Tag Archives: Jamie Noar

Cinderella

(reviewed at the Queen’s Theatre, Hornchurch on 5 December)

 

This is probably the favourite pantomime story, which raises high empectations in its audiences. The magic trick is to blend the familiar, much-loved rags-to-riches story with enough variations to spice it up while never smothering its essence. Andrew Pollard’s script in Martin Berry’s production manages to achieve just that balance.

The Queen’s Theatre tradition of using actor-musicians comes into its own – Natasha Lewis’ Cinderella must be the only trombone-playing one  in this year’s national crop. Jonathan Charles’ Dandini is a wandering fiddle-player, taken on by Jamie Noar’s Prince Charming, desperately trying to disentangle himself from his father’s plans for his future.

No Baron Hardup in this version. Rather, we have his spiteful widow (Georgina Field) keeping her two chip-off-the-matriachal-block daughters Miley (Simon Pontin) and Kylie (Carl Patrick) very much under her sharp-nailed thumb. No wonder the household is reduced to a single servant, Buttons (Alex Tomkins), who only stays because of Cinderella.

Mark Walters has designed a deceptively sumptuous set and costumes in a vaguely late 18th century style. Joshua Good man is the hard-working musical director, joined in the pit by Al Twist and Sarah Workman, and the on-stage cast. Field has a commanding way with a saxaphone, even when Liz Marsh’s choeography keeps her feet fully employed.

That all-important wow! factor comes also from Etisyai Philip’s Fairy Godmother, who manipulates the whole story, including Cinderella’s swan-drawn carriage as she leaves for the ball. Sherry Coenen’s lighting adds to the magical impression. Highlights include a well-handled rejection scene for Buttons and Cinderella, to which both of them bring the right degree of sincerity.

Well-loved gag scenes also make their appearnace, including the endless stocking and false foot in the slipper trying-on episode, Cinderella being made totear up her coveted invitation to the ball (by her step-mother, rather than step-sisters here) and locking her in a chest (even less comfortable than the usual cellar) in the attempt to hide her from her questing prince.

Cinderella runs at the Queen’s Theatre, Hornchurch until 14 January. Check the theatre’s website (queens-theatre.co.uk) for performance times.

Leave a Comment

Filed under Pantomimes & other seasonal shows, Reviews 2016

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.

Leave a Comment

Filed under Music & music theatre, Reviews 2016