tag:blogger.com,1999:blog-51354605198873599912024-03-12T18:28:50.082-07:00Phil Lowe. Actor and Theatre WriterI write regular theatre reviews, features and interviews and reflect on my previous/current work on the stage.Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.comBlogger278125tag:blogger.com,1999:blog-5135460519887359991.post-91291496579939986862016-10-24T02:37:00.001-07:002016-10-24T09:11:05.735-07:00Miss Saigon 25th Anniversary DVD is now on sale.The eagerly awaited <a href="https://www.amazon.co.uk/gp/product/B01M040H2D/ref=as_li_tl?ie=UTF8&camp=1634&creative=6738&creativeASIN=B01M040H2D&linkCode=as2&tag=muofstteanach-21" rel="nofollow">Miss Saigon: 25th Anniversary Performance [DVD]</a><img alt="" border="0" src="http://ir-uk.amazon-adsystem.com/e/ir?t=muofstteanach-21&l=as2&o=2&a=B01M040H2D" height="1" style="border: none !important; margin: 0px !important;" width="1" /> is now on sale through various outlets including the link above (Amazon). After the recent cinema screening the pre-booked DVD shot straight to the top of the Amazon charts. Fans of the show, old and new seem very eager to get themselves a copy of this dynamic DVD. Click on the highlighted DVD link above or <a href="https://www.amazon.co.uk/gp/product/B00N3B8YY2/ref=as_li_tl?ie=UTF8&camp=1634&creative=6738&creativeASIN=B00N3B8YY2&linkCode=as2&tag=muofstteanach-21" rel="nofollow">Miss Saigon</a><img alt="" border="0" src="http://ir-uk.amazon-adsystem.com/e/ir?t=muofstteanach-21&l=as2&o=2&a=B00N3B8YY2" height="1" style="border: none !important; margin: 0px !important;" width="1" />
DVD image below to see prices and order.<br />
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<a href="https://www.amazon.co.uk/gp/offer-listing/B01M040H2D/ref=as_li_tl?ie=UTF8&camp=1634&creative=6738&creativeASIN=B01M040H2D&linkCode=am2&tag=muofstteanach-21" rel="nofollow"><img border="0" src="http://ws-eu.amazon-adsystem.com/widgets/q?_encoding=UTF8&ASIN=B01M040H2D&Format=_SL250_&ID=AsinImage&MarketPlace=GB&ServiceVersion=20070822&WS=1&tag=muofstteanach-21" /></a><img alt="" border="0" src="http://ir-uk.amazon-adsystem.com/e/ir?t=muofstteanach-21&l=as2&o=2&a=B01M040H2D" height="1" style="border: none !important; margin: 0px !important;" width="1" />
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<a href="https://www.amazon.co.uk/gp/product/B01M040H2D/ref=as_li_tl?ie=UTF8&camp=1634&creative=6738&creativeASIN=B01M040H2D&linkCode=as2&tag=muofstteanach-21" rel="nofollow">Miss Saigon: 25th Anniversary Performance [DVD]</a><img alt="" border="0" src="http://ir-uk.amazon-adsystem.com/e/ir?t=muofstteanach-21&l=as2&o=2&a=B01M040H2D" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/iO4YpmycJCw" width="560"></iframe>Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-75884925505272731542016-07-22T02:26:00.000-07:002016-07-22T02:26:06.631-07:00Short video about suggestions on theatre reviewing by Phil Lowe.<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/er0X0Dcr-Y0" width="560"></iframe><br />
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This is my latest video on basic suggestions regarding being a theatre reviewer. Enjoy. More to come.Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-55720169920684821872016-05-01T04:05:00.001-07:002016-05-01T04:05:35.415-07:00The busy busy life of a theatre reviewer.
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It has been another
busy old week in the reviewing world of<a href="http://www.eastmidlandstheatre.com/"> East Midlands Theatre.com</a>
with a mixed collection of shows and concerts to see and review.
Those have included <i>The Rocky Horror Show (touring)</i> at
Nottingham Theatre Royal, <i>Legally Blonde</i> at Curve Leicester,
<i>Citizen Khan</i> at Nottingham Royal Concert Hall and <i>Shopping
and F***ing</i> at Nottingham New Theatre (Nottingham University).</div>
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Recent highlights have
been Jodie Prenger in <i>Tell Me On A Sunday</i> at Nottingham Royal
Concert Hall, <i>Kings</i> at Nottingham Playhouse, <i>Oedipus</i> at
Lakeside, <i>A Midsummer Night's Dream</i> at The Lace Market
Theatre, <i>Wipers</i> at Curve Leicester, <i>Noises Off</i> at
Nottingham Playhouse and <i>Jesus Christ Superstar</i> ESNA Players
at Loughborough Town Hall.<br />
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Before I go to Germany
in mid May for a theatre twinning event I am down to review
<i>Benefactors</i> at The Lace Market Theatre, <i>Evita</i> -
Christchurch Theatre Club at Loughborough Town Hall, A <i>Midsummer
Night's Dream RSC</i> and Lovelace Theatre, and <i>The Government
Inspector</i> at Nottingham Playhouse. Week beginning Monday 9<sup>th</sup>
May I will be reviewing two dance shows, <i>Flamenco Edition</i> at
Lakeside and <i>Nederlands Dans Theater</i> at Nottingham Royal
Concert Hall plus <i>Adult Child-Dead Child</i> at Nottingham
Playhouse.<br />
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Next week Sardines
magazine are publishing three pieces of my writing; a piece about the
first ever adult amateur production of <i>Cats</i> by Christchurch
Theatre Club; a piece about The Lace Market Theatre's journey to
Karlsruhe and an interview with two of the major lights at Nottingham
New Theatre.<br />
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June looks like being
just as full of shows and events to see and review for myself and my
website at <a href="http://www.eastmidlandstheatre.com/">East Midlands Theatre.com</a>.<br />
<br />
Phil Lowe<br />
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PS: Apologies for
recent lack of content on this site. As you can perceive I have been
very busy with my writing and also holding down a full time job to
pay the bills!<br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-19787066205410294612016-02-28T08:49:00.001-08:002016-02-28T08:49:12.636-08:00Latest catch up on my reviewing and theatre writing.I am aware now that I haven't been as hot on keeping a record on here of my theatre activities since December so this listing may be a bit link by link. The link to my @EM_Theatre Twitter account for my <a href="http://www.eastmidlandstheatre.com/">website</a>, next to this blog post will hopefully help to keep readers informed too.<br />
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Here goes: in order of writing here are a list of my recent website posts for <a href="http://www.eastmidlandstheatre.com/">www.eastmidlandstheatre.com</a>.<br />
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<a href="http://eastmidlandstheatre.com/2015/12/21/derby-theatres-cinderella-probably-the-best-christmas-show-in-the-east-midlands-this-year/">Derby Theatre's Cinderella production.</a><br />
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<a href="http://eastmidlandstheatre.com/2015/12/22/east-midlands-theatre-truly-believe-that-culturematters/">East Midlands Theatre.com and #culturematters</a><br />
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<a href="http://eastmidlandstheatre.com/2015/12/22/jason-donovan-to-reprise-role-as-tick-in-priscilla-queen-of-the-dessert/">Jason Donovan to reprise role in Priscilla Queen of the Dessert.</a><br />
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<a href="http://eastmidlandstheatre.com/2015/12/28/derby-theatre-highlights-of-2015/">Derby Theatre highlights of 2015.</a><br />
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<a href="http://eastmidlandstheatre.com/2015/12/28/love-nottingham-playhouse-20152016-whats-on-is-now-live/">Nottingham Playhouse. What's On Live.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/13/theatre-talk-for-club-encore-at-nottingham-playhouse/">Theatre talk for Club Encore news.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/13/brian-weaver-fellowship-offers-third-chance-to-young-actors-at-derby-theatre/">Brian Weaver Fellowship Offer to young actor.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/15/war-horse-national-tour-to-come-to-nottingham-2018-booking-available-from-8th-february-2106/">War Horse goes on tour. Nottingham Theatre Royal.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/15/a-selection-of-terrific-shows-in-january-and-february-at-leicester-curve/">Leicester Curve promotion.</a> Jan/Feb 2016<br />
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<a href="http://eastmidlandstheatre.com/2016/01/16/anything-goes-at-nottingham-arts-theatre-by-nottingham-uni-musicality-company/">Promotion for Anything Goes at Nottingham Arts Theatre</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/19/derby-family-set-to-meet-king-arthur-through-oddsocks-productions/">Oddsocks promotion. Family First.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/19/no-matter-how-old-you-are-now-culturematters-believe-it/">#culturematters for the older generation.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/20/great-opportunity-to-learn-more-about-greek-theatre-at-lakeside/">Great opportunity to learn more about Greek Theatre.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/20/cats-the-musical-returns-to-nottingham-july-aug-2016/">Cats the musical returns in Summer of 2016 to Nottingham Royal Concert Hall.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/23/review-priscilla-queen-of-the-desert-nottingham-royal-concert-hall/">http://eastmidlandstheatre.com/2016/01/23/review-priscilla-queen-of-the-desert-nottingham-royal-concert-hall/</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/23/review-priscilla-queen-of-the-desert-nottingham-royal-concert-hall/">Review: Priscilla Queen of the Dessert. Nottingham Royal Concert Hall.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/26/triumphant-cats-at-loughborough-hall-by-christchurch-theatre-club/">Review: Cats at Loughborough Town Hall by Christchurch Theatre Club.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/27/review-the-snowman-nottingham-theatre-royal/">Review: The Snowman. Nottingham Theatre Royal.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/01/28/the-great-gatsby-at-derby-theatre-9-13-february-2016/">The Great Gatsby. Coming to Derby Theatre. </a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/01/sardines-theatre-magazine-my-professional-writing-credits/">Writing for Sardines magazine.</a> Professional writing.<br />
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<a href="http://eastmidlandstheatre.com/2016/02/03/review-hetty-feather-at-nottingham-theatre-royal/">Review: Hetty Feather at Nottingham Theatre Royal.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/08/opportunities-toward-new-theatre-writing-with-twisted-dame-productions/">Twisted Dame Theatre Company writing opportunities. </a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/09/love-victorian-old-time-music-hall-entertainment-then-check-this-out/">Piece on old time music hall event.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/10/review-anything-goes-musicality-at-nottingham-arts-theatre/">Review: Anything Goes. Musicality. Nottingham Arts Theatre.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/12/review-any-means-necessary-nottingham-playhouse/">Review: Any Means Necessary. Nottingham Playhouse.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/12/review-a-girl-is-a-half-formed-thing-curve-leicester-studio/">Review: A Girl is a Half Formed Thing. Leicester Curve.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/14/hetty-feather-comes-to-curve-leicester-highly-recommended/">Promotion: Hetty Feather comes to Curve.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/16/review-blood-brothers-at-nottingham-theatre-royal/">Review: Blood Brothers at Nottingham Theatre Royal.</a><br />
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<a href="http://eastmidlandstheatre.com/2016/02/16/look-back-in-anger-interviews-at-derby-theatre/">Interview: Look Back in Anger interviews at Derby Theatre.</a><br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-53677519840005473732015-12-19T11:02:00.004-08:002015-12-19T11:02:40.545-08:00Round up on a month of reviewing across the East Midlands.As you might imagine November and December have been rather hectic in terms of theatre and festive show reviewing as well as promoting events through <a href="http://www.eastmidlandstheatre.com/">www.eastmidlandstheatre.com</a>. In early January 2016 I have been invited to <a href="http://www.nottinghamplayhouse.co.uk/">Nottingham Playhouse</a> to do an hour long talk to the Encore over 50s group about my theatre reviewing and theatre writing experiences. I am looking forward to that.<br />
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Here is a rough roundup of the reviews I have written since early November to the present date. I have also written an interview with actress Rebecca Little for Sardines magazine about her continuing presence in the annual Playhouse Pantomime. This will be published in the January edition.<br />
