Monthly Archives: December 2017
reviewed at the Seckford Theatre, Woodbridge on 16 December
Common Ground’s creative team of Julian Harries and Pat Whymark have a good like in spoof shows, both for their own company and others. This year we are treated to a Sherlock Holmes adventure which I don’t think you’ll find in the official Conan Doyle canon. Five actors share some 18 parts between them.
Dick Mainwaring as Watson is the exception to the quick changes of costume and gender. He and Holmes (Harries) are broke in Baker Street with Mrs Hudson (Emily Bennett)’s Christmas fare receding faster than well-paid sleuthing. It’s fortuitous that Inspector Le’Opard (Joe Leat) comes calling with a problem.
The music which Whymark has composed and her dance routines are as usual well-conceived (she and Alfie Harries) accompany hese. Noteworthy are Bennett’s ballad as Miss Claypole, a department store employee stuck in a deadend job and only staying in it for the pension, the chorus numbers (which have considerable satirical bite) and Watson’s second-act lament.
Theatrical in-jokes as well as political ones flow through the dialogue; this is not really a show for small children. The ins and outs of the plot are sufficiently complex to keep the laughter coming; puppets (juggling with cats, anyone?) supplement the cast. Patrick Neyman has the chance to switch accents as well as clothes as Mycroft and half of the store’s ownership.
Six other theatres are included in the Christmas tour, and I suspect that the whole thing will have tightened and speeded up once it is run-in. Common Ground, like many other smaller-scale regional companies, has learned that make-do-and-improvise can be a dramatic advantage as well as a drawback. This is a clever show, but somehow not quite clever enough.
Three and a half-star rating.
Sherlock Holmes and the Hooded Lance plays at the John Peel Centre, Stowmarket between 18 an 20 December, at the Jubilee Hall, Aldeburgh from 1 to 3 January, at the Corn Hall, Diss on 5 January, and at the New Wolsey Theatre Studio, Ipswich between 8 and 13 January. Peformance times and seat availability vary, so check the company’s website: www.commongroundtc.co.uk for details.
reviewed at the Theatre Royal, Bury St Edmunds on 14 December
Chris Hannon’s script and the co-direction of Karen Simpson and David Whitney have really found the formula for a Theatre Royal pantomime. Their version of the story of Dick Whittington is replete with local touches which seem natural rather than afterthoughts and the whole show has a subtly period edge which suits this Georgian playhouse perfectly, including Julia Cave’s choreography.
We have a Principal Boy Dick (Jessica Spalis) who brings just the right teenage gawkiness to the part. Her trusty companion Tommy the cat is mimed by Corey Cross whose costume and acrobatics have elements of an hommage to Grimaldi; his excursions into the auditorium have the children competing to pet him.
Indeed a delicate whiff of Trelawny of the Wells imbues the entire production. The Fitzwarren emporium is a failing bookshop with bespectacled Alice (Tessa Kadler) as its liveliest item. Her father Francis (Nigel Lister) is ineffectual and in the shadow of his millionnaire expatriate brother Ferdnando. Winona Whittington arrives in London in search of her wayward son, rather than being the Fitzwarrens’ cook.
Chris Clarkson makes this Dame part into a real three-dimensional character, thus helping the often disparate elements of the pantomime to coalesce. Sparkly help is at hand in the shape of Sarah Lawn’s Fairy Pearl while Tom Roberts’ Sir Reginald Ratfiend twirls his tail as an alternative to moustaches with villainous effect and directs his troupe of ratlings to do their worst.
He’s the current Lord Mayor London, so has a double layer of power, and his appetite gnaws through books as well as foodstuffs. When he manages to shipwreck the Fitzwarren party however it is on Ferdnando’s paradise island (cue a u/v light sequence). Not even Nerine Skinner’s Nibbles, Ratfiend’s resourceful sidekick, can now alter the triumph of good over evil.
Dawn Allsopp is the designer for the deliberately quirky sets and costumes. The musical director is Ward Baker, tucked with Luke Petitt into a stage-left corner of the pit; a couple of toy theatre musician figures have been painted to the side of them. That’s just the sort of touch which gives this show the edge of some of its more lavish competitors.
Five star rating.
Dick Whittington continues at the Theatre Royal, Bury St Edmunds until 14 January. Performance dates and times vary, so check with the theatre’s website: www.theatreroyal.org for details and seat availability.
reviewed at the Jerwood DanceHouse, Ipswich on 13 December
Mary Norton’s The Borrowers is a story of very small beings who live underneath humans and utilise all those oddments which fall through cracks in floor-boards or under the wainscoting. Not the obvious material for a dance drama, you might think, but Jane Hackett, Estela Merlos and Thomasin Gulgeç prove this wrong.
