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.
(reviewed at the Palace Theatre, Watford on 8 December)
This year’s seasonal production boasts another of Andrew Pollard’s intelligently ear-engaging scripts; this time he and director Eleanor Rhode have tweaked the familiar story to produce what one might describe as pared-down panto. The format works very well, with a predominantly schools audience at the performance which I saw being thoroughly engrossed in the story’s nuances.
We’re in fin de siècle Paris. Spice merchant M Marzipan (Neil Stewart) needs to replenish his stock of sugar urgently, but he lacks the cash to do so until his ship (literally) comes home. In the meantime his younger daughter Soufflé (Jill McAusland) is spending money at luxury boutiques regardless, while his sister Amorette (Arabella Rodrigo) has her nose in a book most of the time.
Also in need of sugar is sweet-vendor Betty Bonbon (Terence Frisch) – you are going to learn quite a lot of French when she’s on stage. Frisch is an experienced Dame, one who knows just how to milk an audience, whatever its age group. Stewart plays well off him, notably in the second-act slop scene – well, you try making a sugarless cake! The point is that the majority of the characters come over as people, not just types.
Manipulating the action is the nasty Spite (Hollie Cassar), a witch of the first water who can put over a nifty tap-dance as well as her songs. Trying to counter her is Charlie Cupid (Dale Mathurin), a demi-god who would rather be an ordinary mortal. As I said, there are novel twists in this version of the story. Cursed by Spite, it’s no wonder that Robbie Smith’s Beast has grown morose and vengeful.
Cleo Petitt’s sets and costumes work well, with slightly distorted angles to the Beast/Prince’s castle and a clever black-theatre sequence when Marzipan and Bonbon find themselves at the castle, thanks to Cupid. This tytpe of staging proves that you don’t necessarily need a song-and-dance ensemble or a juvenile troupe to fill the stage. After all, theatre is magic – and when more so than at Christmas?
Beauty and the Beast runs at the Palace Theatre, Watford until 312 January. Check the theatre website (watfordpalacetheatre.co.uk) for performance times.
(reviewed at the Theatre Royal, Norwich on 29 February)
All trades have their own peculiar vocabulary. Richard Bean’s Toast, set in a Humberside bread-making factory in the 1970s, is no exception. Bean has based his wry comedy on his own early work experience. This new tour is directed by Eleanor Rhode
James Turner’s set presents us with the rest room where the under-paid men doing boring, repetitive jobs spin out their breaks as far as management allows (and quite a bit further). It’s a weekend night shift, so the bosses are elsewhere; Colin (Will Barton) who somehow manages to combine the oles of union shop steward and stand-in for director Mr Beckett is nominally in charge.
The workers are a motley bunch. There’s Cecil (Simon Greenall) whose physical and verbal banter with his colleagues has a barbed edge and Dezzie (Kieran Knowles) who knows he’s in a dead-end but also that there’s no comfortable way ut of it. Above all there’s old timer Walter (Matthew Kelly), known to the other as Nellie and definitely living on borrowed time.
A student appears – is he just a temporary pair of hands who needs to be shown what to do or is he on a fact-finding mission? Or is he ondeed a student at all? John Wark gives a nicely nuanced study of the fish out of too many different waters. But the play belongs to Kelly, in his detailed characterisation of an old man who knows that he’s a failure yet clings to the vaguest shred of hope that he can still be useful.
Sound designer Max Pappenheim has created a ground-bass of the off-stage ovens, the sound of instrusive noise to which the ear accustoms itself so that the audience, just as the bakers, only notice it when things go drastically wrong. Which they inevitably do. Twice.
Toast runs at the Theatre Royal, Norwich until 5 March with matinées on 2 and 5 March. It also plays at the Arts Theatre, Cambridge between 28 March and 2 April.