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Other relevant theatre promotion material features between the reviews on <a href="http://www.eastmidlandstheatre.com/">www.eastmidlandstheatre.com</a>.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/10/review-an-inspector-calls-nottingham-theatre-royal/">An Inspector Calls</a> the National Theatre touring show of Priestley's famous work. Theatre Royal Nottingham.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/16/review-a-view-from-the-bridge-nottingham-new-theatre/">A View From The Bridge</a>. Nottingham New Theatre production at Nottingham University.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/17/review-beryl-at-nottingham-playhouse/">Beryl</a> touring production about Beryl Burton acclaimed yet forgotten cyclist. Nottingham Playhouse.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/23/review-pam-ann-queen-of-the-sky-nottingham-playhouse/">Pam Ann</a> - acerbic comedienne at Nottingham Playhouse.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/23/review-celtic-woman-nottingham-royal-concert-hall/">Celtic Woman</a> - Gaelic concert at Nottingham Royal Concert Hall.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/28/review-mack-mabel-at-nottingham-theatre-royal/">Mack and Mabel</a>. Touring musical starring Michael Ball and Rebecca LaChance.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/28/review-the-diary-of-anne-frank-nottingham-new-theatre/">The Diary of Anne Frank</a>. Nottingham New Theatre at Nottingham University.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/29/review-dick-whittington-a-five-star-pantomime-at-nottingham-playhouse/">Dick Whittington</a>. Panto at Nottingham Playhouse.<br />
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<a href="http://eastmidlandstheatre.com/2015/12/03/review-oliver-leicester-curve-dickensian-dynamite/">Oliver</a>. Curve Leicester. Main house show.<br />
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<a href="http://www.thereviewshub.com/the-great-gatsby-nottingham-new-theatre/">The Great Gatsby</a>. Nottingham New Theatre at Nottingham University.<br />
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<a href="http://eastmidlandstheatre.com/2015/12/08/review-mike-kennys-magical-cinderella-at-derby-theatre/">Cinderella</a>. Christmas show at Derby Theatre.<br />
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<a href="http://eastmidlandstheatre.com/2015/12/08/review-neverland-at-lakeside-arts-nottingham/">Neverland</a>. Christmas show for children at Lakeside Nottingham.<br />
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<a href="http://eastmidlandstheatre.com/2015/12/08/plus-one-helping-to-help-young-people-through-the-creative-arts/">Plus One</a>. Helping under-privileged children and teens have access to the arts. Derby Theatre.<br />
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<a href="http://eastmidlandstheatre.com/2015/12/14/review-hare-and-tortoise-nottingham-playhouse-neville-studio/">Hare and Tortoise</a>. Neville Studio. Nottingham Playhouse.<br />
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<a href="http://eastmidlandstheatre.com/2015/12/17/review-the-witches-at-curve-leicester/">The Witches.</a> Curve Leicester. Studio show.<br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-3785237496523272212015-11-09T04:10:00.001-08:002015-11-09T04:10:10.612-08:00Update. Things getting very busy at East Midlands Theatre.As you can see from the side bar and @EM_Theatre live twitter feed things have been very busy for me <em>chez</em> <a href="http://www.eastmidlandstheatre.com/">East Midlands Theatre!</a> My original intention in the last blog post on this blog was simply to copy my reviews on to here. However, I have decided it would make much more sense, rather than duplicate, to feature the reviews through links and to add in some content about my great news items.<br />
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With one exception here are the reviews I have written and posted in the last few weeks.<br />
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<a href="http://eastmidlandstheatre.com/2015/10/21/review-a-streetcar-named-desire-curve-leicester/">A Streetcar Named Desire</a> Leicester Curve Studio.<br />
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<a href="http://eastmidlandstheatre.com/2015/10/22/extended-review-all-the-little-lights-neville-studio-nottingham-playhouse/">All The Little Lights</a> - new play by Jane Upton at Neville Studio Nottingham Playhouse.<br />
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<a href="http://eastmidlandstheatre.com/2015/10/27/review-hairspray-theatre-royal-nottingham/">Hairspray</a> - Nottingham Operatic Society at Theatre Royal Nottingham.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/01/review-the-fabulous-trocks-at-nottingham-royal-concert-hall/">The Trocks Ballet</a> - Royal Concert Hall Nottingham. Guest reviewer Alan Taygoe.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/02/review-pornography-at-nottingham-new-theatre/">Pornography</a> - The Nottingham New Theatre. Nottingham University.<br />
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<a href="http://eastmidlandstheatre.com/2015/11/04/review-the-duchess-of-malfi-at-nottingham-playhouse/">The Duchess of Malfi</a>- Nottingham Playhouse.<br />
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My East Midlands Theatre news items have covered various theatre based workshops open to the public, an interview with actress Rebecca Little and promotions for various small and big scale shows.<br />
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Don't forget to follow me at @EM_Theatre and @PhilLowe7<br />
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The theatrical calendar is looking so full in the next couple of months that I have even invested in a wall chart to track my activities!<br />
Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-35924481368527737062015-10-18T03:29:00.001-07:002015-10-18T03:29:26.161-07:00Brand new regional theatre website for the East Midlands.I have some great news in that I have recently put together a brand new website using Wordpress dedicated to professional theatre in the East Midlands. Presently that would cover places I can get to on public transport and those include Derby, Nottingham and Leicester.<br />
<br />
The purpose of the website is for sharing news, reviews and interviews from across the East Midlands all in one place <a href="http://www.eastmidlandstheatre.com/">East Midlands Theatre</a>. All of my reviews will be copied to this blog so that my regular readers (and it seems there are quite a lot of you at over 3500 hits a month!) can still get their theatre reviewing fix.<br />
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Connected with this website is a new Twitter account @EM_Theatre. Do feel free to follow it and spread the word. Many thanks, <em>Phil Lowe</em>.Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-44384540582974892112015-10-15T03:17:00.003-07:002015-10-16T06:21:23.759-07:00Review: The Bodyguard -musical at The Royal Centre Nottingham<div class="separator" style="clear: both; text-align: center;">
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Visually impressive and vocally astounding the award winning show <em>The Bodyguard - the musical</em> hits Nottingham's Royal Concert Hall stage with a bang and never lets go even in its quieter moments. A unanimous standing ovation from this full to capacity Nottingham Concert Hall (Royal Centre) audience says it all!!!<br />
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Alexandra Burke as Rachel Marron makes her ballads and songs seem totally effortless winning the audience's huge admiration from the powerful opening number 'Queen of the Night' to the utterly stunning final rendition of 'I Will Always Love You' and many in-between.<br />
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The show boasts sixteen heart stopping and heart wrenching musical numbers such as 'All At Once', 'I'm Every Woman', 'One Moment In Time', 'Run To You', 'I Wanna Dance With Somebody' and 'Greatest Love Of All'. The live orchestra is note sharp under the confident command of Musical Director Tom Gearing. Orchestration and additional music is by Chris Egan.<br />
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Director Thea Sharrock keeps the gripping story of the bodyguard Frank Farmer (Stuart Reid) and his new assignment protecting singing superstar Rachel Marron (Burke) from a dangerous stalker (Mike Denman) very tight and exciting. The impressive sets, (Tim Hatley - Set and Costume Design) adjusted to deal with a nationwide tour, take us to each new location with impressive ease. The lighting (Mark Henderson) multimedia (Duncan McLean) and clear as a bell sound (Richard Brooker) do the rest to make for a truly magical show.<br />
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The stage musical version differs slightly from the film bringing in an extra love interest other than that of the originally reluctant affair between Rachel Marron and Frank Farmer. Here we have a sister character to Rachel Marron in Nikki Marron played in this production by Melissa James. James has a sweetness, natural beauty and spine-tingling voice not so far removed from that of Whitney Houston in her young prime. Both she and Burke are outstanding and a very believable pair of sisters. As Rachel Marron's young son Fletcher, Daniel Deszek-Green steals the audience' hearts and impresses with his dancing during the rehearsal scene.<br />
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The afore-mentioned Stuart Reid as Frank Farmer is spot on as the bodyguard. Tough without being macho, very believable in the tender moments and refreshingly funny in his attempts to sing a karaoke song in a cheap nightclub joint.<br />
<br />
The expression 'he is a man of very little words' comes to mind when watching Mike Denman as 'the stalker'. Denman hardly has any dialogue and certainly no <em>always wanted to play a stalker</em> songs yet he puts his utterly devious and cleverly dangerous character across perfectly and gains many a shudder from the audience and amusingly deep boos in his curtain call.<br />
<br />
Overall this is a stunner of a show with a hard working and convincing ensemble, superb visually and outstandingly good vocally and choreographically. If you can possibly get a ticket (it is a packed first night) do so. You won't regret One Moment In Time of a trip to see <a href="http://www.thebodyguardmusical.com/">The Bodyguard - the musical</a>.<br />
<br />
<a href="http://www.trch.co.uk/">Theatre Royal and Royal Concert Hall Nottingham.</a> <br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-23682939569599373572015-10-09T01:52:00.003-07:002015-10-09T01:55:25.624-07:00Review: The Ugly Duckllng.<br />
The Ugly Duckling at
The Neville Studio (<a href="http://www.nottinghamplayhouse.co.uk/">Nottingham Playhouse</a>) may be a short and sweet
production but the results for the children performing may have
positive effects lasting for their whole lives.<br />
<br />
In collaboration with
<a href="http://www.combatbullying.org.uk/">Combat Bullying</a> and <a href="http://www.nottinghamplayhouse.co.uk/">Nottingham Playhouse</a> this production brings
together a fifteen strong group of 6-14 year olds (many of whom have
never been on a stage) who have suffered from bullying. Directed by
Nikki Disney the piece takes Hans Christian Anderson's classic tale
of the new born ugly looking bird that is constantly picked on and
practically left for dead on occasion. The children bring the story
to life through dance and movement and each child gets an opportunity
to assist Hans (Bradley Price) put together his story surrounded by a
set of gigantic children's story books. The bird struggles on with
its sad existence and cruel taunts from the other birds. The children
are cleverly costumed in black clothes with white text from The Ugly
Duckling as the patterning. Their ordinary school clothes are also
worn by some to bring home the contemporary nature of the story's
relevance.<br />
<br />
Eventually the duckling
(played by various children) grows up and sees a flock of beautiful
swans. Sensing the same potential in itself it wants to be near to them.
As it sits on the water it is suddenly aware of its own beautiful and
strong self through reflection. It is no longer a picked on duckling
but a beautiful strong bird – a majestic swan.<br />
<br />
With a packed and
supportive audience on its opening night it is important not to
underestimate the value of the creative and emotionally strengthening
experience for these children. As little Hugo Waring (Duckling) aged
6 confidently says in the programme “I can't wait for my school to
come and see it.”<br />
<br />
This reviewer can do no
better than to finish off with another quote from one of the
participants Sophie Basra aged 13 - “Hopefully, our production of
The Ugly Duckling at the Playhouse will make people realise how
harmful and hurtful bullying can be.”<br />
<br />
The Ugly Ducking runs
at The Neville Studio until Saturday 10<sup>th</sup> October.<br />
<br />
<a href="http://www.combatbullying.org.uk/">Combat Bullying</a> <strong>"One in 10 children bullied at school have attempted to commit suicide, a further 30% go on to self-harm."</strong>Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-87098394881532610372015-10-06T15:35:00.002-07:002015-10-06T15:38:35.482-07:00Review The Rubenstein Kiss. Nottingham Playhouse<br />
Ten years on from its
original London run staring Samantha Bond and Gary Kemp, playwright
James Phillips' play <em>The Rubenstein Kiss</em> makes its Nottingham début
at <a href="http://www.nottinghamplayhouse.co.uk/">Nottingham Playhouse</a> for their Conspiracy Season.<br />
<br />
The Nottingham
Playhouse publicity for the play states 'The story is set in 1950s
America and in the Cold War period when the McCarthy anti- Communist
trials were at their height. <em>The Rubenstein Kiss</em> is inspired by a
real life Jewish couple – Ethel and Julius Rosenberg who went to
the electric chair for allegedly passing on US atomic secrets to the
Soviet Union. They protested their innocence until the very last.
