Tag Archives: Michael Shaw

Funny Money

reviewed at the Southwold Arts Centre on 30 July

We’ve probably all done it at some time, haven’t we?. Picked up someone else’s coat, umbrella or bag in mistake for one’s own. Much farce is rooted in some such trivial occurrence going horrendously wrong.

Ray Cooney’s classic Funny Money, first staged in 1994, takes this situation to its natural, thoroughly illogical conclusion. Henry Perkins (Darrell Brockis) arrives home for his birthday dinner with a briefcase, outwardly the same as the one he went to the office with that morning.

Only it’s not.

This one doesn’t contain a half-eaten sandwich and left-over paperwork. it has over a million pounds in used notes. Wife Jean (Harriett Hare) is bemused. Best friends Betty (Claire Jeater) and Vic Johnson (Michael Shaw) are bemused.

Add two very different detectives to the mix (Charlotte Peak as Slater and Lee Hunter as Davenport) – not to mention a taxi-cab driver (Clive Flint) and a much-compressed passer-by (Richard Blaine) – and misunderstandings whirl ever faster.

Andy Powrie’s production keeps the pace frenetic but with split-second timing where it matters (in farce timing is the key to success). Brockis has a superbly deadpan semi-gormless expression as events spiral completely out of Henry’s control.

Harassed beyond her comprehension, it’s no wonder that Hare’s Jean heads for the gin-bottle. Shaw and Jeater act as perfect foils as Peak’s upright policewoman (who needs a body to be identified) contrasts with Hunter’s easily-corrupted officer.

Flint has fun with Bill, popping in at regular intervals to remark that the fare-meter is running overtime and wondering just who (and how many) are going to Heathrow for the Barcelona flight (or will it be Adelaide?).

Four and a half-star rating.

Funny Money runs at the Southwold Arts Centre until 18 August. There are no Friday or Sunday performances but matinées on 31 July, 7 and 14 August and early evening performances on 2, 4, 9, 11. 16 and 18 July. It transfers to the Jubilee Hall, Aldeburgh between 21 August and 1 September. There are early evening performances on 23, 25, 30 August and 1 September.

Leave a Comment

Filed under Plays, Reviews 2018

Body Language

reviewed at the Southwold Arts Centre on 11 July

Modern surgery is a miracle of science. But science can prove fallible and miracles display a flip side. Ayckbourn’s 1990 satirical comedy is set in one of those well-appointed and attractively-staffed clinics in the countryside which cater for the physical problems of the wealthy and famous.

The newest patient is model Angie Dell. Her money-eyed manager Ronnie Weston can’t wait for her to resume her lucrative career. Visiting the clinic is controversial East European surgeon Hravic Zyergefoovc with his prefered assistant Freya. The clinic’s director, and a former student of Hravic, is Benjamin Cooper.

Where the famous go, these days there follows the media. Radio journalist Jo Knapton wants a couple of interviews; not-quite-successful photographer Derek Short is after that killer glamour shot which should make both his reputation and his fortune. Fading pop star Mal Bennet wants his now-estranged Angie back.

That’s just the first scene. By the second and Act Two, Hravic has performed his miracle operation – with just one unfortunate consequence. Ron Aldridge’s direction keeps the action flowing as briskly as any scalpel and Tory Cobb’s two-level set allows that action free play.

The cast go to it with a will. Clive Flint has a field day with Hravic as does Richard Blaine with Mal. Neither Ronnie nor Derek are particularly nice characters, as Darrell Brockis and Lee Hunter make plain. Claire Jeater pulls out all the stops as Freya while Michael Shaw is suitably  suave as Benjamin.

But the centre of it all is the relationship between Angie and Jo. Charlotte Peak’s Angie has just the right combination of vulnerability and determination for someone faced with a flimsy and brief career which is basically run by other people.

As Jo, Harriett Hare radiates firstly the slightly bored attitude of someone dispatched on yet another routine assignment and later as a woman confronting very personal demons and daemons. Yes, it’s hilariously funny in parts. But it’s also something thought-provoking and slightly scary.

Four star rating.

Body Language runs at the Southwold Arts Centre until 21 July with matinées on 14, 17, 19 and 21 July (there is no performance on 20 July). It transfers to the Jubilee Hall, Aldeburgh for the week 24-28 July.

Leave a Comment

Filed under Plays, Reviews 2018

The Man Upstairs

reviewed at the Jubilee Hall, Aldeburgh on 26 August

A Patrick Hamilton psychological thriller is always good value; the twists and turns of the plot – given good direction and acting – make it something more than just a couple of hours’ theatrical entertainment. The Man Upstairs doesn’t disappoint.

It’s the final new production in the 2017 Suffolk Summer Theatres season and is directed by Phil Clark who balances the interleaved tension and comedic moments well. Tori Cobb’s set evokes the 1954 setting admirably and Miri Birch’s costumes are properly in period.

