Tag Archives: Douglas Rintoul

Priscilla, Queen of the Desert

reviewed at the Queen’s Theatre, Hornchurch on 1 May

Film to stage show is a trickier combination than it sometimes appears. This is particularly true of musicals. One path to success is to stylise the settings and fully integrate the orchestral accompaniment with the action.

This is what director Douglas Rintoul and designer Joanna Scotcher have done. There’s a false proscenium suggesting corrugated tin, minimal furniture and costumes which rely heavily on black, white and red – not to mention shoals of glitter and gaudy fluff for the drag acts.

Central to the story is Bernadette (Mark Inscoe), the transsexual we meet at her partner’s funeral. Inscoe’s performance has a control that never masks the inner person; this is someone who has encountered nearly everything that life can hurl but keeps a central core of integrity.

Balancing this is Tom Giles’ Tick, the troupe leader who takes them ona cross-country trek to Alice Springs. That’s because his wife Marion (Clara Darcy) wants him to meet his young son Benji (Frankie Day) – oh yes! there is also the small matter of a gap in her casino’s entertainment programme.

The third troupe member is Adam (stage name Felicia), played by Daniel Bailey. he’s the ultimate in camp, one of nature’s stirrers who is bound to find himself in trouble – as he does soon enough in the outback. Bailey’s is one of those over-the-top bravura performances that leave you in two minds – applause wildly, or ring the character’s mischievous little neck.

Musical director Adam Gerber is not evenly served by sound designer Adam McCready; the balance on the opening night was very uneven. Michael Cuckson as Bob, the mechanic who manages to get the tour bus Priscilla back on the road (or as much of a road as there is) and stays along for the ride is an excellent portrait of a simple man with complex feelings.

Four star rating.

Priscilla, Queen of the Desert continues as the Queen’s Theatre, Hornchurch until 26 May with matinées on 3, 5, 10, 12, 17, 19, 24 and 26 May.

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Filed under Music Music theatre & opera, Reviews 2018

Rope

reviewed at the Queen’s Theatre, Hornchurch on 17 February

Pride goes before a fall. Arrogance can lead to the long drop. This new production by Douglas Rintoul of Patrick Hamilton’s classic suspense drama Rope makes that very clear.

Mark Dymock’s lighting combines with the sense right from the opening sequence of the events onstage being played out in real-time combine to create an unnerving atmosphere. There are laughs generated by witty, almost akin to Wilde, dialogue as well as by some of the characterisations.

But we are never left in doubt that Bandon’s charm is precariously draped over a ruthless, immoral personality. George Kemp balances both aspects impeccably. His adversary is war-wounded Rupert Cadell, a man  left with a limp and a combat-induced sense of right and wrong.

Sam Jenkins-Shaw makes the man who is in many ways the author’s mouthpiece into something of an early 20th century equivalent of one of the 17th century’s Civil War Ironsides. He brings out that Cromwellian sense of justice as well as his impatience with the Bright Young Things living in and for the present.

They are personified in Fred Lancaster’s Raglan and Phoebe Sparrow’s Leila Arden. Lancaster brings out the innate decency of this apparently lightweight socialite while Sparrow’s portrait of a flapper also lets us see he good manners and helpfulness under the posturing.

Brandon’s weak link is his partner in crime. James Sutton’s Granillo is an excellent study in a weak man growing ever more desperate as the enormity of what he has been made to do increasingly weighs him down. There are also three well-contrasted cameo performances.

These come from Cara Chase as Lady Kentley, still ignorant mother of the victim, Nico Pimparé as the servant Sabot – his meticulous laying out of the supper is a joy to watch – and Janet Amsden as Mrs Debenham, Lady Kentley’s monosyllabic poor relation.

insidious throughout is Yvonne Gilbert’s soundscape with the muted telephone bell, the crackly wireless searched for dance music and the weather outside Brandon’s bachelor flat. Ruari Murchison has furnished this cleverly, from the up-to-date Art Deco sideboard and reproduction Renaissance chest to the Victorian chaise longue and chairs.