James Phillips' play explores what happens when truth and ideologies
collide to reveal the anguish of a family and its quest for
atonement.'
<br />
<br />
Director Zo<span style="font-family: Times New Roman, serif;">ë</span>
Waterman has returned to Nottingham Playhouse to direct this
fascinating play and the finished result is compelling, stylish,
stark but not without rays of humour and superbly acted by all of the
cast.<br />
<br />
Jacob Rubenstein and
Esther Rubenstein are the play's protagonists who idealise Communism.
As the quiet married couple actors Joe Coen and Katherine Manners
completely encapsulate the characters of this period. These are just
two human beings who have to make a life changing decisions that will
not only affect them but could ultimately impact on the world in the
future. The choices they are faced with are telling 'the truth'
betraying their Soviet friends and receiving a long term prison
sentence or having to die in the electric chair and suffer eternal
public shame.<br />
<br />
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<br />
<div class="western" style="margin-bottom: 0cm;">
<br />
The themes in the play
are about miscarriages of justice, compassion and the power of state
control. <em>The Rubenstein Kiss</em> however, is not all doom and gloom. In
fact it is mostly an uplifting experience and at its core there is a
feeling of hope. It is about people doing the best they can in
extra-ordinary circumstances and placing their family at the top of
their concerns. </div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
The 1940s/50s story of the Rubensteins, David
Girshfield and Rachel Liebermann (Mark Field and Ellie Burrow) is
told in flash back through two young people in their twenties who
happen to meet at an art gallery showing iconic photographic images of that
period. Simon Haines is extra-ordinary in his role of son Matthew and
researcher of law and past cases. Equally, Gillian Saker is utterly
believable and sympathetic as Anna. A late comer into the play's
action is Cornell S John as FBI agent Paul Cramner. John plays his
role with a very human touch -strict as the police investigator but
seen years later as someone who harbours a great degree of empathy
towards the remaining families living with the legacy of the 'case of
the century'.</div>
<br />
The <em>'The Rubenstein
Kiss'</em> play is a moving portrayal of human dilemmas questioning the
nature of loyalty towards family and country and ultimately the big
question 'what would one be prepared to die for?' Another superb production at <a href="http://www.nottinghamplayhouse.co.uk/">Nottingham Playhouse.</a>
<br />
<br />
Runs until Saturday
17<sup>th</sup> October 2015.
<br />
<br />
<br />
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-22146570944179090242015-10-06T04:05:00.001-07:002015-10-06T04:09:41.812-07:00Review King Charles III at the Theatre Royal Nottingham<br />
<div class="western" style="margin-bottom: 0cm;">
In Mike Bartlett's
quasi Shakespearian telling of the fictional death of Queen Elizabeth
and the automatic succession to the British throne of her son Prince
Charles (now King Charles III) we get over two hours of brilliant
political theatre with a dark comic edge.</div>
<br />
The magnificent set,
almost mediaeval in look – crumbling ancient walls – tall
guttering candles – dark entrances and a sea of faded painted faces
right across the middle section is designed by Tom Scutt. The
atmosphere is heightened throughout with superb music from composer
Jocelyn Pook and splendid sound design from Paul Ardetti. Lighting
designer is Jon Clark.<br />
<br />
<em>King Charles III</em>
benefits hugely from excellent direction (Robert Goold with Whitney
Mosery) and the whole play flows along like a stricken royal barge
dangerously navigating the river Thames at night. As the story glides
by it takes in the difficult politics in Parliament due to King
Charles refusal in signing a legal document concerning freedom of the
press. Social unrest ensues and along the way, with a few nasty bumps
into the proverbial riverbank we eavesdrop on certain major players
in the current royal family and their entourage.<br />
<br />
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<br />
<br />
None of the royal
characters are caricatured and Robert Powell is terrifically stubborn
and vulnerable as the new King who just wants an easy life after
waiting almost a lifetime for his mother to pass away and for himself
to rightfully attain the throne. Son, Harry 'Prince of Wales' just
desires to be a 'normal bloke that shops in Sainsbury's and has a
house that <em>he</em> has paid for'. Richard Glaves lights up the stage as
the confused and love-struck Harry and Lucy Phelps plays his new
girlfriend and staunch republican in a very natural way – at once
in awe of her situation and politically pulling the opposite way.
<br />
<br />
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<br />
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<br />
William and Kate (Ben
Righton and Jennifer Brydon) are almost perfect look-a-likes for
their roles; William forever holding his hands together at waist
level; intelligent, polite and strongly built and Kate –
beautifully dressed and initially demure. As the play evolves however
the tides turn and Kate comes into her own; acting much more
ambitious and vociferous, pushing her husband William to usurp his
father as king. Supporting King Charles III himself is his wife
Camilla (Penelope Beaumont) and shown as an equal to Charles whose
loyalty to her husband is tried to the utmost as the country goes
into civil war and Charles struggles to reason why.<br />
<br />
The two major
politicians Mr Stevens and Mr Evans (Giles Taylor and Tim Treloar)
appear to walked straight out of the real House of Commons and even
with their dialogue being mostly governed by the strictures of iambic
pentameter, their performances are very natural and powerful on the
stage.<br />
<br />
This complex and
potentially controversial play from the Almeida Theatre (on tour) is brilliantly written and performed
and although the story is dark and - even includes a recognisable
ghost predicting destiny- it is not without a great deal of wit.<br />
<br />
For those coming to the
play to see Robert Powell as the lead they will be delighted in his
<em>tour de force</em> portrayal in the challenging lead role. For those
interested in witnessing 'a play of the future' today with a superb
ensemble look no further than this terrific production. Charles III runs at Nottingham Theatre Royal until Saturday
10<sup>th</sup> October 2015.Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-49672571668011982022015-10-06T02:00:00.002-07:002015-10-06T02:15:35.552-07:00Review: 1984 Northern Ballet<br />
<div class="western" style="margin-bottom: 0cm;">
Northern Ballet are the
winner's of Best Company at the Taglioni European Ballet Awards and
this innovative company are considered by some to be Europe's best
dance company. It is with these and many other dance credentials that
they are currently touring and wowing audiences with their new work
<i>1984</i>. This week they are at Theatre Royal Nottingham.</div>
<br />
For a fan of Orwell's
bleak novel with its central themes around disallowed thoughts and
the crushing of anti Party sentiments embodied in the hero, Winston
Smith, the idea of a ballet work being capable of expressing <i>1984</i>
solely through dance may seem unlikely. Not so in the superbly
capable hands of choreographer and director Jonathan Watkins and
through the original score created by Alex Baranowski.<br />
<br />
Orwell's story of
Winston and Julia's ultimately doomed love story; his secret diary
recording his anti Big Brother sentiments; the robotic workers at the
Ministry of Truth; the Thought Police and the Proles all come
terrifyingly to life through Northern Ballet electric dance forms.
Winston (Tobias Batley) and Julia's (Martha Leebolt) <i>pas de deux</i>
is at once joyful and yet sorrowful, sexy and yet has an edge of
yearning sadness.<br />
<br />
Both the choreography
and direction create rich tapestries of a dark dystopian life and the
constantly changing sets include startling media design and
telescreen graphics dominated by Big Brother's constant stare.
Befitting the calibre of Northern Ballet's well earned reputation in
the dance world the <i>1984</i> company's dance standards are
exemplary.<br />
<br />
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<br />
Especially good are the
dance sections expressing the daily conditioning of 'two minutes
hate'. Here the dancers let loose their emotions as dictated by the
Party in order to demonstrate their utter distaste against the enemy.
Orwell's book has stood the test of time and resonates with readers
all around the world. It is truly a book that makes you think about
how we live today and Northern Ballet's brilliant dance adaptation
brings all those challenges alive on stage in a 101 different ways.<br />
<br />
Originally written for <a href="http://www.nottinghampost.com/entertainment">Nottingham Post</a> October 1st 2015<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-44928488552855766092015-09-29T04:43:00.000-07:002015-09-29T05:28:48.933-07:00Interview with David Longford re: The School For Scandal<br />
<div class="western" style="margin-bottom: 0cm;">
<strong>Interview with David
Longford - Creative Learning Manager - at Nottingham Theatre Royal.</strong></div>
<strong>
</strong><br />
As the historic
<a href="http://www.trch.co.uk/">Nottingham Theatre Royal</a> celebrates 150 years of theatrical existence
Phil Lowe visited David Longford -former professional actor – now
Creative Learning Manager and director of the theatre's community
theatre group's (The Royal Company) recent acclaimed production of <em>The School For
Scandal</em>. David was keen to promote the theatre and especially the
hard work and non-professional local talents that made the promenade
show such a huge success with Nottingham's theatre going public in
September 2015.<br />
<br />
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<br />
<br />
<em>The School For Scandal</em>
performance echoed Sheridan's day in terms of text and costume but
also the students of <a href="http://www.ntu.ac.uk/apps/pss/course_finder/116759-1/5/BA_(Hons)_Theatre_Design.aspx?utm_medium=short_url&utm_campaign=theatredesign&utm_term=ART&utm_source=short_url"> Nottingham Trent University's Theatre Design degree course</a> had huge input with their cross referenced costume and
wig designs that combined the fashions of the mid 1800s but added in
very modern touches with wigs made from modern day gossip magazines.
The props of the piece included mobile phones and contemporary
branded shopping bags to carry the play's messages across to a modern
day audience. The whole combination worked extremely well and was
backed up with periodic pop music tracks that introduced the
characters at points during the show.<br />
<br />
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<br />
<br />
David Longford director
and the show's narrator picked up on how the show worked and on the
history of recent amateur community shows that have had and,
benefited from, professional input throughout the rehearsal
processes.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-bubwB9lzwQ8/VgpxIccezrI/AAAAAAAAC70/g6GC5gdvX6k/s1600/David%2BLongford.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-bubwB9lzwQ8/VgpxIccezrI/AAAAAAAAC70/g6GC5gdvX6k/s320/David%2BLongford.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Longford</td></tr>
</tbody></table>
<br />
“I started here in
2001 and there was no educational community role whatsoever in the
<a href="http://www.trch.co.uk/">Theatre Royal and Royal Concert Hall</a>. It was a brand new job and I
had previously worked at the Mansfield Palace theatre as their
education officer. Before that I was a freelance actor and director
mainly working in young people's theatre. TIE has a real appeal for
me. In the Nottingham Theatre Royal job I was lucky enough, in July
2001, to be employed full -time and to build everything up from
scratch. My brief was, and still is, to work with all the visiting
companies and to make the venue much more 'open' and publicly
accessible and to get the community involved in our work. So, one of
my first decisions was based on the thought that I wanted to set up a
community theatre company so that we could engage with the public
directly and within the spaces in the Theatre Royal and, as it turns
out, also around the city of Nottingham.”<br />
<br />
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<br />
<br />
“The aim was for
every one of the community projects to be a real 'in depth' process.
Not just learning the lines but treating it with the seriousness and
passion of a pro theatre project with as much professional input as
chances would allow. I wanted to totally engage the participants by
bringing in external practitioners in order to learn from them and
bring a professional approach and discipline to the essentially
'amateur' actors experience and make them feel and grow from being
really challenged. I always say to people as we go through the
audition process – 'This is a big commitment – I will be asking a
lot of you but I want to challenge you and I also want you to have
some fun too.' We did a production here of the Government Inspector
in 2002 and that was a promenade piece too. However it was not as
extensive as <em>The School For Scandal</em>. We mainly used the foyer spaces.