There is a cast of four, but you really need to add a fifth – Betsy Dadds superb hand-painted animations. Composer Tobias Saunders adds to the atmosphere of a world other than that which we inhabit with a score that combines defined rhythms with matching simple melodic phrases. We first see a subterranean world of pipework and cobwebs, dripped through with water leaks.
There’s the odd spider and mouse to watch before Pod (Gulgeç) rolls onto the stage with n oversized cotton-reel. He’s joined by his wife Homily (Merios) and their adventurous daughter Arrietty (Hannah Mason) who soon leads them from the safety of their underground home into the world outside.
Dadds offers us in fast succession a kitchen a scullery-cum-laundry room and the – to the Borrowers – the bewildering world outside. They have been joined by Spiller (Lewis Cooke) whose rough’n’ready approach is revealed as a façade in his duet with Mason, showing the tomboy maturing into a young woman with feelings.
The lily pond sequence with its improvised stepping-stones leads from the ones in the potting-shed and the garden. By now a foursome, we end on a meadow where thistle-down is followed by a cascade of outsized autumn leaves. It’s imagination-stirring with inventive choreography which never slips into mere display and, at the matinée I saw, held a largely primary-school aged audience spellbound.
Five star rating.
The Borrowers runs at the Jerwood DanceHouse, Ipswich until 17 December and will tour nationally next year. Performance times vary, so check with the theatre’s website www.danceeast.co.uk for availability.
reviewed at the Gordon Craig Theatre, Ipswich on 10 December
This Chris Jordan pantomime is a traditional one in many ways. There’s a Principal Boy as Jack (Lisa Mathieson) and a scene-stealing Dame Trott (Paul Laidlaw). The multi-named cow (Dulcie? Clarabelle? Daisy?) deserves a programme credit in her own right and the beanstalk is sufficiently spectacular.
Cliff Parisi’s Fleshcreep rather lets it all down. He doesn’t really convince as the villain – too prone to lollop on and off stage and Melanie Masson’s Fairy Fuschiaa too easily dominates him. Mathieson makes an attractive hero who deserves to win Victoria Farley’s Princess Jill.
Of the two main comics, Laidlaw has the audience in the palm of his hand from first entrance, and Aidan O’Neill’s Simple Simon doesn’t take long to recruit us all in his gang. Siôn Tudor Owen plays King Custard and Matt Lee-Steer doubles the Town Crier and the ferocious, ravening Giant Blunderbore.
The choreography of Ashley Glazebrook and Glen Murphy (aka Twist and Pulse) at times taxes the female dancers of the ensemble, though the men have some eye-riveting leaps and turns to compensate. James Cleeve’s band is ensconced at audience level stage left and the standard of singing throughout is good; Laidlaw’s farewell to her cow stills the house.
Three and a half-star rating.
Jack and the Beanstalk runs at the Gordon Craig Theatre until 28 January. Performance dates and times vary. Check with the theatre’s box office at :www.gordon-craig.co.uk for availability.
reviewed at the Avenue Theatre, Ipswich on 9 December
“When she is good…” Red Rose Chain tends to run to the extremes of the little girl in the rhyme, but this Christmas show deserves high marks. The Grimm Brothers’ story of the elves who come to the rescue of an old shoemaker is adapted and updated by director Joanna Carrick and has an imagination-stirring set by Carrick and David Newborn.
We are in the small town of Elvedon (which does actually exist on the Suffolk-Norfolk border). The central character is Elvira (Emma Swan), who yearns to update her father (Ryan Penny)’s outdated styles and stock, which scarcely attract a single customer.
Her best friend is Frank (Darren Latham), a baker by trade, though one much exploited by his employer Mrs Battenberg. She is also pursued by the brash, know-the-cost-of-everything son of the ruthless Esmeralda Overdrive. Between the Overdrive shopping Mall and fashionistas, Lovelace Shoes is on its last legs.
That’s until the titular elves arrive and overnight make up one of Elvira’s designs. Then the shop bell starts ringing again – and so do the tills. Penny and Latham play the elves and all the grind’em’down characters, which necessitates some very quick costume changes.
Of the “nasties”, Esmeralda and her imitation pop-star son rival Battenberg in the unpleasant stakes. Never were custard-pies more properly placed! The elves too receive their just reward in the shape of new outfits which will enable them to train as Santa Claus’ helpers.
It’s not too long for the smaller audience members and has a script which makes literate sense for the older ones. There’s a gentle bit of audience participation but that (and the custard pies apart) it’s all mercifully free and pantomime gags. As I said – top marks!
Five star rating.