Four and a half-star rating.

Rope continues at the Queen’s Theatre, Hornchurch until 3 March with matinées on 22, 24 February, 1 and 3 March. The co-production transfers to the New Wolsey Theatre, Ipswich from 7 to 17 March.

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Filed under Plays, Reviews 2018

The Crucible
reviewed in Hornchurch on 20 February

What is arguably Arthur Miller’s best play – and certainly it is among his most popular – is a layered affair. Ostensibly a realistic drama about the notorious 1692 witch trials in Salem, it is a searing indictment of the 1950s McCarthy-led witch-hunt for potential Communist sympathises and, by extension, any similar houding under the guise of defence of a national interest.

Because it is now judged to be a lassic, productions veer from the straightforwardly realistic to the copletely deconstructed. Douglas Rintoul, abetted by his designer Anouk Schiltz, lighting designer Chris Davy and sound designer Adrienne Quartly, goes in for a variation of the Berliner Ensemble’s alienation effect. The setting is stark, the costumes are dust-bowl drab, the soundscape is almost cinematographic and we are never allowed to forget that we are watching actors on a stage set.

They can be seen preparing for their entrnces and, once off the scene, sitting at the sides waiting for their next cue. It’s all effective enough, but there’s a fine play with interesting dialogue and characters in wheom one can believe struggling to over-ride this staging. It’s not helped by the breakneck speed at which much of the early dialogue is taken and is not always completely audible.

The performances ar good, with Eoin Slattery making John Proctor into a fallible husband, well aware that his sexual lapse with Lucy Keirl’s flame-haired Abigail may well wreck not just his marriage with Elizabeth (Victoria Yeates) but the whole balance of his rual existence. Yeates suggests that John’s betrayal still rankles deep inside Elizabeth; not only does she also have the same red hair as Abigail, but perhaps the two women are more alike than either would care to acknowledge.

Augustina Seymour is a gentle Rebecca Nurse, albeit sporting the worst-fitting wig I’ve seen for a long time, and a suitably pliable Mary Waren. Charlie Condou suggests that the well-meaning Reverend Hale is never going to be a match for Cornelius Clarke’s ferocious Reverend Paris, let alone Jonathan Tafler’s Judge Danforth; both granite pillars of the overlapping establishments. David Delve, as Giles Corey – a man who prefers to beat out his own path – also offers a well-rounded characterisation.

If you’ve seen the play before, then you can very likely extricate its heart from the production. I am a good deal less sure whether someone unfamiliar with the text will succeed. Yes, witch-hunts of one sort or anoher are an unpalatable fact of life as much now as in the historic past and, regrettably, in the future. But – Miller’s message is surely one of hope; that good will eventaully triumph over evil. Rintoul, SellaDoor Productions and Les Théàtres de la Ville de Luxembourg suggest otherwise.

Three and a half-star rating.

The Crucible continues at the Queen’s Theatre Hornchurch until 11 March with matinées on 23 February, 2, 9 and 11 March. The national and international tour continues to 18 June and includes the Mercury Theatre, Colchester 29 May-3 June.

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Filed under Plays, Reviews 2017

Made in Dagenham

(reviewed at the Queen’s Theatre, Hornchurch on 30 August)

This new joint production for the Queen’s Theatre, Hornchurch and the New Wolsey Theatre, Ipswich is based on the 2014 musical which in turn was based on the 2010 film. Making stage shows out of cinema favourites is rapidly becoming an industry in its own right, somewhat reversing the older trend to film successful Broadway and West End productions.

It’s an apposite theme for Hornchurch, not too far down the road from Dagenham where the women sewing machinists went on strike in 1968 for equal pay with their male colleagues (their jobs had just been downgraded) and better working conditions. The first night audience picked up the local references with glee; it will be interesting to dicover whether or not the same reactions will apply in Ipswich.