Our theatrical statement was that we wanted to do things differently
and with local people involved. That went down extremely well and so
The Royal Company was born.”<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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<br />
<div class="western" style="margin-bottom: 0cm;">
<br />
“My job includes
working with Northern Ballet and Opera North (regular visitors to our
theatre) and within my role with The Royal Company we often work
alongside other venues such as when we did Fahrenheit 451 where we
combined with the local amateur arts venue - Nottingham Arts Theatre.
In 2005 The Royal Company show was held at Nottingham Castle and
we rehearsed and performed Tony Harrison's version of <em>The Mysteries</em>, in a huge marquee, a very gritty and very northern piece.
This version was originally done by the National Theatre in the 1970s
and is all about working class folk putting together a passionate
piece about the last days of Jesus Christ.”</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="separator" style="clear: both; text-align: center;">
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<div class="western" style="margin-bottom: 0cm;">
</div>
<br />
“We have also done
three productions on the Theatre Royal stage. One especially
memorable one being <em>Oliver Twist</em> (2004) where we really used the
Victorian interior of the Theatre Royal to best advantage with
narrators in the boxes and the Nottingham Trent University Theatre
Design course students who brought in their amazing talents. The
shows we have done on the main stage have done extremely well, This
is mainly because we have chosen sell-able titles and therefore they
become commercially good sellers, but at the same time they still
offer the all important challenges for the participants.”<br />
<br />
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<br />
<br />
“In 2006 we did our
most successful production to date – <em>101 Dalmatians</em>. We had one
professional actress in that. This was Toyah Wilcox as Cruella
DeVille. Toyah came into our rehearsals two weeks before the show
opened and she was incredible. She had no qualms whatsoever working
with a talented amateur cast. In fact the whole cast's theatrical
outlook and performance level went up several notches with Toyah's
presence. It makes me quite emotional thinking about the commitment
those non-professionals put into the show to make it a piece to be
hugely proud of. Once again there was a real physical theatre
challenge about how do we create a world of dogs without having 101
people in cute doggy outfits!”<br />
<br />
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<br />
<br />
“Sometimes, I find
when people ask what is the difference with working with professional
and amateur community performers, and I think some of the
performances in <em>'Scandal'</em> were extraordinary high, I believe it is
that confidence to 'play' within the rehearsal room to build on the
role and its place within the play itself.”<br />
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<br />
<br />
“Generally, The Royal
Company is an amateur company that is based at Nottingham Theatre
Royal but doesn't limit itself to purely performing solely at the
venue. We have even done schools tours in the past and some of our
talented members have gone on to engage in professional theatre
school training with the emphasis on a career in the theatre arts.
Plus, we have encouraged the art of story-telling in a dramatic
medium and our actors have gone out into the community to develop and
show off their skills.”<br />
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<br />
<br />
“With the 150<sup>th</sup>
Anniversary of Nottingham Theatre Royal we felt that we needed to do
the obvious production that was the inaugural production way back in
1865 – Sheridan's <em>The School For Scandal'</em>. It was cast by starting
from a clean slate. We extensively advertised the opportunity to be
involved through various local and national media and everyone, even
people we had used before, had to audition with a single audition
piece. Then we did group auditions and whittled it down. We had a lot
of ladies audition so the production evolved with many of the male
roles being played by women. This was so successful in creating a
diverse, interesting and sexually charged piece that I almost
considered having the whole cast as women! I loved the fact that
Joseph and Charles were both played by young women and this was
echoed through audience feedback too.”<br />
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<br />
<br />
“A practitioner
called Gerry Flanagan came into the rehearsal process and helped with
important clowning and physical theatre aspects of the play. Gerry is
very thorough in his workshops and he really did push them.
Interestingly we had three drop outs along the way but that doesn’t
surprise me because in every single community show that I have done
we have had a similar amount of drop outs. Sometimes people don't
realise the hard nature of the commitment and sometimes they drop out
for unfortunate personal reasons that no-one can predict. We just
have to re-adjust and consider how to move on within the scenes. Each
production is different and there were some extra pressures with this
show because of the 150<sup>th</sup> Anniversary and the promenade
aspects. I kept saying to everybody that when we are moving the
audience around the theatre to each different place – that is still
part of the performance. Overall, I truly believe that all the
potential playfulness of Sheridan's comical play encouraged all
creative aspects of the final piece and brought out really
professional performances from a talented group of non-professional
or amateur performers. I can't wait for the next project but I am so
busy with the Nottingham Theatre Royal's 150<sup>th</sup> Anniversary
celebrations that presently I have no idea what that might be.”<br />
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<br />
<br />
All production images are from <em>The School For Scandal</em> copyright <a href="http://www.ashotinthedark.co.uk/">Alan Fletcher</a>.<br />
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All other images copyright author Phil Lowe.<br />
<br />
For Phil Lowe's review of <em>The School For Scandal</em> click <a href="http://philloweactor.blogspot.co.uk/2015/09/review-school-for-scandal-nottingham.html">HERE</a>.<br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-11645987888418458062015-09-23T13:47:00.000-07:002015-09-23T22:04:01.774-07:00Review Brassed Off - Derby TheatreMany happy years in this reviewer's life were spent in a hapless non- critical capacity just enjoying theatre as a form of entertainment and pleasurable education and there's nowt wrong with that lad. Then in the late 1980's this same reviewer took an unexpected big step into the world of higher education - an arts degree no less. This happened after a sudden redundancy from the Derbyshire based butchery firm he worked for at the time. Times were definitely 'a changing' as a certain Mr Dylan sang. Back then the papers and telly were full to bosting with news of the miners' strikes, the new and hated Poll Tax, Mrs Thatcher's government this and that - force for good - force for evil - dependent on the individual's and popular tabloid's bias. Be it political with a capital or small 'p' there was no escaping the dark mood of the apparently 'United Kingdom' in the 1980/90s and all domestic and economic security seemed to be going to rack and ruin for many. Communities in nearby or neighbouring Yorkshire, Derbyshire and Nottinghamshire, in the period covering the mid 1980s towards a decade later, felt the crippling effects of the changes and the devastation of once solid and mutually supportive mainly - working class - hands on - hard graft - industrial societies.<br />
<br />
Meanwhile, this erstwhile and perhaps rather naïve theatre goer continued to haunt the Derby Playhouse, as was, and he saw every production at least once but, on the whole, considerably more times than that. The Derby Playhouse box office coffers swelled significantly at his generous and perpetual attendance. <br />
<br />
Vicariously, he learnt so much psychological truth about other people's lives and gained much insight into the character's politics in all the senses; socially; politically; theatrically; surreally and even sexually. A certain German touring production of Miss Julie in the studio space even included real life naked actors!!!! Tut tut!<br />
<br />
This theatrical house of 'well repute' was alive and kicking and still remains so today as it celebrates forty years of existence in its current form of the acclaimed <a href="http://www.derbytheatre.co.uk/">Derby Theatre</a>. Tonight this reviewer was honoured to help celebrate those forty years of theatrical excellence and wallowed in nostalgia as he chatted with friends new and old and counted at least 80% of the posters on the stairwell as shows he had enjoyed and even had been inspired to act in himself somewhat later in life. <br />
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<br />
<br />
Current artistic director Sarah Brigham, in a pre-show speech, referred to the hugely important need for a critical audience to share the theatrical experience and that notion can only be applauded and amalgamated into our shared theatrical consciousness. There are times in life when the spoken word can be perceived and truly understood as <em>properly</em> inspirational - not just some token 'put together' words for the occasion - but utterly<em> heart- felt</em> and honestly conveyed with a voice full with genuine hope and belief at its core. That is what I heard this evening. I heard of a Derby Theatre that has deep meaning for its community and beyond; one that is educational, inspiring and recognised. Here's to the next forty years and the future generations of theatre makers and theatre goers! I guess you were expecting a review of <em>'Brassed Off'</em> so please read on...<br />
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<br />
<br />
Derby Theatre's gritty and realistic production of <em>Brassed Off</em> adapted by Paul Allen for the stage is as fluid and emotionally taut piece of theatre that you are ever likely to see on a British stage. It is directed with passion by Sarah Brigham and encompasses an incredible total of twenty-two actors (a professional and non-professional mix) who work on the piece over its entire run - plus a further, and much applauded commitment, from no-less-than forty members of the acclaimed Derwent Brass Band split between the shows. This band's involvement and talents cannot be under-estimated and must surely contribute to the standing ovations that the show has currently received every night of its performance so far.<br />
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<br />
Stage designer Ali Allen has brought to the stage a visual and working class concept that is abjectly poetic in its grimy <em>coal crunching boot</em> honesty. The fictional mining town of Grimley is conveyed through a clinging solid wall of grey dust and a clever perspective of council houses that desperately huddle together with coal dust hanging in the air and over every rimy roof - visually intimating a wintery despair for all. You can almost enter each property unseen in your head and visit the ghosts of Grimley's future. There they sit, angry, bleak and desperately cloying against mildewed wet-netted windows sodden with condensation under a pall of social doom. However, the tiny 'just visible' red light of the distant pit head depicts the ever prevalent human hope of the miners and their community. Imagination is all.<br />
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<br />
<br />
Well, this all sounds a bit Bleak House doesn't it? All is not lost though as this play offers a chance of hope and spirit renewed as the members of the fictional Grimley Brass Band struggle through their existences; their troubled lives; fatalities even, <em>and</em> as each political and social disaster befalls them mutual support prevails and prejudices are challenged for the better.<br />
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<br />
There are some excellent naturalistic performances from Garry Cooper as the passionate yet ailing Danny and Adam Horvarth as love struck Andy struggling between his feelings for old flame and talented brass band horn player Gloria (Seren Sandham-Davies) and the harsh realities of pit comradeship. Jimmy Fairhurst excels as troubled clown and miner Phil and his scene as he literally hangs from the pit head is heart-stopping and tragic.<br />
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<br />
At the throbbing heart of this poignant and often wryly funny piece are Darren Bancroft as Jim, <a href="http://philloweactor.blogspot.co.uk/2015/09/interview-with-brassed-off-actors.html">Howard Chadwick</a> as the lovable rascal Harry and the beating pulse of the piece belongs to the miners wives and girlfriends played with utter conviction and honesty by Jo Mousely (compelling as Sandra), Kate Wood as Rita and Lisa Allen as Vera. Supporting the female side are ensemble members drawn from Derby Theatre Community Ensemble - Nikita Mediratta, Sophie Whitebrook, Bethany Madden and Lucy Mabbit.<br />
<br />
Brian Weaver Fellowship actor <a href="http://philloweactor.blogspot.co.uk/2015/09/interview-with-brassed-off-actors.html">Jake Waring</a> convinces us so well in his parts as miner, bailiff and announcer that he is barely recognisable in each separate role.<br />
<br />
The children in the <em>Brassed Off</em> play are as important as the main actors and tonight Oliver Watts as Phil's son Shane totally steals the show. In a ridiculously assured performance his wish in the programme notes to one day 'be' an actor are blown out of the proverbial water. He 'is' an actor and a darned good one at that. With such promise maybe in twenty years time we will be enjoying his performances on the professional stage as an adult.<br />
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In a theatre full of 'hope and glory' the audience rise in a standing ovation at the end of an emotionally fulfilling night at Derby Theatre and in their unifying victorious applause are determined that the spirit of community and love of theatre is alive in Derby and beyond!<br />
<br />
See <a href="http://www.derbytheatre.co.uk/">DERBY THEATRE WEBSITE</a> for booking details but don't leave it too long as this one is fast becoming a near sell out production.<br />
<br />
For a fascinating insight into the working lives of Brassed Off actors Howard Chadwick and Jake Waring check out their recent interview <a href="http://philloweactor.blogspot.co.uk/2015/09/interview-with-brassed-off-actors.html">HERE</a>.<br />
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<strong>Production photos credit: Robert Day.</strong>Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-21223383226484681872015-09-23T10:55:00.001-07:002015-09-23T10:55:18.145-07:00Hood – the legend continues review.<br />
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As part of the
Nottingham Theatre Royal's celebration of 150 years existence seven
local theatre writers; experienced playwrights plus other exciting
new and proven talents have been commissioned to bring about <i>Hood
– the legend continues, </i><span style="font-style: normal;">a new
piece of theatre relevant to Nottinghamshire. Written by Andy
Barrett, Tim Elgood, James Graham, Laura Lomas, Mufaro Makubika,
Brian Mitchell and Joseph Nixon, </span><i>Hood – the legend
continues, </i><span style="font-style: normal;">is also co-produced
by one of Britain's best and most innovative touring Nottinghamshire
based theatre groups – New Perspectives.</span><br />
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<br />
The
director is Jack Mcnamara and the quick change stage designs are down
to designer Rhys Jarman and these are graced with atmospheric
lighting by Mark Pritchard, music by Tom Mills and choreography by
Chantry Dance Company.<br />
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<i>Hood – the legend
continues </i><span style="font-style: normal;">is allegedly based on
the ballads of Robin Hood and set in the century and a half from 1865
(the year that the Nottingham Theatre Royal first opened) to the
present day, thus reflecting the 150</span><sup><span style="font-style: normal;">th</span></sup><span style="font-style: normal;">
Anniversary. It is promoted as a journey through a one hundred and
fifty years of Nottingham's vibrant and colourful history through the
eyes of Robin Hood. The question we may ask ourselves as an audience
is 'does this theatre work also promote Robin Hood as an
international figure or limit itself to local history?' The answer is
most certainly the local history slant wherein each section of the
story looks at one aspect of the character Robin Hood and presents a
version appropriate to the historical period.</span></div>
<br />
Keeping
the writing in and around Nottinghamshire, the piece scores on the
side of jokes about local areas and gets a lot of laughs throughout.
