It’s All Kicking Off by Paul Vates

Posted on October 16, 2015 by Margaret Graham

So, the saga continues. Trying to show how one ‘puts on a play’ creaks ever onwards. At a secret venue, which for the purposes of continuity, we shall call a pub, there was a production meeting where the remarkable Katie Unsworth-Murray produced her design for the set. It literally fits into a shoebox and she has made it all to scale.

(Shoebox design by Katie – including the chandelier)

She even produced a tiny chandelier, which allowed me to inform her that ‘electricity hasn’t been invented yet’. I promised that I wouldn’t mention that to anyone (oops!).

Once you’ve advertised for actors wishing to audition for a production of A Doll’s House, it is only polite to be there and welcome them in. ‘Once more unto the breach’ came to mind as we entrenched ourselves into The Barons Court Theatre. Director Kevin Russell, for New Dreams Theatre, sat me down and gave me a list of names. These people would, at thirty-minute intervals, arrive and audition for us.

If you read my last article about finding the lead actress for the part of Nora (and Alexa Matthews accepted our offer), then you’ll have some idea what Kevin had already had to do to get to this stage.

Even so, a collection of characters wandered in that would have made P T Barnum gasp in horror. Amidst the drunk Irishman, the bizarre Chuckle Brother impression and the born-again Christian seeking new converts, we did manage to find a wonderful bunch of actors, all worthy of the three parts up for grabs. So, the full cast is now complete:

The cast:

Alexa Matthews (Nora Helmer), Paul Vates (Torvald Helmer), Julia Florimo (Kristine Linde)

Brian Merry (Dr Rank), Cathryn Brayshaw (Helene), Ramzi DeHani (Nils Krogstad)

Still at the end of the audition day, we returned above ground, into the light, for a drink in The Curtains Up pub that sits atop the theatre. As we discussed the colourful collection of actors on offer, like a couple of football pundits on a Saturday afternoon, taking into account the results, the teamwork aspects and the skill and style on show, the Irishman shadowed us in between his pints – he had decided to linger for a few when he discovered the bar… For all I know, he may still be there.

As an aside, rehearsals have begun on a relaxed basis between Alexa and myself (I’m playing Torvald, her husband). Kevin has taken us through all the major scenes between us, allowing us to get a grasp of the whole thing before the whole company assembles.

(Alexa as Nora – possibly before the unexpected visitor)

It has all gone quite smoothly, apart from when a rat scurried through the room – eye contact that afternoon was at a minimum as every shadow became our rodent critic.

(Alexa – having noticed the ratty critic?)

Now there is only one thing left to do – full company rehearsals!

We’ll soon meet and with a frisson akin to a school playground, we’ll begin assembling the play. Then – and only then – will Kevin utter his trademark phrase: It’s All Kicking Off!

A Doll’s House by Henrik Ibsen will be performed from November 3rd to 22nd at Barons Court Theatre, west London. Call the box office direct on 020 8932 4747 or email londontheatre@gmail.com to reserve seats.

www.newdreamstheatre.co.uk

Facebook: New Dreams Theatre

Twitter @KevinNewdreams

Salomé, by Oscar Wilde, at The Space

Posted on September 8, 2015 by Paloma Kubiak

‘She is monstrous thy daughter’

As a teenager, one of the first classic books I read, incidentally, was by Oscar Wilde after a friend recommended ‘The Picture of Dorian Gray’. Wilde captured the true horror of a person’s character; physically Dorian was a picture of youth and moral standing, but in the portrait that represents Dorian’s soul, his spirit is decaying and putrefying.

And princess Salomé, the daughter of Herod and Herodias is a thing of beauty where many in the kingdom are told ‘not to look at her like that’.

However, just like Dorian, her mind is full of darkness and sin and her wicked motives are reflected in the changing moon – her skin is as pale as the shining sphere in the sky and throughout the play, it turns a deeper shade of red, symbolising that blood will be spilt by sundown.

After we hear the treacherous murmurings of prophet Jokanaan from the depths of the cistern, Salomé becomes intrigued and asks her servants if she can speak with him.

Despite refusing her request, a Syrian who is so taken aback by Salomé’s beauty grants her wish.

But Jokanaan does not succumb to her charm – he won’t let her touch his skin or kiss his lips and here the play becomes slightly erotic, as Salomé caresses herself below her waist.

The scene then turns to the banquet at the palace where Herod requests Salomé to dance for him and he promises to give her anything, even half his kingdom, if she will fulfil his wish.

