Review: Gary Wilmot’s sweet success in Bognor Regis

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

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!

Spandau Baddie: Martin Kemp Meets Vicky Edwards

Martin Kemp tells Vicky Edwards why his musical theatre debut is going with a bang-bang…

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Photo credit: Alastair Muir

From gangster Reggie Kray to evil control freak Steve Owen in EastEnders, Martin Kemp is extremely good at being bad. Currently on tour in Chitty Chitty Bang Bang playing the Childcatcher, arguably one of the most iconic villains of all time, Martin is drawing on his previous roles for inspiration, but admits that there’s unchartered territory to explore when it comes to the character that regularly tops the polls of movie monsters.
“The Childcatcher is an exaggerated version of everything I have ever done before, but it comes from a completely different angle,” explained Martin. “He’s a step away from reality; all the characters are really, especially in the second half when we go to Vulgaria.
“In the first half I play a character called the Junk Man, but in the second half that kind of Alice in Wonderland thing happens and the Junk Man becomes the Childcatcher. Robert Helpmann did an amazing job [in the film], but my physicality is not the same as his; I don’t have his ballet background, so instead I try to bring a bit more horror to the role.”
Judging from the booing that fills the theatre before he has even set foot on the stage, he’s clearly doing that very effectively.
“Kids are scared of the name: Childcatcher. When the Baron says “Call for the Childcatcher!” I can feel the tension in the theatre and then I hear the boos,” he laughed, adding, “But that’s part of the whole experience. If you haven’t laughed, cried and been scared then you haven’t seen a good show. You need to be taken to all those places.”
And with cheers at the curtain call almost taking the roof off the theatre, it seems that it’s a journey that audiences of all ages are delighted to undertake. A co-production between Music & Lyrics Limited and West Yorkshire Playhouse, this brand spanking new reimagining of the much-loved Sherman Brothers musical is winning critical acclaim as well as standing ovations.
“Ten years ago I saw the show in London and the main thing I remembered about it afterwards was the car,” said Martin. “But now it’s very much about the story. It amazes me, but every night I walk out of stage door and people are there saying how much they loved the whole show. From old people who saw the movie on their first date to kids meeting Chitty for the very first time, the demographic is extraordinary. Yes, it’s changed from the book, and then again from the film and again from the original stage musical, but it really works. We’re sending people home with big smiles on their faces.”
As for his fellow cast members, mention them and it is Martin with a big smile on his face. “It’s a great cast,” he enthused. “I’ve worked with Michelle [Collins] before and it’s lovely to work with her again, but they are all brilliant performers.” And so they are. Funny men Jason Manford as Caractacus Potts and Phill Jupitus as Lord Scrumptious and Baron Bomburst are joined by Martin and Michelle, as well as Andy Hockley of Phantom of the Opera fame as Grandpa Potts, and West End leading lady Amy Griffiths as Truly Scrumptious. Add to that a world class company of singers and dancers and you have a show that is dazzling, star-studded and that absolutely lives up to the ‘fantasmagorical’ praise.
But while the story of Chitty might have been knocking around for a good while, musical theatre is a new challenge for Martin.
“One reason I am here is that I have never done a musical before and I thought this might be a nice way to dip my toe in. I love trying new things and I love working with new people.”
That happy-go-lucky, have-a-go attitude wasn’t always there, however. In fact, as a child he confesses that he struggled with crippling shyness.
“I’ve been doing this a while now but at the age of eight I was incredibly shy, so my mum sent me to Anna Scher’s drama workshops,” said Martin, who knows first-hand what an advantage drama classes can be to children.
“What drama clubs give you is a small amount of this magic dust called charisma. I always say that I owe everything to Anna Scher because she formed my personality as a kid.”
Pointing out that whether you become an actor or join a band or you just use that acquired confidence to get through interviews when you’re 16, Martin is certain that drama clubs are a fantastic way of developing both character and life skills.
As for children watching live theatre, absorbing stories close up rather than on a screen, Martin loves the way they get totally involved.
“Adults watch, but kids believe and become part of the world they see unfolding; they just dive in,” he nodded.
“For Chitty we recently did what is called a ‘Relaxed Performance’ for children with disabilities and conditions like Autism. The show was adapted around the audience’s needs and it was a wonderful thing to be part of.”
A member of one of the most popular bands of all time, star of movies, TV and now a musical, Martin certainly can’t complain of always doing the same old same old.
“I have always changed it up a bit and I like never knowing what’s around the corner,” he laughed, although actually this time he does know what is coming next.
“I have just finished a year on tour with Spandau which was wonderful, but it’s this great big machine that needs five artic trucks and a 100-strong crew. When you play huge arenas the size of Wembley you know that to people at the back you’re just a speck of dust in the distance and that you’ll never get to meet those people. So in May I am doing the sort of antidote to not meeting people with a show that’s going to tour called An Audience with Martin Kemp. I’ll be travelling around England chatting about my life and career and taking questions from the audience. Yeah, it’s going to be different and fun,” he grinned.
With such a busy professional life, relaxation, he says, comes in the form of painting.“That’s my down time. Sometimes it shuts me off from the world and I lose myself completely.” Asked what he paints and the smile that stole my sixteen-year-old heart lights up his face again. “I paint rock ‘n’ roll,” he says with a chuckle.
Super-talented, funny, warm and with rock ‘n’ roll artistic flair to boot, however brilliantly nasty he is as the Childcatcher, in real life Martin Kemp is a total sweetie.
Vicky Edwards