Making fun of rival cities like nearby Derby works too, as well as it
might in a pantomime setting. However this reviewer has his doubts
whether a visitor from outside the East Midlands or even abroad would
find the mostly Nottingham related wit in the piece amusing.
<br />
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<div class="western" style="margin-bottom: 0cm;">
<span style="font-style: normal;">Equally,
the six part episodic nature of </span><i>Hood – the legend
continues </i><span style="font-style: normal;">finds one in a
succession of short historically based stories some of which don't
actually seem to go anywhere and the narrative thread of the whole is
stretched rather thin. In the final scene relating to the nature of
the Robin Hood industry a row of what look like random supernumerary
pensioners in a long line wearing modern day clothes and metal
helmets are revealed to the audience. Sadly they look uncomfortably
very out of place. The show in general is thankfully upheld by some
spirited acting from the company especially Ed Thorpe as a very funny
and engaging Alan A Dale.</span></div>
<br />
Adam
Morris as The Sheriff of Nottingham is best in the Second World War
scene and as a greedy politician in the 1980s New Nottingham section.
More darkly comical than pure evil Morris engages and entertains the
audience throughout. Robin Hood himself (Jonah Russell) is presented
in various rebellious guises. Mostly non-conformist in nature, this
idea of Hood or Loxely is more of a man of words than an action hero
although he does get into a few fights and scrapes along the way.
Russell does have a good authentic rough Nottingham accent and this
works to his credit.<br />
<br />
Some
of the most flexible acting opportunities are given to the two
actresses Jasmine Blackburrow (Marian) and Alex Bedward (Scarlett)
and both offer very enjoyable performances. Particularly funny is
Bedward as a beer guzzling Nun and boy/girl newspaper seller. Lastly,
Ewan MacIntosh bigs it up as Little John and brings out the comedy in
all his various roles.<br />
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<span style="font-style: normal;">Overall,
</span><i>Hood – the legend continues </i><span style="font-style: normal;">offers
the Nottingham theatregoers a chance to celebrate 150 years of
theatrical fare in their beautiful Nottingham Theatre Royal and in a
climate where theatres and entertainment venues unfortunately close
this can only be a good thing.</span></div>
<br />
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<span style="font-style: normal;">Runs
until Saturday 26</span><sup><span style="font-style: normal;">th</span></sup><span style="font-style: normal;">
September.</span></div>
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<span style="font-style: normal;"></span> </div>
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<span style="font-style: normal;">Originally published and written for <a href="http://www.thepublicreviews.com/hood-the-legend-continues-nottingham-theatre-royal/">The Public Reviews</a>. 19th September 2015</span></div>
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-74221125561191368172015-09-22T04:35:00.002-07:002015-09-22T04:35:33.570-07:00Review: Richard Thompson and The Electric Trio
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Richard Thompson is
hailed as a songwriter of extra-ordinary skill and he is a recipient
of a BBC Lifetime Achievement Award and Mojo's Les Paul Award.
Thompson was also appointed OBE in the 2011 New Year's Honours List
and the Americana Music Association recently honoured him with a
Lifetime Achievement Award for Songwriting. Other top music artistes
such as Robert Plant, REM, Elvis Costello, Bonnie Raitt, Patty
Lovelace, Los Lobos, David Byrne, Don Henley,Tom Jones and many
others have been proud to record Thompson's songs. He and his band,
The Richard Thompson Electric Trio, are currently three quarters of
the way through a national tour which ends on 20<sup>th</sup>
September at The Royal Festival Hall in London.</div>
<br />
Having released his
latest album <i>Still</i> produced by Jeff Tweedy in June 2015 and
out on the Proper Records label, renowned guitarist and songwriter
Richard Thompson and his band are on top form. The line up is
Thompson as guitar and vocals, Davey Faragher on bass and Michael
Jerome on drums. An eagerly anticipated gig at Nottingham's Royal
Concert Hall this fine evening on Saturday 12<sup>th</sup> September
sees them wowing an appreciative audience with new tracks from the
album as well as older material of six decades of his music. His
undoubted skills as an extraordinary musician and 'genre defying
mastery of both the acoustic and electric guitar' (to quote his
website) will certainly cement his place in music history if
tonight's gig and tight set is anything to go by. Thompson has the
energy of a forty year old at the top of his game despite the true
nature of his age and musical legacy begun in the early years of the
folk rock group Fairport Convention that he co-founded as a talented
teenager in the 1960s.<br />
<br />
From the new folk rock
album fans get 'She Could Never Resist A Winding Road, Beatnik
Walking, Patty Don't You Put Me Down, Broken Doll, Where's Your
Heart, and the stylistically varied guitar hero tribute number,
Guitar Heroes. In a set that never seems like it is going to end (in
a good way) Thompson and his band prove just how musically flexible
they are with songs that vary in tone and mood such as Beeswing to
1952 Vincent Black Lightening. With a full evening's entertainment
and fine support by thirty-five year old Johnny Borrell of Razorlight
the fans go home ecstatic after three curtain calls and three
standing ovations.<br />
<br />
It is no surprise that
Rolling Stone called Thompson 'The finest rock songwriter after Dylan
and the best electric guitarist after Hendrix'. Tonight's concert at
Nottingham's Royal Concert Hall sent Thompson's audience home buzzing
and eager to purchase his excellent new chart topping CD <i>Still</i>
if they don't already own it amongst his massive body of work (over
40 albums) and consider it one of their prized possessions. <br />
<br />
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<br />
<br />
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Originally written for Nottingham Live. 12th September 2015<br />
</div>
Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-47844657141719105832015-09-12T09:34:00.001-07:002015-09-14T09:35:27.155-07:00Review The School For Scandal Nottingham Theatre Royal<br />
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Sheridan's complex
comedy <i>The School For Scandal</i> was the inaugural play that
opened Nottingham's historic Theatre Royal in 1865. The 18<sup>th</sup>
Century play had already been a popular night out at any regional
theatre since its first ever performance at London's Drury Lane
theatre on May 8<sup>th</sup> 1777. It continues to delight with its
stock characters named after their personalities and their
delectation in creating scandal in society. The higher in society the
victims are the more thrilling (to the scandal mongers) is their
demise. It seems that things haven't changed so much since Sheridan's
day as modern day gossips still love to pour over the gossip
magazines and many a celeb expos<span style="font-family: Times New Roman, serif;">é
and debt issues are common themes in all the modern media.</span></div>
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</div>
<br />
This performance of <i>The
School For Scandal</i> is revived as part of the celebrations of
Nottingham Theatre Royal's 150<sup>th</sup> anniversary. The Theatre
Royal community theatre ensemble (The Royal Company) take the unusual
stance of presenting the play in a promenade performance with various
parts of the action played in a variety of locations in and around
the theatre and its public spaces. With a constantly mobile audience
of around fifty members, all eves dropping on the comical and naughty
goings on in Sheridan's comedy of manners, the story becomes a lot
more immediate than it might be in a classic proscenium arch
production. Much use is also made of bringing individual audience
members comically into the action. This type of presentation makes
the audience true voyeurs to the piece almost to the point of direct
complicity. The theatrical tables are even turned on the audience at
one point when we are seated right here on the main stage watching
the actors perform against the background of the sumptuous green and
gold of the theatre's interior!