Salomé, played by Liza Weber, gives an empowering, potent and sensual display to the delight of Herod.

All that she requests is the head of Jokanaan in return, and despite Herod’s pleas that something bad would happen, he is a man of his word and the deed is done.

He shouts ‘she is monstrous thy daughter’ to his Herodias as Salomé can finally kiss Jokanaan’s lips and stroke his skin as she dances with his head dripping with blood.

Salomé, a production by Théâtre Libre is a departure from The Space’s usual plays.

Having been to a number of performances at the fringe theatre in the Isle of Dogs, the idea to run Salomé was a bold one.

Théâtre Libre attempted to approach the little-known play by Wilde from a modern, feminist angle, exploring the objectification of women and how the gaze of male eyes shapes the character. This was reflected in the prolonged, sensual dance performed by Salomé showing that in order for her to get what she wants, she must display her body to please the powerful male ruler of the kingdom.

Produced by Oran Doyle, and directed by Kaitlin Argeaux who founded Théâtre Libre, at times the audience was exposed to uncomfortable and graphic scenes – quite rightly so – and this highlights the great performance by the actors with particular applaud going to Liza Weber and Christopher Slater (Herod).

Both were impassioned and true to their characters, and Herodias, Cheska Hill-Wood, came into her own as a mother defending the actions of her daughter and defending her honour against the ramblings of the prophet Jokanaan.

The stage set-up and lighting for the production of Salomé was of particular importance, especially with all the references to the colour of the moon and this was executed well throughout the play.

Salomé is showing at The Space until 19 September, tickets cost from £10.

Liliom: A Legend in Seven Scenes, The Bread and Roses Theatre, Clapham

Posted on September 2, 2015 by Paloma Kubiak

The theatre-goers were ushered up the stairs to collect their tickets for the show, or so we thought.

In fact, we were handed tickets to the carousel, where we were greeted with candyfloss, ball games and a photographer to capture the moment.

Once seated, it seemed the fun and games were over as the madam of the carousel takes a disliking to one of the riders, servant girl Julie, believing she’s flirting with her star worker, Liliom.

He can pick and choose any girl he wants, but he’s captured by Julie’s innocence and openness.

The pair start courting and Julie’s friend, Marie, imparts her knowledge on flirting while maintaining a lady’s virtue within the realms of the early 1900s in Budapest, Hungary.

We couldn’t help but giggle when Marie said a real sign of passion between her and her soldier boyfriend, Wolf, is when they swing hands. She can’t contain her happiness as her friend Julie now has a sweetheart of her own; they can both share in the delight of what love is and the effect it can have on a person’s soul.

But Liliom is a bad man. He goes out drinking, gambling and even strikes Julie.

Even when Julie tells him he will be a father, the audience deeply hopes he will change his ways. But for Liliom, the news leads him to score one last big hit to provide for his growing family.

He conjures up a plan with his good-for-nothing friend Fiscur to carry out an attack on the guard to steal his money. But as they wait for the guard to arrive, he manages to gamble away his half of the money in desperation.

The plan is foiled and the guard laughs in their faces as the money has already been banked; Fiscur and Liliom are shown as pathetic, stupid and hopeless.

Knowing he’ll be sent to prison, Liliom stabs himself in the chest.

His grieving wife Julie tends to her dying husband. Her love is pure and eternal, but deep down she knows Liliom is, and always was, a bad man.

Julie, played by Daniela Ologeanu, gives a sterling performance here – we feel she is truly mourning the death of a loved-one – she shook with fear, with dismay, with hate and with passion. But Liliom’s soul must now be judged at a higher level.

The poignant words from earlier echo out to the audience – no matter what you do or what you say, it will be remembered.

And in the presence of the magistrate, Liliom is asked what good he performed on earth and whether there is a final task he must perform before being sent away for eternity.

He’s given one last chance to show his softer, caring side – when his daughter reaches 16 years of age, he will be sent back to earth to perform one single act of kindness.

A task so simple it seems, but he manages to mess this up and even strikes his daughter.

Written by Hungarian playwright Ferenc Molnar, adapted by Mark Jackson and directed by Mark Modzelewski, Liliom was performed well within the confines of The Bread and Roses Theatre. Indeed there was no separate stage area and poor Julie must contend with some pretty quick costume changes in the curtains behind the audience.

But I feel this adds to the play – the audience were immersed from the start and we feel a part of the set and a part of the production.