Quiet, reclusive bachelor George Longford (James Morley) plans an evening with his beloved books as his sole company. His flat is part of a house owned by Sir Charles Waterbury (Michael Shaw) who has rigged up an ingenious communication system between their two living spaces.

That quiet evening is interrupted dramatically. First on the scene is Darrell Brockis as Cyrus Armstrong, a gimlet-eyed ex-commando on the warpath in connexion with his sister’s virtue (or lack of it). Then his mother (Barbara Horne) intervenes, then Cyrus’ brother Henry and finally the wronged maiden Brenda (Naomi Evans).

And that title? it’s a word-play of course, with Sir Charles as one of its facets. Both Morley and Horne are excellent, playing off each other during their long exchanges while we in the audience concentrate on evaluating their characters. Brockis does tend to dominate, but villains always have the best lines…

Four star rating.

The Man Upstairs runs at the Southwold Arts Centre until 9 September with matinées on 31 August, 5 and 9 September.

 

Leave a Comment

Filed under Plays, Reviews 2017

Tom, Dick and Harry

reviewed at the Southwold Arts Centre on 1 August

Twelve years ago, attitudes were – if not more generous – less chauvinistically entrenched than today. Tom, Dick and Harry, co-written by master farceur Ray Cooney and his son Michael, has the attitudes to migration from conflicted European and Mediterranean countries, adoption and to the disposal of body-parts after research of that time, not of ours.

Director David Janson has wisely kept the farce to the period of its original production. The situation set up at the beginning is simple. Linda (Rosanna Miles) and Tom (Darrell Brockis) are expecting a visit from an adoption agency which will determine that their home will be a suitable environment and that they will be responsible parents.

Tom’s basic problem is dual-faceted. He and Linda are short of the cash needed to buy their rented house outright and he has one of hs layabout brothers Dick (Rikki Lawton) “renting” the top of the house. The third sibling Harry (Bob Dobson) just about holds down a job as a porter at a teaching hospital while inventing pie-in-the-sky schemes for getting rich.

Having borrowed Dick’s van for a cross-channel “booze cruise”, Dick has returned not just with contraband amounts of brandy and cigarettes but also a brace of stowaway Kosovan refugees – Katerina (Melissa Clements) and her grandfather Andreas (James Morley). All of whom, together with some purloined human remains, are littering up the house.

Mrs Potter (Claire Jeater) from the adoption agency is due any minute now. You can guess the rest, even up to the intervention of the local PC (Michael Shaw) and the intrusion of the people-smuggling capo Boris (Richard Blaine). It’s all fast and furious with the brotherly trio earning applause when miming attempts to communicate with the non-English speaking Kosovans.

Tory Cobb has kept the setting simple, with the all-important doors – you can’t have a farce without them and they keep stage management busy – and a flight of stairs behind a simple(?) sofa and armchair. Jeater has a nice line in pursed-lip affrontedness and Morley thoroughly revels in Andreas’ trumpet-playing and weakness for the bottle. But the evening belongs to Tom, Dick and Harry.

Four star rating.

Tom, Dick and Harry runs at the Southwold Arts Centre until 12 August with matinées on 3, 5, 10 and 12 August. It transfers to the Jubilee Hall, Aldeburgh between 14 and 19 August with matinées on 17 and 19 August.

Leave a Comment

Filed under Plays, Reviews 2017

The Old Country

(reviewed at the Jubilee Hall, Aldeburgh on 23 August)

Like Shakespeare, Alan Bennett has written several of what might be defined as “problem plays”. In Bennett’s case, one of the most intriguing of these is The Old Country, which I first saw in 1977, when the actual events and characters here depicted through fictional characters, were more of immediate concern that they seem in 2016.

We’re on the verandah of a small house in the depths of the country, just the sort of place to which you can imagine any senior Civil Servant wishing to retire. Hilary (James Morley) and his wife Bron (Barbara Horne) are expecting a visit from her sister Veronica (Imogen Slaughter) and her diplomat husband Duff (Michael Shaw); they haven’t seen the couple since Duff achieved his knighthood.

Hilary and Bron do have neighbours – Olga (Melissa Clements), who is somewhat mixed-up to put it at its most simple, and her husband Eric (Bob Dobson), on the face of it just a happy-go-lucky sort of chap. But where exactly is this place in the country? and why is it, its occupants and their visitors under such surveeliance?

Bennett uses the gradual relevations of both personal and national aspects to the different characters to allow for some complex discussion about motivations, treachery and patriotism, pasts to be revealed and those which so desperately need to be concealed. People, Bennett seems to insist, have flexible loyalties, fluid as changes in international situations and issues.

What Hilary wants is, in spite of the speeches which Morley delivers with great conviction, as nebulous as any other artificial construct. Shaw and Dobson make much of their revelatory encounter in the second act while Horne gives a rounded portrait of a wife who sticks by her man, but isn’t afriad to point out where he falls short of her deserts.