<br />
<br />
The play satirises the
behaviour and customs of the upper classes through witty dialogue and
an intricate plot incorporating ludicrous situations that expose the
characters' shortcomings. Sheridan's characters are somewhat cartoon
like and take on bold characteristics such as; the terrible bore; the
gossip; the wastrel and the rich uncle. There are a massive twenty
one actors in the cast and live music is played by John Crawford and
Richard Mercia. The very stylised clownish make up of the entire
Royal Company helps considerably to convey these types. It is almost
if these personalities have slipped out of a satirical painting of
the era. The costumes designed with a modern twist by theatre design
students at Nottingham Trent University are superbly conceived and
made up, especially the paper wigs made from modern day gossip
magazines.<br />
<br />
Major gossips Lady
Sneerwell (Deborah Porter-Walker) and Mrs Candour (Michelle Smith)
are portrayed to perfection in their snobbery as is Snake (Ade
Andrews) with his opening complex monologue gleefully depicting who
he has sold down the line with his deceitful lies. The Surface family
- Sir Oliver (Barbara Whisbey) and brothers Charles and Joseph
(Madison Wales and Charlie Osborne) two young men under the guidance
of Sir Peter Teazle, (Mik Horvath) are all played with broad strokes
and their various character traits come through well with this style
of acting. Both the brothers are played by female actors as is Sir
Oliver Surface. Such theatrical artifice works terrifically in this
production.<br />
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<br />
<br />
The scene where Sir
Peter Teazle complains about his young wife Lady Teazle (Victoria
Murphy) and her spendthrift ways works well and the common argument
over money is as appropriate now as it was in the society of 18<sup>th</sup>
Century Britain. The three clown characters (Mercedes Assad, Nikki
Disney and Kayleigh Phillips) are played with great wit and energy
and help keep the piece buoyant throughout the promenade transitions
and within the play itself.<br />
<br />
Edward Crook is superb as the rather camp Sir Benjamin Backbite, being all leopard skin and wicked asides and a louche poetic nature. Crook's stage performance as Backbite, although sadly brief, (as are a lot of the School For Scandal characters) leant a great deal of substance to the play as a whole and really brought out the self possessed nature of the scandal mongers. Contrariwise, the only truly moral character Moses is played with an aloof and knowing grace by the bespectacled and cautiously strutting Alina Hughes.<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<i>The School For
Scandal</i> is a complex and enjoyable play full of more sub plots
than an over zealous design for a garden allotment, but The Royal
Company do it proud in a gorgeously accessible production that
Richard Brinsley Sheridan would have been rightly proud of here at
Nottingham's Theatre Royal. It is directed with great style by David
Longford. With a strong and likeable theatrical presence Longford
also plays narrator Walter Montgomery who was the first theatre
manager at the Theatre Royal.</div>
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</div>
This review was originally written for and published by <a href="http://www.thepublicreviews.com/the-school-for-scandal-theatre-royal-nottingham/">The Public Reviews</a> on 7th September 2015<br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-67746959747196878502015-09-11T14:48:00.001-07:002015-09-11T14:58:30.477-07:00Review 1984 at Nottingham Playhouse.<br />
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Hitting the Nottingham
Playhouse stage with both bare and bleeding feet running, Duncan
Macmillan and Robert Icke's Olivier Award winning acclaimed
adaptation of George Orwell's dark political drama <i>1984</i>, is a
sure fire choice in starting off the Playhouse's Conspiracy Season
with a startling bang.<br />
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</div>
<br />
Fresh from two runs in
London's West End where it has been playing to packed houses, this
terrifying theatrical version of <i>1984</i> ( a co-production
between Nottingham Playhouse, Headlong and Almeida Theatre) wows and
frightens. The various design elements; lighting by Natasha Chivers;
stage design by Chloe Lamford and sound and video design by Tom
Gibbons and Tim Reid respectively prove a collective theatrical and
shocking <i>tour de force</i>. The adaptation inspired by the
appendix of 1984 and directed by McMillan and Icke is phenomenal and
this is truly theatre that makes us think about language and the
nature of freedom and questions the fickle natures of memory and reality.<br />
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<br />
<br />
Although the real year
1984 is long past, Orwell's bleak world of Big Brother watching still
rings scarily true today with surveillance cameras high above
most city streets in the world and monitors protecting and probing
our every move in the shops and public buildings. In this fictional
world where keeping a diary is unlawful and thoughts are
criminalised, being in love is actively forbidden and history erased,
the audience is completely gripped throughout. You can almost hear
the audience's collective hearts breaking over Winston and Julia's
doomed love affair as their world is literally pulled apart and gasps
of real shock over Winston's torture.<br />
<br />
Often it is said that a
theatrical venture is an ensemble piece. Perhaps this can be a lazy description but not so in this constantly changing
play of <i>1984</i> where within a second's worth of blackout the
cast re-appear in completely different places on the stage and verbal
repetition and human erasure fight for attention. Mere <i>ensemble,</i>
hardly does the art justice. It is easy to see why this production
has universally been offered five stars by the critics. Abstractly
quoting from the play, maybe the critics were unsure whether
they were seeing five or four stars and, terrified out of their wits, opted for five. If six or seven stars
were another option <em>1984</em> would still be most deserving.<br />
<br />
Every single
performance by the ensemble; Tim Dutton, Stephen Fewell, Janine Harouni
(Julia), Christopher Patrick Nolan, Ben Porter, Matthew Spencer
(Winston), Simon Coates, Mandi Symonds, and the young girl played by
either Anna Jaques or Victoria Todd is exemplary.<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<i>1984</i> is one heck
of a production and deserves to go on winning award after award as it
continues at Nottingham Playhouse and goes on to Australia and the
USA.</div>
<br />
Runs until Saturday 26th September 2015 at Nottingham Playhouse
<br />
<br />
See Nottingham
Playhouse <a href="http://www.nottinghamplayhouse.co.uk/">ONLINE</a> to book and see more details about the stunning
Conspiracy Season ahead.Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-43867306200412886172015-09-08T01:42:00.001-07:002015-09-08T08:05:21.108-07:00Interview with Brassed Off actors Howard Chadwick and Jake Waring<br />
<div class="western" style="margin-bottom: 0cm;">
I met up yesterday with
Howard Chadwick and Jake Waring after watching an hour of early
rehearsal for Derby Theatre's forthcoming production of <i>Brassed
Off</i> (18<sup>th</sup> September to 10<sup>th</sup> October). I
explained to them that I had seen the acclaimed film some years ago
and that I wanted to ask what the cast and production team have done
in terms of research for the play set in a troubled mining community.</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-vL-Z9UTTnVM/Ve6eTevVigI/AAAAAAAAC3g/gQf-PY8uTdI/s1600/Howard%2BChadwick.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-vL-Z9UTTnVM/Ve6eTevVigI/AAAAAAAAC3g/gQf-PY8uTdI/s320/Howard%2BChadwick.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Howard Chadwick</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-wUjp_2a1ELM/Ve6ebjOyWII/AAAAAAAAC3o/Tclmrc9f2Wk/s1600/Jake%2BWaring%2B%25282nd%2Byear%2Brecipient%2Bof%2BThe%2BBrian%2BWeaver%2BFellowship%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-wUjp_2a1ELM/Ve6ebjOyWII/AAAAAAAAC3o/Tclmrc9f2Wk/s320/Jake%2BWaring%2B%25282nd%2Byear%2Brecipient%2Bof%2BThe%2BBrian%2BWeaver%2BFellowship%2529.JPG" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jake Waring</td></tr>
</tbody></table>
<br />
Phil: What have
yourselves as actors experienced to understand the social and
political impacts on the mining industry in the UK in the early
1990s?<br />
<br />
Howard: I feel like
mining is following me a bit at the moment. The last play I did
(<i>Digging In</i>) was commissioned to commemorate the anniversary
of the 1984 strike. So I have done a lot of research about that
strike and about the period leading up to 1984 and the period
immediately after. In our play the mining industry is in decline and
tapering. The strike was categorically lost and Thatcher's government
just beat them into the ground, didn't they? This play is the point
where the bit of meat on the bones are just being picked off.<br />
<br />
It was very interesting
to go up to The National Mining Museum between Dewsbury and
Wakefield. We all went there on the first day of rehearsal. I know
you didn't Jake cos you were working on another play weren't you?
<br />
<br />
Jake: That's right.<br />
<br />
Howard: The tour is
underground and you go down in the cage and the tour is given by an
ex-miner. The one that took us round was probably in his mid-fifties
and therefore he would have been in his mid twenties in '84. Now of
course his job is a tour guide. He was very funny, a very amiable guy
and his tour takes the mining industry right back to its origins to
the present day. It is really well done but... he's one of the
younger guys amongst some tour guides a lot older than him. I thought
about how long the museum can last with original ex-miners taking the
tours with their first hand knowledge of being down the pit. Really
after the mid 1990s period only a handful of existing pits remained
and I believe the last one or two have just gone in the last month or
so. It is quite a poignant time to be doing the play I think
especially given that we have just had the 30<sup>th</sup>
anniversary of the 1984 strike. So, I suppose where we are in the
play is just where all the politics and social unrest hits the wall
and slides off really.<br />
<br />
Phil: In the play a
character called Gloria arrives into the mining community at Grimley and gives a
bit of a boost to the miner's brass band. Tell me a bit about her.
What is her intention in coming into that community?<br />
<br />
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<br />
<br />
Jake: It's to reconnect
with her roots I think. All she really wants is to be accepted the
whole way through the story. She is from Grimley originally and what I
find interesting about Gloria is that she is just a foot soldier.
There is an element of guilt surrounding her and like a lot of people
she thinks she is just doing her little job and they are part of a
jigsaw. Then when things like pit closures come about they live with
the guilt even though they weren't implicit in the dealings. I think
that is what she comes with and she wants to save the pit and then to
be accepted by her community. Narratively I think the device is
really interesting because she arrives as the outsider. I was born in
1989 so I wasn't around during the real strikes but we had the
<i>Brassed Off</i> video in my family and even though I was perhaps
too young to watch it - I did - and it has remained one of my
favourite films over the years. There was that video “I Support My
Dad” that we watched as well as research.<br />
<br />
Howard: Yes that was
about how the miners children were affected by the 1984-85 strike in
North Staffordshire. The play that was I was in was written by Debbie
McAndrew and it was commissioned to go into schools and community
centres to tell the story of the '84 strike. This was to kids whose
parents or grand parents were involved in the strike so it helped
them if they (the kids) didn't know a lot about it. The 'I Support My
Dad' film is about the '84 miner's kids and how the events shaped
them. They are seen as the adults they are these days and they are
talking retrospectively. In 1984 there were only six mines still open
and now there are none. There is a colliery band that survives –
Florence Colliery Band. It is also interesting to hear what their
attitudes are now to authority – to the Tory Party – to the
police...<br />
<br />
Jake: The knock on
effect is staggering actually. Looking at the police brutality,
people being locked up simply for stepping on the road when they were
introducing new laws on how you can picket and things like that. All
of it is not a million miles away from things that happen now which
is why I think it's amazing how this is echoed in the <i>Brassed Off</i>
play. There are speeches in the play that resonate and you almost
think it's happening now. For a play set twenty years ago it is
amazingly relevant today.<br />
<br />
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<br />
<br />
Phil: Is this the first
time a play has been developed from the original film script?<br />
<br />
Howard: No. Sheffield
Crucible were the first to produce it not so long after the film came
out and then Sheffield Lyceum toured it with Touring Consortium in
about '99. Several places have done it. York have done it twice as a
co-production with York Theatre and Bolton Octagon. Oldham Coliseum
have produced it twice too. With York and Bolton there was a tour
last year. It is a play that is often done Phil. I think it speaks to
people, speaks to communities. It is about a community and that
community was dependent on the mining industry. Not only for the
people that the pit employed but for economy. Without all those jobs
the supermarket in the play will close, the video shop will close,
the pub will close because there's no heart there. The pit is the
pulse of the community and in our play the voice of that is the brass
band.<br />
<br />
Phil: The actual
physical band you are using and their music – what emotional impact
has that had on your working on the play so far?<br />
<br />
Howard: Massively. When
people say 'when you hear a brass band' they quite often put their
hand to their chests (Howard demonstrates) and that's what we all
collectively do when the brass band comes into rehearsal. And for
those of us who are lucky enough to sit in and be with the band and
have that sound around you it's fantastic. It really gets you. The
Derwent Brass band are brilliant and the sound is just beautiful. As
you saw in the rehearsal today – the blokes in the locker room
getting changed – going through their rough and ready routine and
then they go and play this beautiful music. As the character Danny
says at the end “People will remember the music long after the pit
has gone.” This means the band playing miners are able to still
speak through their music.<br />
<br />
The play is based in a
place called Grimley – loosely based on Grimethorpe where they had
the Grimethorpe Colliery Band who on Saturday won the British Open
Championship! Our fiction band are playing in the National
Championships at the Albert Hall which is a different competition.
