Tag Archives: Acting

Shadowlands Chichester Festival Theatre: review

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Photo-Manuel-Harlan

Revered author of The Chronicles of Narnia, C.S Lewis (Jack) was also a leading Oxford professor. Setting out his stall right at the start of William Nicholson’s award-winning play, from the lecture podium he offers the theory that only through suffering can we comprehend God’s love absolutely.

Sharing a companionable domestic set-up with brother Warnie, where ‘down time’ consists of philosophical enquiry over a pint in the local with other scholars, it is a sedate and gentle existence.

Enter American writer Joy Gresham. Forthright, brash and with a young son in tow, when it becomes apparent that she needs British citizenship in order to remain in England Jack offers her a ‘technical’ registry office marriage. Soon after, Joy is diagnosed with cancer. Only then, fear and shock forcing his emotional intelligence to catch up with his academic prowess, does he realise that he truly loves her. Insisting on a ‘for real’ bedside wedding ceremony, Joy’s terminal diagnosis also reopens the painful wound of losing his mother to cancer as a boy.

Hugh Bonneville and Liz White inhabit the characters with such conviction that I doubt that I was alone in dabbing my eyes. Equally, the humour is delivered with panache and precision timing.

A terrific supporting cast includes Timothy Watson as Professor Riley, Andrew Havill as Warnie and Emilio Doorgasingh as Rev. Harrington. The role of nine-year-old Douglas Gresham is shared between two boys and on press night Eddie Martin acquitted himself with honours.

Peter McKintosh’s set is both beautiful and clever. Facilitating seamlessly fluid scene changes – vignettes of stylish choreography in their own right – glimpses of Narnia are dreamy and wistful.

Photo-Manuel-Harlan

Nicholson’s play may be nigh on thirty years old but Rachel Kavanaugh’s elegant revival hits home because the universal truth surrounding love and loss does not date: Tis better to have loved and lost than never to have loved at all.

In his exquisite book A Grief Observed C.S Lewis might have been countering Tennyson’s affirmation with a reminder that the poet’s romantic theory still demands a steep price: “The death of a beloved is an amputation.”

A stunning start to the Festival season.

At Chichester Festival Theatre until 25 May.

Tickets: 01243 781312 www.cft.org.uk

Splurging in Southsea

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Actor and director Carl Sanderson is spending the Easter holidays splurging. On an epic scale. Directing a brand new production of Bugsy Malone at the Kings Theatre, Southsea, his cast is drawn from no less than 23 local schools. Vicky Edwards snuck backstage to chat to him and to ask if directing such a big show was on par with herding squirrels…

“So far directing the show has been an absolute dream. The cast are so committed and although we are having great fun in the rehearsal room they know there is a lot of work to do in a relatively short rehearsal period so they are being incredibly professional and sensitive to this. “We have some fabulous characters who are bringing so much to the table,” says Carl, who says that he especially enjoys the collaborative aspect of directing large-scale productions.

“I love directing shows on this sort of scale as apart from the work created by the actors, the choreographer and the musical director in the rehearsal room, it is very much a collaboration between all departments at the theatre; stage management, wardrobe, administration staff and producer – everyone. Oh, and a special mention to our fabulous chaperones who do an amazing job looking after the actors. And to my incredible assistant Charlotte!”

As for the show itself, Carl is clear about what makes Bugsy Malone such a great show for children to participate in.

 

“Bugsy is such a great show for children as they get to kind of pastiche adults which is incredibly funny without them having to do much! Also there is the small matter of SPLURGE GUNS which as you can imagine they absolutely love! I mean, what kid doesn’t like getting messy?”

Explaining that as a child he relished every opportunity to be involved in performing, one of his first roles was in the very show he is currently at the helm of.

“One of my first parts was The Great Marbini in Bugsy Malone at school! I was heavily involved in local amateur theatre as a youngster and at the age of 15 became a member of the National Youth Theatre and spent my summers in London performing in various shows.

Going on to build a successful career that spans 20 years, has worked on numerous productions in the West End and at some of the country’s most prestigious theatres, as well as on TV and in films including That Day We Sang and The Dresser. Juggling his acting career with teaching, he has taught in many theatre schools specialising in acting through song and musical theatre stylistic studies and is a passionate supporter of the Arts being taught in all schools.

