Tag Archives: Dougal Irvine

Teddy

reviewed at the Theatre Royal, Bury St Edmunds on 19 February

“The world is bigger than the Walworth Road”. In 2018 it’s all too easy to forget just how distant the horizon was for the young people of 1958. The sort of trips abroad which are a regular event for so many of school age weren’t even a pipe dream.

London was still pock-marked by the Blitz bombing, the old certainties had crumbled with it but work prospects for school-leavers were largely narrow ones. Single-parent families were another war by-product with fathers never returning from active service.

Tristan Bernays and Dougal Irvine’s musical Teddy takes us into that vanished world. One in which money (mainly in the form of a parental weekly dole-out of shillings and pence) was in short supply but the Teddy Boys and their girl-friends still made the most of it.

This Watermill Theatre musical directed by Eleanor Rhode is the latest in a succession of small-scale shows to go on tour. Central to the action is the eponymous Teddy (George Parker) who preens and postures in his second-hand frock-coat and the girl he takes up with.

She’s called Josie. Molly Chesworth shows us how much the screen glitter of a Hollywood lifestyle – luxurious Cadillacs, endless sunshine, beautiful and pristine beaches – becomes an obsession, leading both her and Teddy into dangerous territory.

The two play all the parts, including the louche bully boy who can’t work out how on earth Josie could possibly not fancy his attentions. Those early rock’n’roll sounds are provided by a four-person band at stage right and become characters in their own right.

Dylan Wood is the lead singer with musical director Harrison White, Freya Parks and Andrew Gallow. Tom Jackson-Greaves’s choreography is energetic and in period, and the designers Max Dorey (set), Christopher Nairne (lighting) and Holly Rose Henshaw (costumes) add to the atmosphere.

Four star rating.

Teddy runs at the Theatre Royal, Bury St Edmunds until 24 February with matinées on 21 and 24 February. It can also be seen at the New Wolsey Theatre, Ipswich between 19 and 24 March.

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Filed under Music Music theatre & opera, Reviews 2018

Laila

(reviewed at the New Wolsey Theatre, Ipswich on 27 April)

It is said that there are only five basic plots from which to construct a story. Young love thwarted by a combination of family, political and cultural pressures is surely one of these. In the West, we probably think of those star-crossed lovers Juliet and Romeo. In the East, there is the story of Laila and Qays.

Laila, the new musical from Rifco in association with the Palace Theatre, Watford and the Queen’s Theatre, Hornchurch has a fusion score by Sumeet Chopra, played under the direction of Benjamin Holder, lyrics by Dougal Irvine and a script by Pravesh Kumar. Choreography is by Cressida Carré, and is also a fusion of Indian classical and western modern steps and gestures.

The stry begins today, with a young British Asian girl Laila (Mona Goodwin) refusing her father(Ravin J Ganatra)’s injunction to marry the man he (but not she) has selected with due regard to that dangerously nebulous concept of honour. Then we step back several hundred years to a kingdom ruled by a man who has fought his way to his crown and now has a crown prince waiting impatiently for his turn.

Qays (Reece Babia), his father (Surrinder ‘Shin’Singh Parwana) and his cousin are the dispossessed previous ruling family; they are concerned that Qays’ passion for Laila will bring further destruction to them. But love will find a way – particularly young love seeing only black and white, and never the grey nuances so apparent to their elders.

The designer of the sparse set with its billowing drapes transforming from palace pillars to wind-scorched desert to ferocious flood is Libby Watson. There’s a shadow puppet sequence by Matthew Robins which is effective but needs a little more subtlety of manipulation (hands too visible) and atmospheric lighting designs by Philip Gladwell.

Goodwin, Bahia, Parwana and Ganatra are all effective in making their characters live and there’s a nice study of Laila’s maid by Sheena Patel. Sufi singer Asif Raza dominates some of the musical nubers; for my ears, the whole thing is somewhat over-miked, but that seems normal for musicals of all genres nowadays.

Laila runs at the New Wolsey Theatre, Watford until 30 April with a matinée on 30 April. It also plays at the Arts Theatre Cambridge (9-14 May) and the Queen’s Theatre, Hornchurch (17-21 May).

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Filed under Music & music theatre, Reviews 2016