorned with a detailed set produced in conjunction with Nottingham Playhouse. The garden is perfect, with tennis court, a tree with swing, summerhouse and nicely trimmed shrubbery. The passing of time is shown as the characters bring on and off jack-o-lanterns, lights, speakers, seats, a table, and all sorts. During the first scene the production team use some neat effects to give the impression of Guy Fawkes Night (and not just lighting and sound). Between each scene songs from the 70s are played which complements the setting.

This is not a fulfilling play that leaves you with a bright ending. However, together with Ayckbourn's writing and a strong cast it is an engaging, and at times deceptive little play to watch at a low Top Price.

A Chorus Line Review

A Chorus Line

London Palladium, London

This musical about the challenges faced by hundreds of performers competing for a few roles is told with so much heart in this fantastic production. Directed by the original co-choreographer, Bob Avian, there is a sense that the cast and production team cares for this musical and it shows.

The plot is a basic one, where John Partridge as director and choreographer, Zach, puts on an audition for a new musical. He chooses 17 hopefuls and now has to find "four and four" for the chorus line, so he then asks each dancer to tell him about themselves. The musical is based on "tapes of informal sessions in which a group of long-time Broadway dancers recounted their battle scars, frustrations, heartbreaks, fears and small triumphs". Indeed as the play progresses each character steps forward from the line of auditionees to tell Zach about their different stories. 

The first few are interesting to hear. As the first to tell his story, Adam Salter starts hesitantly but grows in confidence and optimism showing dozens of dance moves during I could do that. Simon Hardwick as Al is a caring, if overbearing, husband to Frances Dee's tone-deaf Kristine, as he finishes all her verses in tune. Rebecca Herszenhorn is a flirtatious Val, as she confides in the song Tits and Ass how she had to have plastic surgery to enhance her looks and gain attention.

But soon the musical begins to show how chorus dancing matters to the auditionees. Leigh Zimmerman plays veteran dancer Sheila, a competitive woman who at first does not take Zach's new approach to the audition seriously. However, she soon begins to confide her unhappy childhood. Together with Daisy Maywood and Vicki Lee Taylor as Bebe and Maggie, the three quaintly show how dancing allowed them to escape from life "At the Ballet".

Scarlett Strallen is almost the mirror image of her character, Cassie, a veteran dancer and successful singer. Yet as she reveals why she has decided to go back to the chorus line, there follows a heated confrontation between her and Zach. Soon afterwards she performs a passionately fiery dance number in The Music and the Mirror. John Partridge meanwhile commands the audition as the imperious Zach, whilst at times he gets to show a caring side to his character.

My favourite actor though would have to be Gary Wood as Paul. He was a nervous young man who remains in the background until the second half of the musical. The story he tells Zach about his early career as a drag act gradually becomes more poignant as he describes his struggle with his homosexuality.

But let us not forget about the dancing and songs. I was attracted to this musical by listening to the music, and now that I have finally seen this production it did not dissapoint.  From the start a simple audition turns into a vigorous and competitive song and dance number, I hope I get it, as the music comes alive with thunderous aplomb. Auditionees struggle to keep up with the veterans, whilst others sing of their longing for the job that is only available for the best. During the rest of the musical we get to see each wannabe show off their dancing. When the musical finishes with One (Reprise) the chosen dancers get to show the spectacular dance number they were auditioned to do

The set is a simple one, consisting of a black stage with a wall of mirrors at the back and a white line along the floor. This allows the audience to focus on the dancing and drama that takes place within this space. It is only when the musical gets to One (Reprise) that the stage becomes an extravaganza and the dancers wear golden satin costumes. Special mention though must go to the lighting designer, Tharon Musser, for providing some colourful and stylistic moments in the musical.

This is not your typical musical is full of spectacle and entertainment from beginning to end, so bear that in mind if you are just looking for a good night out. However this production is recommended not just because of the music and dancing, but because it gives you an insight into the life of the budding performer in the musical theatre industry. This is put across by a perfect cast, who help to create some poignant moments. This should be seen at a high Top Price