Central to Richard Bean’s book is Rita, a multi-tasking wife, mother and factory worker. Daniella Bowen hits her off perfectly; you warm to the characer as she transforms from being just one of the girls working at a boring job to help the family finances to a woman with a mind (and a voice) of her own. Richard Thomas’ lyrics are witty; David Arnold’s score comes over as a bit relentlessly strident – but Bowen copes admirably.

Alex Tomkins is Eddie, her husband who is really much more at ease joshing with his work mates than being domestically considerate. He too matures as the story progresses, but not to catch up with his wife. The large cast provide amusing sketches, caricatures and cameos of the Ford hierachy, the union bosses at local and national level and the politicians who so reluctantly have to become involved.

These include Claire Machin’s no-nonsense Barbara Castle, Graham Kent’s pipe-chewing, raincoated Harold Wilson, Angela Bain’s loud-mouth machinist (every other word an expletive), Loren O’Dair as the intellectual wife – who rebels against being a mere decoration – of the personnel manager (Jamie Noar) and Jeffrey Harmer’s show-stopping Mr Tooley, the US boss flown in to get things moving his way, a sort of Donald Trump avant le lecture.

In the late 60s and mid-70s, agit-prop theatre seemd to dominate the fringe, both in London and in other conurbations. Douglas Rintou’s production has strong elements of this, reinforced by Hayley Grindle’s bleak set which, with its minimal use of furniture, keeps the action fast-moving. Many of the cast are also instrumentalists, well co-ordinated by musical director Ben Goddard.

Made in Dagenham runs at the Queen’s Theatre, Hornchurch until 17 September with matinées on 1, 8, 10 and 15 September. It then transfers to the New Wolsey Theatre, Ipswich between 21 September and 15 October with matinées on 22, 24 Septeber, 1, 5, 8, 1 and 15 October.

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Filed under Music & music theatre, Reviews 2016

Much Ado About Nothing

(reviewed at the Queen’s Theatre, Hornchurch on 7 March)

Expect a lot of new Shakespeare productions this year – it’s his quatercentenary. Hornchurch under its new artistic director Douglas Rintoul has been quick of the mark with what is my personal favourite of Shakespeare’s comedies – Much Ado About Nothing.

Rintoul and his designer Jean Chan have kept the Sicilian setting but opted for the end of World War II period. There are also some gender-shifts in the casting; Leonato (Mark Jax)’s broher Antonio is now his widowed sister Ursula (Eliza Hunt) and Pamela Burgess doubles Dogberry and Margaret.

What stands out in this interpretation is the characterisation of the two main characters. Thomas Padden’s Benedick and Hattie Ladbury are both outsiders in their respective milieux. One feels that he has developed his blistering wit as a fitting-in device with his fellow officers. She is a land-girl type, preferring slacks to skirts, and perhaps also concerned, as a poor relation, to prove her usefulness to her uncle and aunt.

Both catch the audience’s attention and affections from their first exchanges; we have all of us known the type and understand the vulnerability under the carapace. James Siggins’ Claudio suggests that it is Hero (Amber James)’s fortune as her father’s heir which initially attracts him. Both Liam Bergin’s Don John (all fascist black and bitter with it) and Sam Pay’s rough-hewn Borachio are excellent portraits, and there’s a good sketch of the Friar by Jamie Bradley.

But the play stands or falls by its Beatrice and Benedick. Ladbury and Padden wear these personalities with complete comfort and naturalism. I was waiting for the nervous laugh which so often follows her “Kill Claudio” and his immediate reaction “Not for the wide world”. It doesn’t happen here; just a gasp of horror has the injunction and rebuttal sink in.

Much Ado About Nothing runs at the Queen’s Theatre, Hornchurch until 26 March with matinées on 10 and 19 March.

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Filed under Plays, Reviews 2016