Tag Archives: Clive Francis

84 Charing Cross Road

reviewed at the Cambridge Arts Theatre on 26 June

1949 can seem like an alien time in 2015, a dingy lapse between wartime heroics and the Swinging Sixties. Yet that’s when the correspondence between New York-based struggling writer Helene Hanff and London bookshop Marks & Co began.

Hanff’s book detailing her correspondence, first with manager Frank Doel and later with other staff members which lasted until the shop closed 20 years later was published in 1970. There have been several stage, radio and film adaptations; this Cambridge Arts Theatre production uses the James Roose-Evans text and is directed by Richard Beecham.

There is also music composed and arranged by Rebecca Applin. That may pull you up short, if you come to the theatre expecting a straight-forward staging. Norman Coates’ set is conventional enough – floor to ceiling books on dark shelves with a large wireless in the foreground and Hanff’s cluttered office cum living-room to one side.

Music makes itself heard before a word is spoken. For the Londoners, this is traditional and comes from two violins, a cello, an accordion and a flute. Hanff is heralded by a jazzy saxophone. The passing of the seasons is indicated by carols and folk songs; the quasi-sombre ending is marked by the hymn “Abide with me”.

In between these interludes, the story flows as postal friendships develop and the characters find themselves caught up with each other’s lives, from Hanff’s fledgling television scripts (thanks to John Donne) through the austerities and food rationing of postwar Britain which prompt gift parcels in one direction and reciprocal gifts in return.

Leading the cast is Clive Francis as Doel, beautifully poised between business rectitude and an underlying sense of generosity Stefanie Powers is every inch the savvy, slightly abrasive New Yorker, a nice contrast with Samantha Sutherland’s gentle Cecily Farr, Doel’s assistant, who first begins to broaden the transatlantic correspondence.

Loren O’Dair contributes a well-contrasted pair of cameos as the mousey Megan Wells and US leading lady Maxine Stuart. Ultimately, the story keeps our attention through the two leading performances, and in this we are not let down. Chris Warren’s sound and Chris Davey’s lighting designs are subtle, indeed clever, but I’m not convinced that this is the definitive way to stage this script.

Four star rating.

84 Charing Cross Road runs at the Cambridge Arts Theatre until 30 June with matinées on 28 and 30 June as part of a national tour.

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Filed under Plays, Reviews 2018

Our Man in Havana
reviewed in Ipswich on 23 May

Clive Francis’ adaptation of Graham Greene’s novel Our Man in Havana is a delight, especially when performed by four actors of the West Country-based touring ensemble Creative Cow. This is ensemble playing at its slickest, with taut direction by Amanda Knott and a deceptively simple set by Nina Raines imaginatively lit by Derek Anderson.

As vacuum-cleaner salesman James Wormold (Charles Davies) sees his life in pre-Castro Cuba dissoving around him when his wife walks out leaving him with their affectionate but oh-so-demanding daughter Milly (Isla Carter) and business in stone-floored Havana far from flourishing, his friendship with emigré German doctor Hasselbacher (James Dinsmore) seems his only worthwhile adult relationship.

Enter Hawthorne, a man from Mi5 (Dinsmore), with a financial inducement in connexion with the Cold War then raging. How can Wormold resist? Of course he doesn’t, and the bonuses flow in as he invents first a whole raft of subsidiary agents and suggests some secret weapons-launch construction (these look remarkably similar to vacuum-cleaner parts…).

With Michael Onslow as Wormold’s sevant Lopez and the local police chief Segura, who fancies Milly) – all four actors except Davies play at least seven other roles as well as narrating – the confusion and misunderstandings build to a comedic climax which partly dissolves into genuine tragedy. Carter manages her doubling of Milly and Beatrice, sent from London to try to regulate the Havana situation superbly, but the whole cast is near faultless.

Four and a half-star rating.

Our Man in Havana plays at the New Wolsey Theatre, Ipswich until 27 May with matinées on 24 and 27 May. It can also be seen at the Theatre Royal, Bury St Edmuns between 29 June and 1 July.

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Filed under Music Music theatre & Opera, Reviews 2017

84 Charing Cross Road

(reviewed at the Arts Theatre, Cambridge on 5 September)

The antiquarian bookshop which provides the title for James Roose-Evans’ production of his own stage adptation is no more. The two-decade epistolary exchanges between New York client Helene Hanff and shopmanager Frank Doel also belongs to a vanished age, perhaps being more akin to those fictional letter eschanges which so many novels of the 18th and early 19th century used as their format.

It’s a gentle, mannerly adaptation, given a matching production with an excellent flexible set by Norman Coates, most of which (very properly) being the bookshop with its mountains of shelves; Hanff’s cramped bed-sitters take up only a fraction of the space. The outstanding performance, beautifully nuanced and thoroughly three-dimensional, is that of Clive Francis as Doel.

Stefanie Powers’ Hanff gives us the outline of the outsider scrambling a living as script-reader and -writer but somehow the necessary acerbic rasp is missing. Throughout, for me, her performance is too quietly spoken. We laugh at the succession of financial disasters (dentistry and apartment demolition among them) which impede Haff’s chance of visiting London, but somehow it’s at the suggestion of these, not a sense of their reality.

There are strong performances by the other cast members, notably by Rosie Jones as Cecily, who starts her own correspondence with Hanff, and Irene Rambota as Hanff’s actress friend Maxine, who visits the shop while in a play transferred from Brodway to London (with muted box-office success). Hayward B Morse plays Mr Martin, one of those shop fixtures only really appreciated when lost.

This production was premiered at the Salisbury Playhouse last year and marks a move towards reviving in-house produced drama for the Cambridge Arts Theatre. Lee Dean is the co-producer.

84 Charing Cross Road runs at the Arts Theatre, Cambridge until 17 September. There are matinées on 8, 10, 15 and 17 September.

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Filed under Plays, Reviews 2016