“Many of the kids in our show may never decide to take up performing as a career in the future, although they are all incredibly talented. But being part of a project like this does so much for their confidence and personal development. This is why I think the Arts in general are so important in schools and that there gradual disappearance from school curriculum is a crying shame!” he laments, echoing the cry of many teachers and parents throughout the land.

As for Bugsy Malone, which is set in 1929, audiences can expect to be taken on a thrilling pedal car ride through the splurge soaked backstreets of New York City. Delving into the underground world of would-be hoodlums, glamorous showgirls and hapless gangsters, Bugsy is a part time boxing promoter, down on his luck and striving for a better life. He meets Blousey Brown, an aspiring singer, and together they enter this fast paced, exciting and hilarious story of Fat Sam, Dandy Dan, Tallulah and a whole host of other weird and wonderful characters.

“Alan Parker’s film is nothing short of genius and was originally created from an idea thought up by his eldest son. The later stage adaptation was published after so many requests from schools and youth theatres to perform his iconic tale. Equally wonderful is Paul Williams unforgettable score and lyrics,” says Carl, adding:

“Although this production is firmly rooted in a time of American prohibition I hope we have managed to inject some contemporary elements that will make this fabulous pint sized roller coaster ride of a story relevant for today.”

So if you’re looking for family fun in this neck of the woods this Easter holiday Bugsy Malone could be just the ticket?

“You’ll have a wonderful evening in a beautiful theatre and I sincerely hope you don’t get splurged!” he says with a broad grin.

Bugsy Malone is at The Kings Theatre, Southsea, from 17-20 April 2019.
www.kingsportsmouth.co.uk

About the show

Kings Theatre Portsmouth are proud to present a brand-new production of the landmark musical Bugsy Malone from 17-20 April 2019.

The classic tale takes us into the world of street-tough boxing promoter Bugsy – a world run by kids, where cars are peddle-driven and tommy guns ‘splurge’ custard.

We follow Bugsy’s star-crossed love with singer Blousey Brown (over the attentions of her glamorous rival Tallulah), and his pivotal role in the struggle between the rival mob factions of Fat Sam and Dandy Dan.

Bugsy Malone will be performed by a cast entirely made up of children from twenty-three schools across Portsmouth.

The show will be directed by Carl Sanderson, whose previous credits include West End Productions and National Tours of The Phantom of the Opera Cats, Hairspray and Sunset Boulevard.

Choreographer Jacqueline Willis has worked on major productions around the country including Kings Theatre Portsmouth stagings of 9 to 5, Grease, Annie and The Wizard of Oz and Andrew Woodford is Musical Director, with previous credits including Oliver!, Cinderella, Disney’s Beauty and the Beast and Oklahoma!.

Bugsy Malone will be co-produced by Jack Edwards. As a performer Jack has acted in the West End and on national tours in productions such as Guys and Dolls, Mack and Mabel, The Rocky Horror Show and Oliver! and in recent years has gained a cult fan base in his home city of Portsmouth for his uproarious performances in the Kings Theatre’s much loved Pantos (even becoming something of a viral sensation for his role as the Dame in Cinderella).

In producing Bugsy, Jack will also be assuming the role of creative director of The Kings Theatre Portsmouth, where he will contribute to programming, as well as commissioning, producing and directing future Kings Theatre Productions.

The Life of Riley

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Frost loves a pantomime (oh yes we do!) and so does Riley Clark, who returns to Bognor Regis this Christmas to slap his thigh in Cinderella as Dandini. We nipped off to the seaside for a cuppa and a chat with him.

Credit:youreventphotography.uk

Q: Cinderella is widely regarded as the best-loved panto of all time. Why do you think this is?
A: Because it is such a classic. It is funny and emotional, with a couple of nasty bits thrown in by those ugly sisters, and of course it is magical.

Q: What makes The Alexandra Theatre in Bognor Regis such a great venue for Panto?
A: It is big enough that you experience lots of audience participation and atmosphere, but small enough to still feel intimate. It is shaped perfectly that you will never miss a gag. But I think my favourite part about working there has to the staff. Everyone who works there is so friendly and helpful that you are sure to have a good experience from the moment you walk through the doors.