The Elves and the Shoemaker runs at the Avenue Theatre, Ipswich until 31 December. Performance times vary, so check with the theatre’s website:www.redrosechain.com for seat availability.
reviewed at the Sir John Mills Theatre, Ipswich on 8 December
Be warned! Eastern Angles’ seasonal offering changes name when it reaches Peterborough’s Key Theatre for the final week of its three-venue run. There it becomes The Ladykillers of Orton Brambles – both are areas which actually exist in their respective cities.
But one never expects everyday logic in on of these variations on a popular literary or dramatic themes. Harry Long’s script is (very loosely) based on the Ealing Films comedy – and of course there has recently been a very successful stage version at the nearby New Wolsey Theatre. Our band of robbers, newly sprung from gaol, here masquerade as thespians rather than musicians to hilarious effect.
Dominic Conway has provided some catchy tunes for the cast of five to sing and play. Designer Sean Turner makes a small acting-area with the audience on two sides and the necessity for a bewildering number of costume changes seem as natural as Laura Keefe’s production allows.
The gang is masterminded by Todd Heppenstall as Left Eye with Emma Barclay’s Cow Crusher as his right-hand person. Barclay also doubles as Binkie Blaine, a landlady whose crush (to put it politely) on Michal Ball provides a running joke throughout.
Also involved is slow-witted Scar Feet (Daniel Copeland) and thwarted dancer Smithy; Alex Prescot’s interpretation of the menservants in the production of The Importance of Being Earnest and Keshini Misha’s Method-soaked Kim are ponted reminders of performers who drive their directors to drink.
We also meet the policemen whose boring desk-duty is scarcely enlivend by Binkie’s regular reporting on conspiracies; she’s an up-to-date old lady, for her suspecisions are well nurtured by Facebook and Twitter.
Four and a half-star rating.
The Ladykillers of Humble Doucy Lane/of Orton Brambles runs at the Sir John Mills Theatre, Ipwich until 6 January. It transfers to the Seckford Theatre, Woodbridge between 9 and 20 January and (with the alternative title) to the Key Theatre Studio from 23 to 27 January. Performnce dates and times vary. Check the Eastern Angles website:www.easternagnles.co.uk for details and seat availability.
reviewed at Moyses Hall, Bury St Edmunds on 7 December
There ar as many different ways of staging Dickens’ seasonal story as there are twists and turns in the plot. Spinning Wheel Theatre does it with just three actors, imaginative use of puppetry and lighting effects by Becca Gibbs and director Amy Wylie’s respect for the text of the tale.
Antony Eden plays Scrooge as a man in middle-age, his revelling in the power which hoarded money and the death of his business partner Jacob Marley gives him is almost orgasmic . Alice Osmanski takes on the women’s roles and a couple of masculine ones while Samuel Norris is Scrooge’s light-hearted nephew and clerk Bob Cratchit. Scrooge’s first employer Mr Fezziwig and the Cratchit children are all neat little puppets.
The essence of the story comes from the spirits conjured up by Marley’s chain-laden ghost to emphasise to Scrooge how his greed has brought his present isolation on him and to warn of his future. The Ghost of Christmas Past is a mist of shimmering gauze with softly-lit eyes, symbolising Scrooge’s sister Fan and this lost love Belle.
A coat-hangered scarlet dressing-gown, topped with a matching fez, stands for the jollity of Christmas Present. An eyeless black shroud denotes Christmas Yet To Come when an unrepentent Scrooge is forced to face the robbery of his corpse and ill-attended burial.
Norris is on stage throughout, and gives an assured performance which allows the audience to understand as well as to dislike the man portrayed. Both Osmanski and Eden move seamlessly from one characterisation to another and carry conviction as the story unfolds.
Realism is as much a matter of the audience’s imagination – and at the Moyses Hall it faced the actors on three sides – as it is of heard words and displayed actions. This simplified but inventive staging works with Dickens and not against him, seamlessly joining the 19th with the 21 st centuries.
Four and a half-star rating.
A Christmas Carol plays at the Moyses Hall, Bury St Edmunds until 9 December and then tours village halls across East Anglia until 23 December with a performance at the John Peel Arts Centre, Stowmarket on 22 December.
reviewed at the Cambridge Arts Theatre on 5 December
One of the favourite pantomime stories bustles onto the Cambridge stage this Christmas with considerable panache. It’s written by Matt Crosby (who plays Dame Trott) and Al Morley and directed by Carole Todd with choreography by Kevan Allen.
Costume designer Sue Simmerling has devised costumes in what might be termed “musical-comedy 18th century”. They look good, have considerable sparkle where required and come into their own for the apricot and orange coloured walk-down. Jane Marlow is the musical director.
Making a thoroughly nasty, slightly Dickensian villain is Stephen Becket as Fleshcreep; the boos start before he’s emerged fully from his stage-left green haze. Opposing him is the Fairy Beansprout of Liza Goddard and her troupe of five-a-day vegetable fairies – athlete Spinach (Tamsin January), French Ratatouille (Charlotte Blenkinsop) and slightly gormless American Princess Sweetcorn (Tiffany Wells).
