Tag Archives: Francesca Jaynes

Once

reviewed at the New Wolsey Theatre. Ipswich on 11 September

There are advantages to not being a film fan; one comes to the current stream of stage adaptations without preconceptions. So Once, in Edna Walsh’s version with the music and lyrics of Glen Hansard and Markéta Irglová, has to stand on its own merits.

Peter Rowe’s production at the New Wolsey Theatre is a shared one with Hornchurch’s Queen’s Theatre. Libby Watson, who often works at the Queen’s, has devised a setting which combines realism (Dublin pubs, work places and shared homes) with fantasy.

Another Queen’s regular, Mark Dymock, and projection designer Peter Hazelwood complement her setting. These characters are people partly trapped by the endless plodding of everyday existence – but who still have aspirations. And dreams.

The hero is simply called the Guy, as in Everyman. Daniel Healy makes him likeable, as he works in his father’s shop and struggles to make his way as a composer-performer with his guitar and help-hindrance from his mates.

When he encounters the Girl (Emma Lucia), a Czech national trying to balance life and responsibilities in both her own country and this new (to her) one, their attraction is mutual. She has a job in a music shop, and also composes.

So you think you know where this is all going? Wrong, very wrong. it’s a story in some way out of time, like a medieval morality play or a legend with even older, deep roots. That visual sense of fantasy in the designs is not there just to engage our eyes.

Francesca Jaynes is the choreographer, creating both Irish and Czech folk-dance inspired set pieces. Musical director Ben Goddard makes the most of the most effective numbers – the Girl’s own solos at the piano, the Dubliners’ a capella anthem, the women’s voices trio and what one might define a the Boy’s prize song.

The Girl is the quiet pivot for what happens – and might happen, later. Lucia gives her a luminous quality and a gentle stillness which is never mere inactivity. Rachel Dawson and Kate Robson-Stuart also make a lasting impression. Susannah van den Berg, Sean Kingsley and Samuel Martin also give good performances.

Four star rating.

Once continues at the New Wolsey Theatre, Ipswich until 22 September with matinées on 12, 15, 19 and 22 September. It transfers to the Queen’s Theatre, Hornchurch between 3 and 20 October with matinées on 4, 6, 11, 13 and 20 October.

 

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Filed under Music Music theatre & opera, Reviews 2018

Sweet Charity

(reviewed at the New Wolsey Theatre, Ipswich on 8 September)

Happy endings don’t always occur, even in fairy tales. At one level the musical Sweet Charity by Cy Coleman, Dorothy Fields, Neil Simon and Bob Fosse is a variation on the Cinderella myth. it is also a wry study of the way in which a woman can be her own worst enemy, something which Peter Rowe’s radical new production for the New Wolsey Theatre emphasises.

The Ipswich theatre is one of those which specialise in actor-musicians, as opposed to using a more conventional pit orchestra. Musical director Greg Last has some good instrumentalists in the acting-singing-dancing performers who keep to the sides of Libby Watson’s deceptively simply framing set when not occupying centre stage.

It is Katie Birtill in the title role of dance-hall hostess Charity Valentine who really dominates. She has the kookiness of the small-town girl who is hopelessly adrift both in New York and in her relationships with the various men she repeatedly views ‘from the off” as The One – only to be let down each time.

The first of these is Charlie, who steal her cash and lets her half-drown in the Central Park lake. Her encounter with film star Vittorio Vidal (Jeffrey Harmer) leaves her less bruised. Harmer has a very good voice as well as the right sort of flamboyant personality; his ballad number is deservedly applauded.

Just before the interval, Charity meets Oscar (James Haggie), an introverted youngish man with acute claustrophobia – just one of his multiple hang-ups. But he’s no Price Charming, not even a Frog Prince. it’s a tribute to Haggie’s performance that the character (as opposed to the performer) was roundly booed at the first night curtain calls.

Choreographer Francesca Jaynes has devised some good routines for Charity’s fellow hostesses – Katia Sartini, Sophie Byrne, Nicola Bryan, Giovanna Ryan, Elisa Boyd and Lindsay Goodhand – as they await their customers and then have to entice them to dance and the stylised movement for the various New Yorkers work very well.

Perhaps, though Rowe uses the space and cast cleverly throughout, the fault in the production lies in the show being tuneful enough but without real stick-in-the-memory show-stopper numbers, “Big spender” and “The rhythm of life” apart. It’s all properly slick with some nice visual touches and good performances, especially that of Birtill, but the only heart in which you can believe is that of Charity herself. And that’s pretty bruised by the end of the evening.

Sweet Charity runs at the New Wolsey Theatre, Ipswich until 26 September.

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Filed under Musicals, Reviews 2015