It tackles domestic abuse, against the backdrop of the great carousel which is synonymous with laughter and fun.

And the plays shows how two opposites can attract to each other – one pure and one selfish. However, inherently, it seems people can’t change, no matter if they’re given stable surroundings, love or even a child.

Liliom, performed by Torchlight Collective in cooperation with East 15 Acting School, explored dark and light, comedy and death and the audience felt they were taking a ride on an emotional rollercoaster.

My only criticism? This production was only on for a week.

The Play What I Read By Paul Vates

Posted on August 12, 2015 by Margaret Graham

Frost Magazine was intrigued to know where Paul Vates was in his attempts to stage a production of A Doll’s House with New Dreams Theatre. So, over to Paul.

You may recall, from a previous article, how I read many different versions of Henrik Ibsen’s play A Doll’s House, all in order to stage just the right production in London at Barons Court Theatre later this year with New Dreams Theatre.

After numerous meetings, (in a variety of drinking establishments), the director, Kevin Russell, honed in on one particular version. He applied for the performing rights and to our surprise received a positive response – but with a request that we first supply a pack consisting of our CVs, reviews from previous shows and a reference from the manager of the Barons Court Theatre, W14 9HP, the venue we had pre-booked 3^rd to 22^nd November. There followed a dramatic pause of Pinteresque proportion before we secured the rights to perform Bryony Lavery’s version.

A bit of a coup for us, as this will be the London première of her script. She is a very popular and multi-award-winning playwright, with plays such as Frozen, Stockholm and last year’s National Theatre production of Treasure Island to her name.

While twiddling our thumbs, we chose the cover image for the posters and flyers. When one is creating an image there are a few options available: design it yourself; get a designer to do it; choose an existing picture and pay for the rights; or, as we did, trawl through hundreds of pictures on photo library websites.

‘It has to reflect,’ Kevin said, sipping his lager, ‘what I want to bring to the production and be something that grabs the attention from across a crowded room.’

He tore open the sea salt and balsamic vinegar crisps and placed them in-between us as we agreed to focus on Nora’s dilemma.

‘As the protagonist of the story,’ he continued, ‘Nora is trapped both by her physical and psychological barriers. Her panic and self-doubt builds throughout the play.’

Could this be captured in one image?

‘She fears losing everything she knows and is trapped by a note lying in the locked letterbox by the door.’ He smiled and crunched another crisp.

We chose this dramatic picture – what do you think?

The technical crew have also been assembled. Ben Cowan, whose credits include BBC TV Dramas, is composing the original music score – the production designer is one of Cameron Mackintosh’s newest: the superbly imaginative Katie Murray-Unsworth – and Roman Berry is choreographer.

Attention has since turned to the actors. Kevin posted up an advert on trade websites and arranged a free day with the theatre to hold auditions – firstly for the part of Nora.

‘The whole play rests on her shoulders, so it is important to get this casting right.’

I receive daily texts from him as he declares how many applications he has received; now he has the mind-boggling task of whittling the (at time of writing 180 actresses) down to a manageable dozen or so.

These ladies will be invited to audition for us at the end of August. I will write more about this process and the audition day itself in a few weeks.

See A Doll’s House at Barons Court Theatre, 28a Comeragh Rd, London W14 9HP 3^rd – 22^nd November Tickets are already selling, too. Reservations can be made by phone (020 8932 4747) or by email (londontheatre@gmail.com)

www.newdreamstheatre.co.uk

Facebook: New Dreams Theatre / Twitter @KevinNewdreams

Twelfth Night or What You Will, by William Shakespeare

Posted on July 28, 2015 by Paloma Kubiak

Either my education’s failed me or I’ve failed my education as this is the first time I’ve had the pleasure of witnessing the great William Shakespeare’s Twelfth Night, or What You Will.

A production by the Pell Mell Theatre Company at The Space on the Isle of Dogs, I had no preconceptions of what the play was about, let alone how it compared to the written word or other stage adaptations.

Twelth Night came across as organised chaos – entertainers with painted faces stretched, performed, laughed and mocked the other characters and we never quite know whether they’re visible to all on stage or if they just act as a narrative device to help the audience’s understanding.

At times they were comedic in their moves, at other times they were somewhat distracting pacing about the stage while the audience tried to keep up with the main characters.

I was glad to see Shakespeare’s chief ploys of gender swapping and love triangles present.

Orsino pines for Lady Olivia, but she’s ironically hypnotised by Orsino’s page boy, Cesario, a woman who’s disguised herself as a man. And Cesario – aka Viola – is in love with Orsino.