They win that and Danny has a very rousing speech about how music
matters but actually, it's the people that matter. It's easy to
forget this.<br />
<br />
Jake: That's one of
those speeches and it's message that could easily be said now with a
few word changes. Basically the same message.<br />
<br />
Phil: Jake, this is
your first experience working here at Derby Theatre as 2<sup>nd</sup>
year recipient of the Brian Weaver Fellowship. How has it been thus
far?<br />
<br />
Jake: It's amazing
because I found out that I'd got it in January and this is the first
production I've come into. So I have been itching all year to get
into it. I was doing another show at Edinburgh over the summer – a
puppetry show. It had me in work since March until August and at the
time I said to Sarah (director of <i>Brassed Off</i>) that this had
come up and she said 'we want to support your career so it seems
silly for us to stop you from doing another show'. There was an
overlap of a week and she let me do that - hence why I have come into
to this week later. In another kind of working environment that may
have not been made possible so I am very grateful for that kind of
support. From a logistical point of view it has been amazing that I
have had the opportunity to be in work all this year. With this show
I am playing six characters and I have six costume changes. It is
really fun and what it does mean is that I'm in a lot of scenes
without a lot of lines or a lot to do and this means that I can be in
rehearsals all the time and watch very knowledgeable people like
Howard who has masses of experience and soak up all that influence
and acting knowledge. Equally there are other members of the cast and
creative team of all ages from whom I can learn about their
processes. It's an amazing opportunity. I am doing Cinderella after
this and because I am from Derby, having lived in London for a few
years now, it feels like a homecoming and I'm very lucky and loving
the chances I'm getting through the Brian Weaver Fellowship and <a href="http://www.derbytheatre.co.uk/">DerbyTheatre</a>.<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<br />
<em><strong>Thank you to Sarah
Brigham, Heidi Mckenzie and Derby Theatre for the opportunity to
interview Howard and Jake.</strong></em></div>
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-10074129754609892342015-09-05T10:51:00.003-07:002015-09-05T11:14:25.568-07:00Talking Heads at Theatre Royal Nottingham. Review.<br />
<div class="western" style="margin-bottom: 0cm;">
Since Alan Bennett's
original six part televisual masterpiece of social observation,
collectively known as <i>Talking Heads, </i><span style="font-style: normal;">aired
on the nation's televisions in 1982, some of the ground breaking
monologues have been transferred to the stage by both amateur and
professional companies. The choice is usually an evening of two
monologues and invariably two of Bennett's funniest – </span><i>A
Chip In The Sugar</i><span style="font-style: normal;"> and </span><i>A
Lady of Letters</i><span style="font-style: normal;">. Quite often
they are performed in an intimate studio or small stage environment
as the confessional nature of the writing and performing suits such
venues. Not this time however.</span></div>
<br />
This
Theatre Royal Bath professional touring production boasts not two but
three of Bennett's works with a stellar cast of three well known
actors each taking up the challenge of performing a forty minute
monologue.
<br />
<br />
All
three monologues are performed on a full stage and augmented by
Frances O'Connor's clever angular sets. Paul Pyant's lighting adapts
for each piece as well as suggesting glimpses of the outside world
around the stories of all of the closeted characters. Original music
by Simon Slater helps to create the changing moods within each of the
monologues. Sarah Esdaile directs each piece with the accent towards
uncluttered detail and delivery.<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-style: normal;">In
the first monologue – </span><i>A</i><span style="font-style: normal;">
</span><i>Lady of Letters - </i><span style="font-style: normal;">Bennett's
character – the acerbic Miss Irene Ruddock (Siobhan Redmond)
dashes off hand-written letters right left and centre to numerous
officials and government bodies, including the royal family. She does
this in order to express her ill informed opinions and complaints.
Redmond plays her as the eager eyed ultimate curtain twitcher, smugly
realising her minor victories through the power of the pen. </span></div>
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-style: normal;">Whilst
the audience laugh at Redmond's hilarious avalanche of verbalised
written accusations, delivered with aplomb, the true and shocking
reality of her actions is driven home. This is another of Bennett's
obsessives whose practices lead to their downfall only in Miss
Ruddock's case it is not terminal. Interestingly, </span><i>her</i><span style="font-style: normal;">
journey leads her to a better and more socially useful life. In this
monologue Bennett returns again to his favourite writing topics of
the 1980s – the youth of policemen on the beat, trendy vicars,
society's ignorance and the obliquely racist opinions of his
characters.</span></div>
<br />
<div class="western" style="margin-bottom: 0cm;">
<i>A Chip In The Sugar</i><span style="font-style: normal;">
is one of only two </span><i>Talking Heads</i><span style="font-style: normal;">
monologues written for men by Alan Bennett. The other is </span><i>Playing
Sandwiches</i><span style="font-style: normal;"> which is about a man
with paedophile tendencies. In </span><i>A</i><span style="font-style: normal;">
</span><i>Chip In The Sugar</i><span style="font-style: normal;">
Bennett's own style of speaking and subtle northern wit is heard most
clearly. </span></div>
<br />
<div class="western" style="margin-bottom: 0cm;">
<i>A Chip In The Sugar</i><span style="font-style: normal;">
is almost a mini protest play from the view point of a closeted
individual called Graham Whittaker (Karl Theobald). Graham's protests
arise from his jealous perception of an unexpected new relationship
between his elderly and forgetful mother and her new suitor – a
seemingly dapper Mr Turnbull. The jealousy arises because Graham and
his mother behave not so much like mother and son but like an old
married couple very much set in their ways. Graham also protests
against the nature of language and how it can obscure reality. There
is a perfect example when Graham attends a meeting at Community
Caring for the mentally ill. Pathetically railing against an
accusation that he is being 'defensive' about sexual intercourse he
erupts with his retort “I am not being 'defensive' about sexual
intercourse! She is my mother!”</span></div>
<br />
Theobald takes us on
Graham's emotional journey of a life tipped into confusion and chaos
by the arrival and courtship of the bullying and opinionated ageing
rou<span style="font-family: Times New Roman, serif;">é</span> Mr Turnbull. In a
complex darkly comic monologue that brings in other characters
Theobald does well in entertaining the audience with his ever
twisting story whilst retaining Graham's own fey character.<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-style: normal;">Stephanie
Cole is the seventy-five year old widow Doris in </span><i>A Cream
Cracker Under The Settee. </i><span style="font-style: normal;">Her
frail old lady character has a fall from a height whilst attempting
to dust the top of her wedding photograph on the wall. This tumble
proves to be her downfall. Cole brings out all of Bennett's bitterly
accusing wit and Doris's stubborn nature borne of a cleaning
obsession and love hate relationship with her home help Zulema. Her
main personal demon is the constant thought of being packed off to
Stafford House – as she sees it – to die a lonely death with
people who smell of pee. With beautifully written dramatic irony this
fear is actualised earlier than Doris anticipates except that her
place of death is her living room not in the relative comfort of
Stafford House. Cole has the audience close to tears in the final
part of her affecting monologue as she says “Never mind. It's done
with now. Anyhow.”</span></div>
<br />
<div class="western" style="margin-bottom: 0cm;">
<i>Talking Heads</i><span style="font-style: normal;">
runs at Theatre Royal Nottingham until Saturday 5</span><sup><span style="font-style: normal;">th</span></sup><span style="font-style: normal;">
September.</span><br />
<br />
Originally reviewed 1st September 2015 at Theatre Royal Nottingham for <a href="http://www.thepublicreviews.com/78299-2/">The Public Reviews</a>.<br />
<br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-68198732334629368972015-09-02T16:08:00.003-07:002015-09-03T12:28:41.902-07:00Review of Company by KW Productions at Leicester Little TheatreOn a transfer from
Leicester's bijou Upstairs At The Western venue <a href="http://www.kw-productions.co.uk/">KW Productions</a> take a
second shot at their production of Stephen Sondheim's musical
masterpiece <i>Company</i>. The Little Theatre Leicester venue allows
for slightly more breathing space and an opportunity for the KW
performers to let their souls sing out in the Haywood Studio space.
This artistically freeing move proves to be a huge success on their
(second) opening night, this time at The Little Theatre.<br />
<br />
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<a href="http://3.bp.blogspot.com/-6UcIzon7mw8/Ved_6_7LCjI/AAAAAAAAC2U/rLzTuIIuclA/s1600/Company%252520032.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="http://3.bp.blogspot.com/-6UcIzon7mw8/Ved_6_7LCjI/AAAAAAAAC2U/rLzTuIIuclA/s320/Company%252520032.JPG" width="320" /></a></div>
<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<i>Company</i>, with
its brilliantly brisk energetic score and sophisticated wit, is
largely regarded as a trail blazer of the modern concept musical
genre and has been the winner of seven Tony Awards including Best
Musical, Best Score, Best Lyrics and Best Book. In 1995 the musical
was revised and amongst other changes it was decided to drop the
dance number “Tick Tock”. In 2007 the show was named Best Musical
of the Year by New York Magazine for a production directed by John
Doyle and starring Ra<span style="font-family: Times New Roman, serif;">ú</span>l
Esparza as Robert. In this production the performers not only sang,
danced and acted but also played the instruments as part of the show.</div>
<br />
Updating the original
1970s concept of the story of fractured relationships to include a
modern young lesbian couple and humorous acknowledgement of the
current trend towards selfies the KW version of <i>Company</i> proves
as relevant today as it did when Stephen Sondheim and George Furth's
piece was first aired. Leigh White directs this simply staged and
classy production of <i>Company</i>. It is a funny, sophisticated,
exploration of love and commitment seen through the eyes of 35 year
old charming perpetual bachelor Robert and KW Productions do it
proud.<br />
<br />
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<br />
<br />
Robert (Keiran Whelan)
is about to celebrate his 35<sup>th</sup> birthday and all his
friends rally round to give him a surprise birthday party. In this
way we are introduced to all of Robert's (Bobby's) friends in the
pulsating opening number “Company”. The KW rendition is sung
with clarity and gusto by Robert and all the fourteen strong cast.
Whelan as central character Robert does an exemplary job of holding
the whole show together and has a fine singing voice and first rate
American accent that is held nicely in check throughout.<br />
<br />
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<br />
<br />
Gradually throughout
the first and second act we meet all of Robert's friends be they
married or single. The highlights of this show's first act are the
classy renditions of the following songs for both their witty and
poignant aspects; “The Little Things We Do Together”,
“Sorry-Grateful”, “Have I Got A Girl For You”, “Someone Is
Waiting”, “Another Hundred People”, “Getting Married Today”
and “Marry Me A Little”. There is not a weak link amongst the
whole strong ensemble with professional standards throughout the
piece.<br />
<br />
The highlights of the
first half are the cleverly put together staging of “Another
Hundred People” and Amy's (Victoria Price) comically frantic
“Getting Married Today”. Plus, Whelan and Nikky Leigh Brooks as
Harriet add a whole depth of tenderness to the song “Sorry-Grateful”
that is usually begun by the two male characters Robert and Harry.<br />
<br />
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<br />
<br />
As we reach the second
act Robert and the company open with a rousing and inventive “Side
by Side by Side” and “What Would We Do Without You”. As the
piece takes on a more sombre tone the bitterness of some
relationships takes over after the comical yet poignant number
“Barcelona” between Robert and April (Liz Kavanagh). Kavanagh has
a great talent for understated comic acting and is delightful as air
hostess April. One of the highlights of any production of <i>Company</i>
is the older character Joanne belting out “The Ladies Who Lunch”.
