(reviewed at the Theatre Royal, Norwich on 10 October)
The front rows of the audience for this touring production seem the province of a flight of chittering chattering young women, much like the ones who spill out onto the stage in the play itself after a performance by The Chippendales. Simon Beaufoy’s script is based on the 1997 film about a group of steel workers made redundant by their factory’s closure.
Star of the show is Robert Jones’ set, showing the vandalised factory interior with its broken window panes, which transmutes seamlessly into all the other locations. The core of the drama is the relationship between Gaz (Gary Lucy), his estranged wife Mandy (Charlotte Power) and their son Nathan (played very well on the opening night by Reiss Ward). Parallel to their story is that of former foreman Gerald (Andrew Dunn), who leaves for his non-existent work daily, though not fooling wife Jean (Fiona Skinner) for long.
You can believe in both these couples, though Gaz’s former colleagues come over much more as types than people. The Job Centre and Job Club scenes work well, as does Gerald’s thwarted interview for a new job, spoiled by his former colleagues’ impromptu Punch and Judy show – which they think hilarious but which in retrospect is just plain thoughtless, if not downright cruel.
Those occupants of the front rows do get their money’s worth in the final strip-tease routine. Choreograhpyis by Ian West and lighting (very important for this show) by Tim Lutkin. The director is Jack Ryder.
The Full Monty runs at the Theatre Royal, Norwich ntil 15 October with matinées on 12 and 15 October.
(reviewed at the Queen’s Theatre, Hornchurch on 26 October)
What sends shivers down the spine where tales of the supernatural are concerned is often less the visualised than the imagined. We all cast our demons from different moulds. Nell Leyshon’s stage adaptation of Daphne du Maurier’s short story Don’t Look Now is given a production by Simon Jessop which knows when to make evil concrete – as little as possible.
It is the Venetian setting designed by Norman Coates with the visual effects projected onto its bridges, water and shuttered windows by Dan Crews and the trickling soundscape devised by Andy Smart which create the atmosphere. We begin by an open grave before which grief-striken mother Laura (Charlotte Powell) stands motionless. Hymns and part of the Requiem Mass are heard while we watch the image of Laura and John’s young daughter Christine drown.
John (Tom Cornish) whisks Laura away to Venice, where they spent their honeymoon. He’s prepared to move on – after all their son John is alive, well and safe at his boarding school. As one cannot help but empaphise with Laura, to whom Powell gives sincerity in her grief and inevitable feelings of guilt (“why didn’t I…?), Cornish balances this by showing John less as unfeeling but more as something of a pragmatist.
The hotel bedroom scene where his desire to make love with his wife at first meets resistance that (perhaps) melts into acceptance, is cleverly played on two levels with the live actors and their projected images. The mutual ground which constitutes terra firma for this husband and wife is quietly crumbling. Their encounters with two strange, identically dressed elderly women (Gillian Cally as the sister with explanations, Tina Gray as her blind mystic sibling) display brutally the gulf opening for Laura and John.
You probably know what happens next. Onlookers and participants in their own parallel civic drama are the police chief (Stuart Organ) hunting a serial killer, the hotel clerk (Callum Hughes) and the restaurant proprietor (Sam Pay). A mysterious beak-masked sacristan – a commedia dell’arte character or a plague doctor? – and a diminutive red-cloaked figure (Karen Anderson) haunt this winter Venice.
Don’t Look Now runs at the Quen’s Theatre, Hornchurch until14 November.