Q: As well as several other pantomimes over the years, you starred as the baddie in Beauty and the Beast in Bognor two years ago. We’re guessing that you love panto?
A: I love doing Panto because it’s the one time of year where both actors and audience can come together and be silly while telling a great story and feeling all Christmassy at the same time.

Q: How did you get into acting?
A: After seeing a panto at the age of 8 (I was in my first show aged 9!). I was in awe of the actors onstage, and how they got to tell a story and bring laughter and joy to all of these families – everyone had a couple of hours of pure enjoyment. I decided a couple of years later that I wanted to pursue acting as a career and here I am today. I also perform my own Swing and Rat Pack act.

What is your Christmas wish?
A: that everyone comes to see the show! I know for a fact it’s going to be a great one, and if you’re lucky you may get to see the mice do a little song as well! I wish all Frost readers a very Merry Christmas.

Q: When is it on and how can we book tickets?
A: Cinderella runs from 12 December 2018 – 2 January 2019. Box office on 01243 861010; www.regiscentre.co.uk

FASCINATING PANTO PEARLS

• The word pantomime comes from the Greek words ‘pan’ meaning all, and ‘mimos’ meaning imitator.

• Travelling entertainment in Italy and France, the traditions of the Italian Commedia dell’ Arte were also influences on modern panto, as were British Music Hall and of course traditional fairy stories.

• Cinderella, originally written by Charles Perrault in 1697, was based on a folk story. The slipper was probably made of squirrel fur, but the change to glass came about as a result of a translation mix up: the French word for glass is ‘verre’ and white squirrel fur is ‘vair’. But it was a change for the better. Cinders wearing footwear fashioned from a dead rodent isn’t really in keeping with the romance of the story!

• Fairy Dust was a hurried addition to the original story of Peter Pan. Originally Peter and the Lost Boys could fly independently, but after reports of children injuring themselves as they tried to fly from their beds JM Barrie added Fairy Dust as a requirement for taking flight.

Review: Gary Wilmot’s sweet success in Bognor Regis

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Sweet Lorraine, The Alexandra Theatre, Bognor

New writing is the lifeblood of theatre, so for a small seaside venue like the Regis Centre to be exploring new work is exciting in itself. To beef that up by kicking off with a play by one of the nation’s most popular performers is quite some coup; even if it is difficult reconcile cheeky chappie Gary Wilmot with such a dark and tense piece. But all credit to Wilmot, who is also at the directorial helm. Sweet Lorraine is a triumph. Furthermore, it deserves a wider audience.

A compelling tale of a talented young musician with a secret, the writing is elegant, authentic and intelligent. The plot, part thriller and part grim cautionary tale, is rooted in an astute study of human nature and poses a disturbing question: just how far would you go to wright a terrible wrong that had been done to someone you love and whose life had been subsequently blighted?

Beautifully paced, the story plays out to a shocking conclusion. Gripping the attention, never for a moment allowing it to wander, evocative music and Iain Jordan’s moody lighting are key components in creating atmospheric edge-of-the-seat unease.

Aided by excellent performances from Harry Burton as Harry Burns and Martha Dancy as the eponymous Lorraine, great support is provided by Ben Fox as Phil and Katy Osborne as Emma.

Gary Wilmot has been hiding his scripting light under the proverbial bushel for too long. Here’s hoping that he continues to write and that Sweet Lorraine will play on elsewhere.

As for the Regis Centre and its Alexandra Theatre, may this gem of a seaside venue continue to champion new work.

Review: The Midnight Gang, Chichester Festival Theatre

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The Midnight Gang, Chichester Festival Theatre
Until 3 November. Box Office: 01243 781312 www.cft.org.uk

Never knowingly understated, David Walliams took his seat to loud applause from the audience on press night. By the curtain call, when he praised the cast and creative team behind the adaptation of his book, the cheers practically took the roof off. Quite right too. His story didn’t just jump from page to stage, it took flight – literally.

Set in Lord Funt Hospital, Matron rules the children’s ward with a rod of iron. A rod of iron dipped in cement and covered in titanium. Looking like Doris Day but without a glimmer of sunshine in her soul, her young patients know the risk they are running in escaping her clutches to indulge in secret midnight antics.