 

A Damsel In Distress, Chichester Festival Theatre – review

Photo credit Johan Persson

Photo credit Johan Perssonzpfile000

A Damsel In Distress
Chichester Festival Theatre
Until 27 June
Box office: 01243 781312
www.cft.org.uk

Gad zukes! What a delightful piece of froth! Perfect for summer, especially given the Festival Theatre’s glorious setting (what could be jollier than a pre-theatre G&T in the park?), the 1930s novel by PG Wodehouse initially adapted as a play, and later as a film for which Gershwin composed songs, enjoys new life as a stage musical by Jeremy Sams and Robert Hudson.

A topping blend of music, song and ripping fun, the story is about as daft as they come. Maud, a headstrong 1920s English rose, is locked in the tower of a stately home and guarded by her dragon of an aunt who is determined to prevent her niece marrying a penniless poet. But it’s an American theatre director who is smitten with the girl. If he can’t sleigh the dragon then he’s set on shoving her out of the way so that he can at least declare his heart. Spamalot meets Downton Abbey. But with more tap dancing.

Marshalling the whole charming caboodle, Rob Ashford directs and choreographs. The score may not be the most memorable in the world, but a cast of ace singers and dancers give it all they’ve got, adding plenty of visual fizz as they belt and hoof with as much infectious enthusiasm as dazzling skill. Clutching mops, rakes, and even oversized quivering jellies, routines are high octane and high camp.

It’s a terrific team effort but Isla Blair as fire-breathing Lady Caroline is a splendid battle-axe. Richard Fleeshman as George and Summer Strallen as the feisty ‘damsel’ of the title are in superb voice, while Nicholas Farrell as the aging lord of the manor who rediscovers his va va vroom when he meets showgirl Billie (a warm and effortlessly sexy Sally Ann Triplett) is gloriously funny. Delighted to have found a siren who not only has a cleavage like the Rhonda Valley but who also shares his passion for pigs and roses, the pair provide some of the production’s most uproarious moments.

Further comedic expertise is demonstrated by Desmond Barrit as butler Keggs, and also David Roberts. Managing to switch roles between Perkins the theatre director and Pierre the highly strung chef, as the latter Roberts inspires yet more laughter. Richard Dempsey meanwhile is adorable as dim toff Reggie.

Designed by Christopher Oram, the set, as Reggie would say, is bally clever. Revolving rose gardens and castle turrets cunningly morph into the stage at the Savoy and the kitchen of a stately home.

Chekov it ain’t. Brilliantly executed blissful nonsense it most definitely is. Don’t be a frightful clot – book tickets today!

Way Upstream by Alan Ayckbourn at Chichester Festival Theatre

Credit: Simon Annand

Credit: Simon Annand

When a play requires a river, a tree-lined bank and a floating motor cruiser as its set, it’s destined to be seldom performed. But Chichester Festival Theatre doesn’t scare easily when it comes to technical challenges and Nadia Fall’s extraordinary production of Alan Ayckbourn’s dark comedy easily meets the play’s epic technical demands.

With most of the action taking place onboard Hadforth Bounty the first half is where the laughs are to be had. Keith and June have taken to the water with colleagues and business partners Alastair and Emma for a jolly waterways holiday. Trouble on dry land back at their novelty goods factory sees PA Mrs Hatfield (Nicola Sloane) having to show up bankside with daily updates. Brash and self-important, Keith (Peter Forbes) quickly nominates himself as captain, while his disgruntled wife June (Sarah Parish) carps, huffs and idles. Lily-livered Alastair (Jason Hughes) and his timid missus Emma (Jill Halfpenny) end up doing the bulk of the graft, resentment building like a slowly developing tidal wave.

