“When the light came back this weird plant was just sitting there”
Sell A Door Theatre Company have built quite the reputation for touring plays and musicals the length and breadth of the UK and that reputation will surely only grow with this cheerfully good-natured production of evergreen cult musical Little Shop of Horrors. Director Tara Louis Wilkinson may not do anything dramatic to the classic Alan Menken/Howard Ashman show but her small-scale production captures its spirit perfectly and ought to please audiences across the country until Christmas.
This 1950s spoof musical, based on the iconic B-movie of the same name, follows the travails of Seymour Krelborn, an orphan scraping a living in a run-down florists whose luck seemingly changes when he finds a strange venus flytrap-like plant which he names Audrey II after his colleague with whom he is in love. But the plant has very particular dietary requirements and Seymour finds himself suckered into a Faustian pact as the fast-growing Audrey II brings him fame, fortune and Audrey’s love, just as long as he feeds him blood. Continue reading “Review: Little Shop of Horrors, New Wimbledon”
“One man in his time plays many parts”
Celebrating the twentieth anniversary of this particular production and the launch of The Sophie Hamilton Archive which chronicles over 30 years of their work, getting to attend a screening of Cheek By Jowl’s As You Like It was a fabulous way to spend a Sunday evening. Shown in the very Noël Coward Theatre (or Albery as was) where it was recorded, the event was made extra special by the attendance of the entire revival cast who proudly took their bows onstage at the end, in front of the film of them taking their bows on that same stage – a lovely moment.
Declan Donnellan’s original production dates back to 1991 and as pointed out by one of the speakers tonight, its cross-gender and colour-blind casting made and still makes it a most transformative piece of theatre and one with great foresight (even if sadly, messages about women taking on male roles still haven’t quite sunk in) in a pre-Propeller, Section 28-pasing age. What emerges as most pleasing is the utter lack of gimmick with no overarching conceit to justify the decisions here, starting simply with a troupe of identically dressed actors and the desire to tell a story. Continue reading “Review: Cheek By Jowl’s As You Like It, screening at Noël Coward Theatre”
“If I were a rich man, yubby dibby dibby dibby dibby dibby dibby dum. All day long I’d biddy biddy bum, if I were a wealthy man.”
Oh, to be a fly on the wall when lyricist Sheldon Harnick announced the second line of a song he’d written for Fiddler on the Roof was “yubby dibby dibby dibby dibby dibby dibby dum”. But along with book writer Joseph Stein and composer Jerry Bock, their efforts translated into one of the most successful Broadway productions ever, with this story of Tevye, a milkman in pre-revolutionary Russia, and his three headstrong daughters making life in the village very difficult by challenging the old order. Craig Revel-Horwood employs his tried-and-tested actor-musician model to invigorate new life into the show (one which is new to me, I’ve never even seen the film) which is just undertaking a huge UK tour, starting at Southampton’s Mayflower Theatre (another first for me).
Due to the indisposition of Paul Michael Glaser, we were treated to an understudy performance as Tevye and not even the named understudy Paul Kissaun at that, Eamonn O’Dwyer took on the role and a fine job he did too. Though demonstrably too young for the part, his wry exasperation at the way the world turns and the warm geniality with which he rolls with it made for an assured central presence that kept the show moving with a twinkle-eyed grace. Even with the age mismatch with Karen Mann as his long-suffering wife Golde, there was a palpable chemistry that made their second half duet ‘Do You Love Me?’ a genuinely lovely thing. Continue reading “Review: Fiddler on the Roof, Mayflower”
“Through the forest have I gone”
The impressive ruins of Stafford Castle make a grand setting for the Stafford Festival Shakespeare, now in its 23rd year, and for this year’s production of A Midsummer Night’s Dream, successfully transported to a Victorian England of colonial conquest, starched manners and a healthy dose of Gilbert and Sullivan. An open air stage, with covered seating on three sides, expands up the grassy slope to the castle itself and is used highly effectively, whether for a royal procession to make a strong impact or a torch-bearing fairy horde to swarm over the hillside, a constant reminder that so much of this story is about the strange happenings that will ensue if you end up in a mysterious forest on Midsummer eve.
Peter Rowe’s choice to set this in the Victorian era is an effective choice and one which works well across all the earthbound levels of the play. It makes a convincing case for the quarrelling quartet of lovers – Craig Fletcher (so very good in last year’s Boy Meets Boy) and Eamonn O’Dwyer all prim posturing and carefully rolled-up sleeves as Lysander and Demetrius, Jennifer Greenwood a spirited Hermia and a confident Georgina White coming close to stealing the show as an expressively comical Helena. And the Rude Mechanicals, led by Eric Potts’ bumptious Bottom, become a group of G&S-playing minstrels, the silliness of light opera suiting them perfectly as they build up to an extended musical version of Pyramus and Thisbe, which has to be one of the funnier treatments it has ever received. Continue reading “Review: A Midsummer Night’s Dream, Stafford Castle”