Aided and abetted by the hospital’s porter, superbly played by Dickon Gough (was it just my imagination or were there shades of Walliams in there?), the poorly children live out their wildest fantasies, reminding us that when something we yearn for is out of reach, dreams can be the next best thing.

The children are fabulous. We saw Cody Molko as Tom, Jasmine Sakyiama as Amber, Rafi Essex as George, Felix Warren as Robin and Cerys Hill as Sally, but I gather that their opposite numbers (Tumo Reetsang, Albi Stisted, Cooper Snow, Fibian McKenzie and Anjali Shah) are every bit as talented.

Jenny Dale is a glorious gorgon as Matron. With the bedside manner of Nurse Ratched, her swooning over Tom’s headmaster (Tim Mahendran) during The Punishment Will be Severe is one of many highlights.

With lovely performances also from Lucy Vandi, Matthew Cavendish and Marilyn Cutts, lots of doubling up means that the cast appears bigger than the reality. Collectively they manage quick changes – of costume and character – with impressive and seamless speed.

Simon Higlet’s ingenious set is a joy, full of surprises and magical elements. Music by Joe Stilgoe provides agreeable accompaniment, but it is words rather than music that are his greater accomplishment. Astute, witty and dexterous, notably in So Many Questions which sees a beleaguered doctor trying to fill out an admission form, his sparkling lyrics are marvellous.

Tender, funny and thrilling, Bryony Lavery’s adaptation retains all the heart and humour of Williams’ book and sprinkles precisely the right amount of theatrical magic into the story.

Director Dale Rooks is to be congratulated. A stunning show for all the family, The Midnight Gang is an absolute tonic. I urge you to get dosed up.

From a child’s perspective – Lily B (14) says:

The Midnight Gang is an action-packed story with memorable characters. Comedic, cheering and cleverly staged, especially with the flight of a naked grandma, Matron was my favourite. Child-hating, chocolate loving and power crazed, she was the perfect love-to-hate character. A great show for children and their families, I especially liked the messages to let your imagination run free and to be kind to each other. Definitely five stars!

Review: Flowers For Mrs Harris at Chichester Festival Theatre

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Photo: Johan Persson

Until 29 September

Box Office: 01243 781312

cft.org.uk

You might not go home humming the tunes, but what Flowers for Mrs Harris lacks in catchy songs is more than made up for in warmth and charm.

An elegant retelling of one of Paul Gallico’s much-loved series of books, there’s not a great deal of colour to in Ada’s life. Set in the post-war 1940s, a gossip over a cuppa with her friend and fellow charlady Violet Butterfield and a bottle of milk stout once a week is about as bright as things get.

‘Doing’ for he clients by day, always giving them added value in kindness, wisdom and good old fashioned common sense, by night she conjures up the company of her late husband at the kitchen table of their rented Battersea home. Falling in love with a Christian Dior gown while cleaning for a well-to-do lady (“a dress to make you feel”), she vows to work for as long as it takes to save for such a frock of her own. Helped by Violet, the next two years are filled with purposeful drudgery. Sustained by the mental image of her fairy tale dress, she toils day and night, cleaning, mending and reassuring.

It is a story that could easily become saccharine-sweet and mawkish, but director Daniel Evans (who directed the production as his swansong at Sheffield’s Crucible Theatre – and where it won three UK Theatre Awards – before taking up the reigns at Chichester), gets the balance absolutely right.

The characters may be larger than life, but they are rooted firmly in truth, imbuing the narrative with credibility and humour. If the first half drags its feet somewhat then the second flies, which is apt given that post-interval is when we see Ada taking the second step toward her dream and reaching France.

 

Photo: Johan Persson

Clare Burt reprises her role as Mrs Harris. It is easy to see why she won ‘Best Performance in a Musical’ on her previous outing. With a perfect blend of dignity, empathy, wit and sweetness, she shines like a basking sunflower.

The cast cleverly doubles for the action on both sides of the channel. Accomplished performances throughout, Gary Wilmot is especially memorable and versatile in a number of guises and Claire Machin is a hoot as both Violet and her French counterpart.

An elegantly told and beautifully staged story of hope, aspiration and simple kindness, Flowers for Mrs Harris will lift your spirits and leave you feeling blooming marvellous.