The play is predominantly set at Lady Olivia’s home, where we meet her outspoken maid Maria, her pompous chief servant Malvolio and where her uncle, Sir Toby, roams the corridors after late night drinking sessions.

We also meet Feste, the fool who is wickedly honest and surprisingly witty and who shone through his thickly painted face.

As the love triangle heightens and madness has descended on the cast as the once disinterested Cesario has now wed Lady Olivia, is forced to fight Sir Andrew who’s also trying to win Olivia’s heart, and comes to blows with his/her master Orsino who believes he’s been betrayed, Sebastian enters.

The long lost twin brother of Cesario/Viola stands in front of the whole cast and all is now made clear. The way Sebastian was revealed and the way we saw each of the characters seem to realise the truth was a great strategy.

And though the play’s a little farcical as Lady Olivia is happy to have wed the male counterpart of Cesario, it was heart-warming to see Cesario revealed as a female – as she’s able to declare her love for her master, Orsino.

Viola, played by Ella Garland, was truly fantastic – she had the right mix of authority and playfulness for the role.

You couldn’t help but warm to Malvolio, played by Andrew Seddon, who paraded around in a grand suit before dressing in yellow stockings in the belief this would win the heart of Lady Olivia.

The actual play was simple in terms of props, and I think this was the right move, as the costumes were majestic and the lighting and music filled the stage.

Twelfth Night is showing at The Space until 8 August – tickets are available from https://space.org.uk.

Big Mack: Michael Ball leads the cast of Chichester’s big summer musical

Posted on July 22, 2015 by Vicky Edwards

THEATRE REVIEW

Mack and Mabel
Chichester Festival Theatre
Until 5 September (and then on tour)

Music and Lyrics by Jerry Herman
Book by Michael Stewart (revised by Francine Pascal)

www.cft.org.uk
Box Office: 01243 781312

Photo credit: Manuel Harlan

From the moment that the blistering overture kicks in you sense that something special is in store. And so it is. In addition to a belting orchestra, there’s a clever set and technical wizardry, glorious frocks and a phenomenally talented cast, led by Michael Ball and Rebecca La Chance in the title roles.

But although billed as a musical comedy, the plot isn’t an endless stream of lighthearted froth by any means. Nor is it a conventional musical theatre romance. The true story of Mack Sennett, the legendary silent movie director famed for his Keystone Cops, and Mabel Normand, a hot dog seller spotted by Sennett and transformed into the darling of the silent screen, in many ways the tale is more reminiscent of Albert Square than Hollywood. Just with more songs.

Told retrospectively, Michael Ball convinces absolutely as the ruthlessly driven Sennett whose sole aim in life is to make ‘em laugh. Broke and alone in his studio before being turned out, he recalls the past; the lies he told, the cast and crew he bullied and the love he treated far too casually. And then there’s the crushing blow that he was wrong about the Talkies which, in spite of his prophecy to the contrary, did actually catch on, diminishing public appetite for his silent pie-in-the-face two-reelers.

Resigned to his rudeness and lack of romance, Mabel continues to love the difficult but charismatic Mack. Reaching a point, however, when the occasional moment of tenderness is no longer enough, and with Mack unwilling – or unable – to make any greater commitment to her, she allows her head to be turned by a rival producer. Having taken drugs before to cope with Mack’s punishing schedule of movie making, she is soon a regular drug taker, slugging down hard liquor in between shoving cocaine up her nose. By the time Mack finally realises that she needs help as much as he needs her it’s all far too late.

Rebecca La Chance is terrific. Vocally enchanting, she pitches Mabel’s initial passion, zest and energy perfectly. As times change, and her fading hope and enthusiasm becomes apparent, it pierces the heart.Fluid, visually stunning and audibly fabulous, all credit to director Jonathan Church and his creative team, whose collective expertise is harnessed to great effect. Choreographer Stephen Mere, at the top of his game, must surely be one of the world’s best. Inventive, stylish and almost poetic in their gracefulness, his routines are simply dazzling.

But ultimately it is Michael Ball’s show. Giving Mack real substance, and following on from his triumphant performance at Chichester a couple of years ago as Sweeney Todd, he cements his status as a supremely talented singer who can really act. Balancing the aggressive bully who is consumed by his work with the man who is also capable of flashes of sweetness, loyalty and at some level self-awareness, Ball manages the emotional and personality gear changes with complete aplomb. It is a remarkable performance and not until the curtain call is there so much of a glimpse of the slightly camp luvvie who willingly sends himself up.

