Tag Archives: Daniel Goode

Great Expectations

reviewed at the Theatre Royal, Bury St Edmunds on 6 March

Plays and novels both tell us stories, though in different ways. The crucial thing for any adapter of a novel as a play is to be faithful to the sense of the source. S/he can use the novel’s dialogue to reinforce authenticity, but what to do with extended passages of description and lengthy recounting of events passed?

Ken Bentley’s version of Dickens’ Great Expectations for Tilted Wig in Sophie Boyce-Couzens production captures the atmosphere very well – with considerable aid from designers James Turner (set and costumes), and Richard Williamson (lighting). Ollie King’s music is appropriate and atmospheric.

Where adaptation and theatricality let the audience down are just those narrative passages; some seem interminable. The cast of eight, all with two exceptions playing several rôles, does its best to give them variety, but cannot help that overall feeling of sag.

Séan Aydon makes a credible Pip, giving us all the lad’s rough edges as he fumbles his way through to apparent fortune and maturity. Nichola McAuliffe’s Miss Haversham is a scintillation of white tatters, combining the pathos of the jilted woman’s dementia with an aura of sinister manipulation.

Two of the nicest people to whom Dickens and Bentley introduce us are blacksmith Joe Gargery and lawyer’s clerk Wemmick. Edward Ferrow does them proud. Both Eliza Collings’ Biddy and James Camp’s Herbert Pocket offer well-rounded portraits of simple goodness and honesty.

Daniel Goode’s Magwich is a properly frightening creation as is James Dinsmore’s Jaggers. Isla Carter doubles Molly, the murderess who Jaggers assists to cheat the gallows and Estella, that dangerous star flaring so brightly in both Pip’s and Miss Haversham’s colliding worlds.

Perhaps too many of us know Great Expectations too well; it has been dramatised and filmed many times. Dickens was persuaded to change the ending, potentially to satisfy his readers who would have originally read the novel in weekly installments. I’m not sure that these second thoughts were better ones; Bentley missed a trick here.

Four star rating.

Great Expectations runs at the Theatre Royal, Bury St edmunds until 10 March with matinées on 7 and 10 March. The national tour includes the Palace Theatre, Westcliff between 19 and 24 March.

 

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Filed under Plays, Reviews 2018

Cinderella

(reviewed at the Arts Theatre, Cambridge on 8 December 2015)

It my be one of the priciest Christmas shows on offer, but this year’s Cambridge Arts Theatre Cinderella gives you good value for your money. The script is by Al Morley and Matt Crosby and is directed by David Grindley with choreography by Kevan Allen, costume design by Sue Simmerling and musical direction by John Donovan.

The story follows the traditional path, with a strong pair of almost look-alike Principal Boys in the shape of Laura Barton’s Prince Charming and Jennifer Potts’ Dandini. Both have strong voices as well as playing with just the right source of masculine conviction; you can believe in their heir-to-the-throne and adopted-brother relationship.

Rosemary Ashe makes an engaging Fairy Godmother, a gold-glittering Edna Everage-spectacled fey on the brink of retirement, with a no-nonsense attitude to her magic and the operatically trained voice to go with it. Suzie Mathers is the sweet-voiced, pretty and gentle-natured heroine, though her kitchen-scene dismissal of the love declaration by Steven Butler’s Dandini suggests a streak of ruthlessness.

Her step-sisters are Jusin-Lee Jones (taking over from an indisposed Jonathan D Ellis) as Kim and Daniel Goode as Khloé. Jones is the tall, spiky one (with the longest legs in the business) while Goode plays the tubby would-be-beauty; both are thoroughly nasty, which is just as they should be. Butler, for my taste, never quite achieved the right degree of rapport with the audience which Buttons needs to have. Richard Earl is suitably harassed as Baron Hardup.

Both the adult dancers and the juvenile ones do justice to Allen’s choreography and look well in the colourful palette of Simmerling’s costumes. Cinderella goes to the ball in a shimmer of turquoise crinoline, riding in a coach drawn into the skies by a white winged Pegasus. The effect earned a well-deserved cheer. Magic, after all, is what a pantomime should give its audience – and this one succeeds.

Cinderella runs at the Arts Theatre, Cambridge until 17 |January.

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Filed under Pantomimes & seasonal shows, Reviews 2015