 

Review: Copenhagen, Minerva Theatre, Chichester

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Box Office: 01243 781312 www.cft.org.uk
Until 22 September

Photo credit: Conrad Blakemore

What was the purpose of the visit made by German Werner Heisenberg (Charles Edwards) to his friend Danish physicist Niels Bohr (Paul Jesson) as the Second World War raged? The answer is by no means swift in coming, but it is a compelling journey. Which is just as well; this is not a play that allows for wandering concentration.

The ghosts of Heisenberg, Bohr and his wife Margrethe return to the night of Heisenberg’s visit in 1941 to scrutinise the intent and rationale behind the house call. Eminently bright and highly respected, the younger man’s nation has occupied his elder’s country, thus thorough examination of several theories is necessary.

With a shared passion for scientific certainty the coals are raked over with forensic-like attention to detail, stirring human nature into technical hypotheses. Tempered by Margrethe’s perceptiveness and calm, blistering disagreement between the two men is revealing, but while such convulsions are fascinating it is the historical element that gives the play ominous depth: the creation of the atom bomb and its monstrous impact.

Director Michael Blakemore succeeds in maintaining a fluidity that is almost balletic. With a small cast and a stark set the focus on the trio is as intense as the play itself, but they impress throughout.

Patricia Hodge as Margrethe is breathtakingly good; elegant, circumspect and sharp. Charles Edwards as Heisenberg and Paul Jesson as Bohr are equally excellent, both absolutely convincing as boffins who, despite their scientific and mathematical prowess, are nevertheless vulnerable to human frailty.

Michael Frayn’s play is as much about morals as it is the quest for knowledge and you are likely to come away as many questions as answers. Oddly, this is strangely satisfying.

Review: Me and My Girl, Chichester Festival Theatre

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Me and My Girl
Chichester Festival Theatre (until 25 August)
Tickets: 01243 781312; cft.org.uk

Credit: Johan Persson

Chichester Festival Theatre director Daniel Evans (also at the helm of the show) earned groans of disappointment in response to his on-stage announcement that Matt Lucas was under Doctor’s orders to rest his voice and would not be appearing. But all was not lost, he quickly reassured us. With just two hours’ rehearsal the understudy had gamely agreed to step into the role.
Ryan Pidgen can surely now step into any role he pleases. In a totally self-assured, flawless performance, had we not known that Lucas was the intended leading man then we would have been none the wiser. On note, in step and word perfect, not for a nanosecond were we even remotely short-changed.
Playing the South London cheeky chappie Bill Snibson who suddenly needs to ‘posh up’ in order to take up his birth right as the unlikely heir of Hareford, Pidgen was not merely competent. Giving Bill warmth, exuberance and sweetness, he bounced around the stage like an adorable scamp of a puppy and, as the kids say, performed like a boss.
The plot may be lightweight, but elsewhere performances are also rock-solid. Clive Rowe as Sir John twinkles in tweed, later revealing a shy and long-nurtured love for Caroline Quentin’s splendidly redoubtable Duchess. A feisty old matriarch with a good heart, by golly she can’t half hoof, too!
Alex Young as Bill’s ‘girl’ Sally is in sweetly soaring voice and balances cockney chirpiness with a touching vulnerability.
When it comes to musical numbers it is fair to say that the majority (give or take The Lambeth Walk and The Sun Has Got His Hat On) are not especially memorable, but the dazzling choreography (nice work, Alistair David) and superb singing (and you, Gareth Valentine, Doug Besterman and Mark Cumberland) make the very best of the raw material.
Lez Brotherston’s stunning set manages to be both traditional and fairy tale – Downton meets Hogwarts, interspersed with the London skyline and beautifully lit by Tim Mitchell.
The night, however, belonged to the heroic Mr Pidgen. As an understudy who endured several ‘thrust-into-the-limelight’ moments (albeit without anything like such professionalism and sheer talent) I absolutely salute you, sir.
The perfect shot-in-the-arm antidote to all things Brexit and Trump, Me and My Girl teems with Pearly kings and queens and exudes triple espresso energy. An unashamedly frothy and feel-good extravaganza, cor blimey you’ll miss out if you don’t nab a Wilson Pickett!