reviewed at the Jubilee Hall, Aldeburgh on 13 August
The Goodale Brothers’ PG Wodehouse confection based on the Jeeves and Wooster characters is an ideal choice for Suffolk Summer Theatres. It is a light-hearted whirl of seaside candyfloss; its audience has to do nothing more strenuous than enjoy its daftness.
Mark Sterling’s production has a clever set by Tory Cobb which emphasises the cartoonish characters and plot. Its folding screens keeps the action moving from various town and country houses to the shops and rural roads of 1928 England.
There are three actors of whom Rick Savery (Jeeves) and Morgan Thrift (fellow butler Seppings) take on the dozen other characters our dim-witted hero Bertie Wooster (Tom Girvin) encounters.
Girvin is the fall-guy in this tale of a cow-creamer, a thwarted love affair and the intervention of various forces of the law. He radiates just the right level of gormless good-nature.
If Savery’s succession of bullies – including one who would stand in for Giant Blunderbus in any production of Jack and the Beanstalk – is hilarious, they are topped by Thrift’s unflappable Jeeves, simpering Madeline and short-sighted Gussie.
The summer weather may have resumed its traditional mix of sunshine and showers but there are indoor treats on offer along the Suffolk coast.
Four star rating.
Perfect Nonsense runs at the Jubilee Hall, Aldeburgh until 18 August with early evening performances also on 16 and 18 July. It transfers to the Southwold Arts Centre between 20 August and 1 September with matinées on 21 and 28 August and additional early evening performances on 23, 25, 30 August and 1 September. There are no Friday performances n Southwold.
reviewed at the Frinton Summer Theatre on 7 August
How do you carry on a 21st century love affair? Romantic entanglements used to be fuelled by the exchange of letters. Nowadays it seems all to be an electronic business.
That’s the theme of Daniel Glattauer’s two e-epistolary novels Love Virtually and The Seventh Wave.They have been translated by Katherina Bielenberg and Jamie Bulloch and become an international hit.
Eileen Horne’s stage adaptation for two live actors, a variety of projections, many costume changes Neil Gordon) and the ubiquitous smartphones and laptops keeps the “will she? won’t he?” keeps the tension taut. This is the UK première.
Emma/Emmi has a devoted older husband Bernard and two stepchildren. Leo has one of those digital jobs which seem to have proliferated at the same time as technological wizardry. He as a sister and an on-off girlfriend.
It all begins when Emma (Annabel Wright) grows increasingly frustrated with her attempts to cancel a magazine subscription. Leo (Oliver Le Sueur) is the recipient of her mounting anger. Somehow this then becomes a more friendly exchange.
If you think you can see where all this is heading – think again. It’s a very European take on a story, for all the transposed London setting. Beth Colley’s designs work splendidly; there is a proper sense of distance even though the McGrigor Hall stage is a narrow one.
Wright is very good as Emma/Emmi, with her life unravelling online as well as on the ground. Le Sueur is a trifle too subdued, not to say inaudible, as Leo. Director Clive Brill has a Skype-style cameo as Bernard which emphasises that reality hurts.
Four and a half-star rating.
Love Virtually runs at the Frinton Summer Theatre until 11 August with a matinée on 11 August.
reviewed at the Theatre in the Forest, Wherstead on 3 August
Outdoor theatre attracts mixed-age audiences. That can prove problematic when the show in question is one of Shakespeare’s best-loved comedies. The Red Rose Chain has made a specialisation of small-cast visually updated versions; Joanna Carrick’s new production is the latest.
With two global conflict anniversaries hovering in all our backgrounds, this one (like Colchester’s 2016 production) has a Second World War setting. Don Pedro, Claudio and Benedick are all fighter pilots. Leonata is a Woman’s Auxiliary Force officer.
Her daughter Hero is a nurse and her niece Beatrice is a land-girl. Of course, the men of the town’s constabulary and all Dad’s Army clones. The set by Carrick, Jack Heydon, David Newborn and Rob Young shows a camouflaged tunnel entrance, a watch-tower and a Red Cross station. Kathryn Thorogood’s costumes allow for all the required quick changes.
All six actors play two parts. Fizz Waller doubles a mercurial Beatrice with a show-stealing Dogberry. Ricky Oakley’s urbane Benedick reverses into the uncouth Conrade. Haydon’s pliable Claudio becomes an over-the-top Margaret, given to strip-tease.
Oliver Cudbill is an ecclesiastical Don Pedro and pedantic constable Verges. Captive Don John, who sets one of the play’s plot themes running, is a combat-crippled eyesore; a good contrast in characterisations with authoritarian Leonata for Claire Lloyd. Joanna Sawyer gives as much spark as possible to the abused Hero.
“I didn’t write the words” mutters Oakley’s Benedick at one point. No, Shakespeare did – but certainly not all of them in Carrick’s staging. The slapstick, music and jitterbugging both ornament and distract from the drama. But what else can you expect when even the forest birds join in on cue?
Four star rating.
Much Ado About Nothing runs at the Theatre in the Forest, Jimmy’s Farm, Wherstead until 26 August. There are matinées on 4 and 11 August.
reviewed at the Mercury Theatre, Colchester on 2 August
It’s not surprising that Dick King-Smith’s book The Sheep-Pig has won hearts since 1983. The eponymous hero Babe is a heart-stealer, well personified in the realistic puppet ably manipulated by Jonathan Cobb in Katie Posner’s new production of the David Wood stage adaptation for the Mercury Theatre.
You may never have been within touching proximity to a sheep or a pig until it reaches your plate, but farm animals of all kinds have parading before us from earliest childhood, in picture books, bedtime stories and television animation.
Sheep-dog trials have become a television favourite. Is it the unpredictability – so much depends on animal as well as human behaviour? Or is it that they blend a unique combination of scenic location with hard-learnt skills?
Babe’s mentor on Mr and Mrs Hoggett (Gareth Clarke and Heather Phoenix)’s farm is sheep-dog Fly (Jessica Dyas). Dyas establishes a rapport with the young audience from her first entrance as she introduces the bewildered piglet to the other animals.
These include the supercilious cat (Rachel Hammond), the blowing-his-own-trumpet cockerel (Joseph Tweedale and the strutting turkey (James Peake). Not that country life is all sunshine and fodder. it also harbours both human and animal predators.
Among the victims is old ewe Ma (Ebony Feare). The picture-book settings and animal costumes by Sara Perks work well, as does Alexandra Stafford’s lighting; the catchy score is by Richard Reeday.
There are occasions when one feels that adult audience members are there as a sort of penance. This is one of those shows which appeals on all age levels, clever enough to hold grown-up attention while subtly draping the central philosophy of courtesy as well as skill with an almost hypnotic rhythm.
Five star rating.
Babe, the Sheep-Pig runs at the Mercury Theatre, Colchester until 26 August with daytime performances.