But the sit-com feel and the jokes at the expense of well-drawn middle-class characters give way to altogether nastier themes. With the arrival of Vince (Jason Durr), a savvy and seemingly harmless bit of eye candy who does, unlike the novice sailors, at least seem to know how to avoid capsizing, initial barbed teasing swiftly degenerates into disturbing casual cruelty, punctuated only by drunken revels and sexual shenanigans. Manipulating Keith off the boat to go and deal with the threat of strike action back at the factory, Vince introduces minxy Fleur (Emily Laing) into the equation, all the while ramping up the intimidation and spite.

As Ayckbourn highlights the consequences of power in the wrong hands and the fallout of perpetual feebleness, the laughter from the audience gets increasingly nervous.

Fabulously played, the performances are all stunningly good; not even Ben Stones gloriously clever set, beautifully lit by Tim Mitchell, can upstage this superb cast.

An odd but nevertheless compelling play, the launch of the 2015 Festival season at Chichester makes an impressive splash.

Until 16 May. Box office: 01243 781312; www.cft.org.uk

Vicky Edwards

THE FAERIE TREE: A Book In The Making

book, publishing, self publishing, writing, author, Ostara: A time of rebirth and renewal. A time to celebrate the coming of spring. And the coming of new books…

By the time you read this The Faerie Tree will have been unleashed. Actually, even at the time of writing it’s creeping out there; Amazon have stopped listing it as a pre-order and I’ve had to hold Matador back from making the ebook available before its time.

A few boxes of paperbacks have arrived with me as well. Holding one for the first time was tinged with sadness; my mother, who was a huge supporter of my writing, passed away just ten days before so she never got to see the finished book. But she’d read early drafts and approved the cover – and right at this moment is sitting at my shoulder, telling me to get back to the point of this article.

The point is that it’s hard to publish a novel alone. I’ve written before about the ‘official’ team; my editor, the wonderful Margaret Graham (author, teacher and Frost contributing editor) and the folks at Matador, but in recent weeks I’ve received an enormous amount of help from people who, quite frankly, didn’t have to.

In my last article I mentioned my desire to create a faerie tree near my home city of Chichester. I also mentioned this to a few of my fellow Chindi (Chichester Independent) Authors, and children’s writers Christopher Joyce and Becky Edwards leapt in with huge enthusiasm to brainstorm ideas and open their contact books. We were joined by the administrator of the Sussex Centre for Folklore, Fairy Tales and Fantasy – acting in a personal capacity just because she loved the idea so much.

Through them I met Vicky Edwards, a local book-lover (she runs the Spirit FM book club) and PR. She not only gave me some great ideas to improve my press releases but just as importantly introduced me to a local charity with a woodland walk – the ideal home for a faerie tree. I was due to meet them in early March but had to cancel so there is another date in the diary and I hope that in the next article there will be something definite to tell you about this very special project.

I’ve also had a great deal of support from the bloggers who are taking part in the launch tour. These ladies work so hard reviewing books and helping readers make good choices about what they might enjoy. They do it for the love of it – some are retired, but most hold down day jobs as well. And I think I’m busy. Follow the tour (details below) and browse their other posts for great steers on books you might enjoy.

Finally, I’ve had the blessing of the elves, pixies and faeries who live around the real faerie tree where the book is set. You see I did what many people have done before – for over twenty years, in fact – and I put a letter into their little box. And like everyone else, I received a reply; wishing me well and giving me instructions on where to leave their copy. I hope they like it. I hope everyone likes it. It would be a really fitting thank you to all the unsung heroes who’ve helped me along the way.

The Faerie Tree blog tour…

22nd March: Random Things Through My Letterbox – author Q&A
http://randomthingsthroughmyletterbox.blogspot.co.uk/

23rd March: Rosie Amber – review
https://rosieamber.wordpress.com/

24th March: Liz Loves Books – the settings & scenery of The Faerie Tree
http://lizlovesbooks.com/

25th March: My Reading Corner – the faerie tree itself and book giveaway
http://myreading-corner.blogspot.co.uk/

26th March: Crooks on Books – author interview
http://crooksonbooks.blogspot.co.uk/

28th March: Jaffa Reads Too – the inspiration for The Faerie Tree and book giveaway
http://jaffareadstoo.blogspot.co.uk/

29th March: Being Anne – second chances
http://beingannereading.blogspot.co.uk/

31st March: Beadyjan’s Books – writing with women in mind
http://beadyjansbooks.blogspot.co.uk/