This is a song with less of a smile and a whole lot of savage bile
and Karen Gordon does a fantastic note perfect job of putting it
over.<br />
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<br />
<br />
Optimism is the key to
the ending of Sondheim's bitter sweet musical look at the complexity
of relationships and both Robert and the company complete the evening
with a stirring rendition of “Being Alive!” And that's what it's
really about. Isn't it?<br />
<br />
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<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-style: normal;">Directed by and live musical accompaniment
by Leigh White</span><i> - Company</i> runs at Little Theatre Leicester
from 2<sup>nd</sup> to 5<sup>th</sup> September.<br />
<br />
<strong><em>Photographic credits and copyright Sally Evans.</em></strong> </div>
<br />
<br />
<br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-19156483821759924522015-08-11T12:13:00.003-07:002015-08-11T12:13:53.809-07:00Review. Jeykll and Hyde, Theatre Royal Nottingham<br />
<div class="western" style="margin-bottom: 0cm;">
Nottingham Theatre
Royal's annual Colin McKintyre Classic Thriller Season which
comprises of four thrillers played, as in rep, over four weeks is a
very much anticipated part of the Nottingham theatre calendar. This
year they present <em>Jekyll and Hyde, Night must Fall, Suddenly at Home</em>
and <em>Stage Struck</em> and all the plays are performed by the TABS
Production cast over the month of August.</div>
<br />
Their season begins
with Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde
adapted for the stage and directed by Nicholas Briggs. Brigg's
adaptation stays true to the original, although edited for theatrical brevity, it keeps, within the story-telling, to a lesser degree
of locations.<br />
<br />
For this reviewer the
confused set design by Geoff Gilder is too much at visual odds with
the Victorian melodramatic story. Only the central door of Dr
Jekyll's house is in period leaving the rest of the stage to be
dressed in incongruous criss-cross wire flats that, except for being
draped in swathes of red cloth, would have suited West Side Story
best.<br />
<br />
The atmospheric
lighting by Michael Donoghue helps to create various moods
effectively and the music, composed, selected and arranged by
Nicholas Briggs equally so - albeit with a little over reliance on
the drama being punctuated repeatedly with short blasts of
'revelation' music.<br />
<br />
On the whole, the
gothic story of <em>Jeykll and Hyde</em>, is well acted by the TABS cast and
the style keeps within the boundaries of what a modern audience would
respond to in the form of melodramatic theatre. In fact the 2015
Nottingham Theatre Royal audience are not so far removed from their
Victorian ancestors with the seriousness in which they take the moral
story-telling. No tittering in the third row here, no even as Andrew
Fettes occasionally hams it up beautifully as the evil Mr Edward
Hyde.<br />
<br />
There are some
believable solid performances throughout especially from Susan
Earnshaw as the concerned house keeper, Mrs Poole. Earnshaw brings a
motherly sincerity to her part that a man in the role of the
novella's original Mr Poole the butler wouldn't have. The choice to
have a Mrs Poole also redresses the balance of the sexes in a very
male populated play.<br />
<br />
Anna Mitcham shows her
versatility throughout this piece, one minute being killed off and
the next popping up again in the mixed roles of servant girl Maisy,
the dubiously moral Paterson, and the maid to Dr Lanyon.<br />
<br />
<div class="western" style="margin-bottom: 0cm;">
Andrew Ryan is quietly
compelling as, Mr Gabriel Utterson, lawyer and friend to Dr Jeykll
and quite unrecognisable from his previous appearances at this
theatre as pantomime dame! Robert Laughlin is perfect as a large
bearded Dr Henry Jekyll and shows just right amount of concern over
his mental and physical state as the tortured doctor. In a scene that
could have been risible he refrains from being unintentionally
comical as he twists and turns in agony in the transformation scene.</div>
<br />
A character that could
be allowed to employ a little humour into the proceedings is the
canny Scotland Yard police inspector – Inspector Newcomen – given
an highly enjoyable and slightly sarcastic performance here by David
Gilbrook. From his programme résumé<span style="font-family: Times New Roman, serif;"></span>
Gilbrook seems to have been cast as a police inspector on many
theatrical occasions. His wry performance is one of the highlights of
the show.<br />
<br />
One wouldn't truthfully
call this production of <em>Jekyll and Hyde</em> particularly scary or even
overly thrilling. However, on the plus side the action moves quickly
from location to location and the acting standards overall are good
and the gothic story entertains. For the rest of the season we have
the thrillers from the pens of Emlyn Williams, Frances Durbridge and
Simon Gray to look forward to. <em>Jekyll and Hyde</em> runs until 8<sup>th</sup>
August.<br />
<br />
Review originally published on August 4th by <a href="http://www.thepublicreviews.com/jekyll-and-hyde-theatre-royal-nottingham/">The Public Reviews</a><br />
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<br />Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-6507240565767419572015-07-31T14:16:00.001-07:002015-08-01T23:23:16.596-07:00Review. Richard III Curve Leicester<br />
<div class="western" style="margin-bottom: 0cm;">
<a href="http://3.bp.blogspot.com/-upSFBhuFwp0/Vbvi-o6I9qI/AAAAAAAAC0Q/R4gBXsPzq5E/s1600/richardiii%2Bposter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-upSFBhuFwp0/Vbvi-o6I9qI/AAAAAAAAC0Q/R4gBXsPzq5E/s320/richardiii%2Bposter.jpg" width="229" /></a>In the<a href="http://www.curveonline.co.uk/"> Leicester Curve</a>
studio space an eager audience enters and seats itself for the annual
community theatre event. This year it is Shakespeare's Richard III
directed by professional director Nikolai Foster, an apt choice given
the recent internment of the actual King Richard's bones in Leicester
cathedral. This community theatre play is comprised of non-
professional actors of all ages, ethnic backgrounds and sexes and
their production of Richard III is better than a handful of
professional versions this reviewer has seen over the recent years.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
The playing space is
traverse and most of the action takes place on a raised area of faux
black marble. Even before the play has begun the parameter
surrounding the playing space is encrusted with the thick grey dust
and debris of war. The set design is created by Matthew Wright with
lighting and sound by James Whiteside and Thomas Preston
respectively.
</div>
<br />
<br />
Abandoned shoes and
boots litter the area and denote the grisly remains of the victims of
warfare. A long heavy chain handing from the ceiling ends with a hook
and on the hook hangs a knee length leather coat. In the air
electricity crackles almost as if human flies are frying in an
invisible fly catcher. The coming danger is palpable.<br />
<br />
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<br />
<br />
Richard III needs a
very compelling Richard to carry the piece. It is huge challenge for
any actor in a monster of a play of containing 3718 lines and Mark
Peachey's plain speaking Richard nails it from his first 'Now...' His
performance is subtle stage craft personified, full of guile and
smiling charm, his personality greased with cunning and malevolent
intent, theatrical but never bordering on the camp. This is a manly
Richard for a modern age, despotic, determined, hypnotic and we get
to see his crippled back!<br />
<br />
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<br />
<br />
Luke Oliver makes an
almost brotherly companion to Richard as a conniving Buckingham and
their scenes together are some of the most compelling of the play. <br />
<br />
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<br />
<br />
The entire cast is
embodied by a total of thirty-one actors and through Nikolai Foster's
directorial guidance their passion for this work shines through and
their commitment to the energy and tone of the play is exemplary. The
scenes of brutal violence are done with precision and sound effects
of gun shots coupled with clever lighting make the human dispatches
so much more effective than relying on a prop gun that might not fire
and thus ruin the scene. <br />
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The women in the cast
all show strong characters in defiance of Richard of Gloucester and
Laila Lee is electric in the wooing scene. Catriona McDonald as Queen
Margaret is interestingly positioned in the parameters of the stage
as she initially bridles against Richard's parading swagger and comes
into her own powerful self once she moves centre stage. Another
subtle performance comes from Becca Cooper as the hired killer Tyrell
and vodka swilling mock priest. A fascinating character change was
bringing in Emma Dent as Bishop of Ely with a small line change of
'Lady Bishop'. As this version of the play was set in contemporary
Russia with appropriate costuming one wonders whether Russia does
indeed have lady bishops. Mistress Shaw was also absent from this
production and her staying in bed makes for a tighter scene and keeps
the drama intact.<br />
<br />
The men and boys in the
cast demonstrate strong character portrayals, all of them very
diverse, human and believable. Three stand out portrayals come from
William Hayes as a sympathetic Duke of Clarence and Dale Goulding as
the wheelchair bound ailing but still powerful King Edward IV. Edward
Spence shows us a brutal humour as the hired killer William Catesby,
loyal to Richard.<br />
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In this ultimately
professional community production the play retains its social and
political relevance warning of democracy being eroded and freedom of
speech being prevented. As Nikolai Foster says in his programme notes
'this production uses little more resources than Shakespeare's
players would have had available to them, trusting the text and the
actors to release the significance of the story for a new
generation.' Given the huge final curtain applause from the Leicester
Curve studio audience this cast and team have done their job
stunningly and Leicestershire should be rightly proud of such superb
local talent. <strong>Runs until 9th August 2015</strong><br />
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<em>Originally published July 30th for <a href="http://www.thepublicreviews.com/richard-iii-curve-leicester/">The Public Reviews</a></em><br />
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<strong>Photos credit Pamela Raith</strong><br />
<br />
@CurveLeicester<br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-39795691936931691572015-07-30T11:23:00.001-07:002015-07-31T14:30:48.584-07:00Review: East is East (touring) Theatre Royal Nottingham July 2015<br />
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The first thing that
impresses is the amazingly realistic and yet theatrical set for this
sterling production of East is East directed by Sam Yates. The brick
work on the house walls is super real in texture and depth and the
whole space has a very lived in atmosphere redolent of the early
1970s back to back slums of Salford before the slum clearance
programmes a decade later. Designer Tom Scutt has done a superb job
in realising the whole effect and allowing for creativity within it.
With the bombed out side walls looking like they might crumble away
any second the whole effect is of survival in difficult surroundings
and that duly reflects the whole mood of this funny and moving play.
All the coal black doors are designed as outside privy doors and get
plenty of usage as the cast make rapid entrances and exits that
become almost the percussive heart beat of the play.<br />
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The cast of eleven are
a ball of collective energy throughout, constantly re-realising the
stage space through their positioning and rapid placement of
furniture and go from funny to violent to angry and frustrated and
intermittently to loving all on the turn of a silver shilling. The
changing moods are also enhanced by Richard Howell's elegant lighting
design.<br />
<br />
Pauline McLynn and
Simon Nagra shine as the English wife Ella to Pakistani husband
George Khan and the penultimate scene of violence between them is
hard to watch. George Khan is a tyrannical father to their seven
children one of whom we never see but is hated by the father for
having left home to pursue a life out of reach of his 'respect me or
else I kill you - you bastard' tirades. He is a man of his generation
and background, antiquated in his enforcement of unquestioning total
respect for the father and totally blind to the alienation he causes
in his family. He idealises his home country and is also fearful of
what the uprisings and violence in Pakistan will have on his culture
and religion and ultimately his family that he purports to love.<br />
<br />
Ayub Khan Din's
incredible play works on many levels and throughout the audience is
gripped and swept along as they laugh at the many comedic goings on
and gasp at the raw reality of the Khan family bickering and making
up. The language is fruity, funny, demanding and a true culture shock
when the shit finally hits the proverbial fan in the second half. The
acting from all the cast is utterly perfect and this reviewer would
highly recommend a visit to this exemplary piece of theatre currently
playing at Theatre Royal Nottingham. <br />
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<strong>Originally published by Nottingham Live on Tuesday 28th July 2015</strong>
Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0tag:blogger.com,1999:blog-5135460519887359991.post-42609782052194530542015-07-30T11:18:00.002-07:002015-07-30T11:18:42.560-07:00Say Sum Thin 9 review at Nottingham Playhouse
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This year's spoken word
festival 'Say Sum Thin 9' at Nottingham Playhouse on 25<sup>th</sup>
July must be the best ever. With a total of thirty plus events and
workshops happening throughout the day there was plenty to keep any
poet, would be playwright, word smith, rapper and even circus skills
enthusiast happy for hours.</div>
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The entirety of the
Nottingham Playhouse building has been given over to the event run by
Nottingham's poetry collective The Mouthy Poets. This year's theme is
Carnival and the grand opening starts off with a parade of colourful
costumed dancing by Hyson Green's talented Zodiac Allstars Dance
Troupe. DJs and musicians supplied the day long musical atmosphere on
the theatre atrium.<br />
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The interior of the
Playhouse is superbly decorated in a glittering display of brightly
coloured fabrics and shapes plus masks and fabulous headdresses
supplied by City Arts. With a plethora of workshops to attend I chose
to observe a very popular workshop run by playwright Nick Wood.
Situated on the Playhouse stage, it was an inspiring session
culminating with professional actors reading the participants
scripts. <br />
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The Mouthy Poets had
two main shows happening in the event. The smaller afternoon show was
delivered in the Neville Studio and showed off some incredibly mature
performance poetry talents and allowed opportunities to others to
show their skills through open mic. The jam packed evening show
brought the day to a fantastic close through locally written poetry
that carried the carnival theme in many different and emotionally
engaging poems that not only used spoken word but cleverly
incorporated a variety of multimedia and dramatics.<br />
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<br />
Originally published in the EG section of Nottingham Post newspaper. Monday 27th July.<br />
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Anonymoushttp://www.blogger.com/profile/14923302428885761293noreply@blogger.com0