Another Chichester musical with all the hallmarks of success, I Never Promised You a Happy Ending may well be one of the big numbers, but you’re sure as Hell guaranteed joyous entertainment. If you can get a ticket, grab one.

Review: Educating Rita – Minerva Theatre, Chichester

Posted on June 25, 2015 by Vicky Edwards

Educating Rita
Minerva Theatre, Chichester
Until 25 July
Box Office: 01243 781312
www.cft.org.uk

Picture credit: Manuel Harlan

In her quest for choice and betterment would Liverpudlian hairdresser Rita throw herself into an Open University degree course today? Nah. More likely that she would develop an app for stylists.

Written and set in the early 80s (and with more than a little doffing of its hat at Shaw’s Pygmalion), what Willy Russell’s play lacks in modern relevance is more than compensated for in the performances of Lenny Henry and Lashana Lynch.

As Frank, the disillusioned tutor and one-time poet whose career is now just a means of funding his drinking, Henry could be a shade more embittered. But visibly relaxing into the second act, first night nerves squarely dealt with, he hits his stride.

Frank’s passion for teaching is reignited when Rita explodes into his office with a desperate thirst to learn. His feelings for her grow fonder and when he realises that she has all but achieved her dream of being educated the ensuing bender upon which he embarks is not inspired by a wish to toast her success. Beautifully pitched by Henry, who is well paired with his co-star – their chemistry gives the production a palpable boost – the final scenes are especially touching.

Lashana Lynch is on track for Big Things. Exuberant, warm, funny, ambitious, determined and childlike in her wonder of academia, Lynch manages to convey it all, stealing the hearts of the audience while she’s about it. A two-hander is a huge mountain for any actor to scale but Lynch makes it look effortless.

Not so the transitions from scene to scene. Limited to a point by both script and Ellen Cairns’ bookshelf-lined set, Rita’s arrival to each tutorial at the start of each new scene is clunky.

But this is a minor grip and overall this production, in educational terms, falls only slightly short of getting a First.

Face The Music at Ye Olde Rose and Crown Theatre, Walthamstow

Posted on June 22, 2015 by Paloma Kubiak

What struck me most about the All Star Productions cast was how much each actor seemed to enjoy their time on stage, despite the show being set against the backdrop of the ‘Great Depression’.

Face The Music, originally written by Moss Hart with music and lyrics by Irving Berlin, has been resurrected for a twenty-first century audience at the Ye Olde Rose and Crown Theatre in Walthamstow, but it maintains the character, costume and camaraderie of 1930’s America.

The play centres on the ‘make or break’ theatre show to be directed by Hal Reisman, but in an age of austerity, he struggles to find the financial backing to get the show on the road.

Spurred on by love’s young dream, Kit Baker (Joanna Hughes) and Pat Mason (Alessandro Lubrano), the three meet with bent copper Meshbesher and his eccentric wife Myrtle who are only too happy to splash the cash in a bid to avoid having their haul discovered by the government.

In fact the more the play’s a failure – they’re happy to sink 800,000 dollars into the production – the happier the couple are, as it will cover their dodgy money trail.

And so a round of auditions ensues which sees jazz hands, tap dancing and catchy sing-alongs such as ‘On a roof in Manhattan’, ‘My beautiful rhinestone girl’ and ‘If you believe’.

I particularly enjoyed the relationship between plain PC O’Rourke (James Holbrooke) and the sultry streetwalker (Joanne Clifton) as she woos him to avoid being sent to prison and instead is given the opportunity to join the cast.

However, the play is missing one big thing – sex. As they say, ‘sex sells’ and once the ladies start to strip off, the show is a success, even with the most critical of reviewers.

Ultimately, the show’s success is the cause of the Meshbesher’s failure, as they’re dragged to court to answer to the charge, of corruption, extortion and embezzlement.

Leading lady, Joanna Hughes, had a serene yet authoritative presence on the stage and James Holbrooke’s facial expressions capture each emotion portrayed by his character perfectly.

Directed by Brendan Matthews, Face The Music is a fun and enlightening production and a big round of applause should also go to the orchestra tucked away in the corner of the stage area.

Face The Music is on at Ye Olde Rose and Crown Theatre, Walthamstow until 3 July, tickets available from the box office on 020 8520 8674. Ps, you may want to arrive early to sample the pizza from the make shift hut just outside the pub…

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