Trying to ward off the Giant’s demands are the King (Tony Christie), whose thwarted efforts to break into song form a running joke, his sparky daughter Kate (Alexandra Waite-Roberts) and the Trott family. Holly Easterbrook plays Jack, who is fa too sure he can’t possibly be a hero, but has the voice and the presence to contradict that.
Daft younger brother Simon is Robert Rees, an excellent foil to Crosby’s audience-wooing Dame; their slop-scene in the ice-cream parlour which is the Trotts’ final bid to avoid losing their dairy is very funny. Of course, nothing remains for them but o sell their prized and beloved cow Daisy, a mischievious-eyed bovine who’s another scene stealer.
Four star rating.
Jack and the Beanstalk runs at the Cambridge Arts Theatre until 7 January. Performance dates and times vary; check the theatre’s website: www.cambridgeartstheatre.com for details and seat availability.
reviewed at the Civic Theatre, Chelmsford on 2 December
One From The Heart has been the Civic Theatre’s pantomime partner for a number of years and always produces a traditional show. This year it’s the Grimm story of Snow White with the dwarfs who come to her aid in the forest played by extremely well-rehearsed members of the juvenile chorus.
Where Simon Aylin’s script and Kerris Peeling’s direction diverge from the usual story is by making the Man in the Mirror a major character. Louie Westwood plays him as a subtly camp pop-star, all silver lamé and high kicks, who has been enslaved by Queen Grizelda (Jenny-Ann Topham), a ferocious Brünnhilde-type swathed in black and crimson and topped with a bull-horned headdress.
Abigail Carter Simpson is a likeable heroine who deserves her prince (Dominic Sibanda), though she is a better singer than dancer. Comedy is in the hands of Andrew Fettes as Nurse Nelly – a Dame of the old school – and Dickie Wood as Muddles – an instant audience favourite. Chris Whittaker’s choreography is enjoyable to watch as performed by the eight ensemble chorus.
No designer is directly credited, but the settings are pleasantly fairy-tale bookish and the costumes, especially for the predominantly muted crimson and gold walk-down, look well. James Doughty is the musical director with the numbers arranged by Ben Kennedy.
Three and a half-star rating.
Snow White and the Seven Dwarfs runs at the Civic Theatre, Chelmsford until 7 January. Performance dates and times vary; check the theatre website www.chelmsford.gov.uk/theatres for availability.
reviewed at the Mercury Theatre, Colchester on 1 December
Daniel Buckroyd’s pantomime for the 2017-18 Christmas season at the Mercury Theatre manages to avoid all the Disneyfied traps which so often make stage versions of this story pallid film clones. He tells the legend straightforwardly enough, but there are sufficient plot tricks to keep the audience fully alert.
Visually it is sumptuous with court costumes of the late Middle Ages and the Dame (Antony Stuart-Hicks), her son Muddles (Dale Superville) and the small chorus in what might best be described as theatrical late 18th century. David Shields’ settings, like his costumes, are cleverly created to catch the eye, move effortlessly from one scene to another and – through the use of a central bridge over the orchestra pit – using the forestage to its best advantage.
The immortals are Ghemisola Ikumelo as the cuddly Fairy Blossom and Carli Norris as the most slinky of evil Enchantresses. Norris revels in the audience’s instant dislike of this insinuating creature and plays it for all it’s worth. The King, Snow White’s bereaved father (James Dinsmore) doesn’t stand a chance once she has taken his late wife’s place.
Megan Bancroft’s Snow White charms the audience from her first appearance and sings as well as acts very well. it is not a prince who awakens her once she has tasted the poisoned apple but Rupert (Alex Green), the bookish younger brother of Simon Pontin’s Lord Chamberlain.
The dwarves are human-sized rod puppets, a sort of EU/UK nationality mix, and very well manipulated. Comedy is safe in the hands of Stuart-Hicks and Superville; the former’s deceptively dainty even when working the audience and the latter is a theatre favourite, for very good reason. The mirror scene where Nurse and Muddles alternate as the new Queen’s reflexion is hilarious – and not just for the quick changes required of them.
Richard Reeday s the musical director, letting the pleasant if not memorable score make its own impact, often involving Charlie Morgan’s choreography. Those forest animals – field mice, squirrels and hares –which come to Snow White’s aid once she is left in the woods are particularly well handled. The associate puppetry director is Abigail Bing.
Five star rating.
Snow White and the Seven Dwarfs runs at the Mercury Theatre, Colchester until 14 January. Performance dates and times vary. Check with the theatre website www.mercurytheatre.co.uk for availability.