Veronica is a slightly spiky personality, and no-one does stylish spikiness more accurately than Slaughter. Olga is in many ways the most difficult of the characters to pin down; her past not simply permeates what and who she is now but underlies Hilary’s shockingly crude summing-up – one of those moments in the drama when you realise that sympathy can perhaps be wrongly placed. Clements epitomises the small fry as victim.

The Old Country runs at the Jubilee Hall, Aldeburgh until 27 August and transfers to Southwold Summer Theatre between 29 August and 10 September.

Leave a Comment

Filed under Plays, Reviews 2016

Cash on Delivery

(reviewed at the Southwold Summer Theatre on 1 August)

It may have been premièred 20 years ago, but a lot of Michael Cooney’s farce Cash on Delivery slides easily enough into 2016 attitudes. The central character is Eric Swan (Darrell Brockis), who is actually unemployed but desperate to keep this from his working wife Linda (Claire Jeater). She does have concerns about her husband, but they’re not financial ones.

The Swans have a lodger, layabout non-earning Norman (Bob Dobson), who has somehow managed to acquire a fiancée Brenda (Melissa Clements); they plan to get married at the weekend. There’s also Uncle George (James Morley), who is neck-deep in dodgy deals – not to mention Eric’s pyramid of social benefit fraud schemes, which is about to topple over.

The catalyst for all this is DWP inspector Mr Jenkins (Richard Bates), a man who does things by the book. In his case, the book is dictated by the formidable Ms Cowper (Erin Geraghty), not a boss to tangle with. Eric having claimed that one of his multitude of claimant persona has died, this has also brought bereavement counsellor Sally Chessington (Imogen Slaughter) to the house.

Slaughter gives a delicious portrayal of just the sort of slithery sympathy-oozing apparatchik no-one in real grief would want within a hundred miles. Brockis builds up the tension and the comedy skilfully as Eric’s complex of fraud nears collapse, matched by Dobson’s wide-eyed attempts to disentangle himself which simply result in him being drawn ever deeper into the proliferating deceptions.

Then there’s unctuous undertaker Mr Forbright (Paul Hegarty) and bemused psychologist Dr Chapman (Michael Shaw). The main furnishings of 344 Chilton Road, Mile End in Andy Powrie’s production designed by Maurice Rubens are a man-sized chest (almost an actor in its own right) and a number of doors to be slammed, locked, flung wide open at the most inopportune moments.

Cash on Delivery runs at the Southwold Summer Theatre until 13 August and transfers to the Jubilee Hall, Aldeburgh between 16 and 20 August.

Leave a Comment

Filed under Plays, Reviews 2016

Don’t Dress for Dinner

(reviewed at Southwold Summer Theatre on 6 July)

The Robin Hawdon adaptation of the modern French farce by Marc Camoletti proved to be a popular start to this year’s season of productions by Suffolk Summer Theatres. A last-minute substitution in the key role of Bernard due to illness aaw Darrell Brockis performing script-in-hand but still making the part his own.

Director Ron Aldridge and the season’s designer Maurice Rubens provide the necessary number of doors required by this fast-moving genre. Miri Birch’s costumes are clever, with a degree of satiny slink for Claire Jeater as Bernard’s wife Jacqueline (as set on an extra-marital affair as her husband) and a witty maid-to-mistress outfit for Imogen Slaughter as cook extraordinaire Suzette.

Slaughter provides one of the funniest characterisations of the evening, provoking a well-deserved exit round of applause. Michael Shaw bumbles engagingly as Robert, Bernard’s bachelor friend who arrives for a country-house weekend with possibilities – and finds himself overwhelmed by them.

The two men also sport an interesting collection of shirts and nightwear as three women on the warpath (poor Melissa Clements as Suzanne is something of a patsy in all this) find new uses for soda siphons and velouté sauce. I suspect that some momentary sags in the frenetic goings-on will be ironed out during the course of the run. As it stands, Brockis deserves a curtain-call all to himself.

Don’t Dress for Dinner runs at the Southwold Summer Theatre until 16 July and transfers to the Jubilee Hall, Aldeburgh between 21 and 30 July.

Leave a Comment

Filed under Plays, Reviews 2016

September Tide

(reviewed at the Jubilee Hall, Aldeburgh on 26 August)

Daphne du Maurier is a writer whose name fills theatres – as well as emptying bookshop shelves. September Tide is set in the uncertain period following the Second World War when young men were liable for National Service, alcohol and certain foodstuffs were in short supply if not still rationed and England was having to accustom itself to a world which might look backwards with nostalgia but could never be quite what it used to be.

We are in Cornwall where Stella, a widow with grown-up children but still immensely attractive and charismatic, is eagerly awaiting a visit from her newly-married, London-based daughter Cherry. Cherry is a free spirit – something which she may have inherited from her mother, if not from her late sailor father – and you could describe her relationship with her new painter husband Evan as semi-detached.

If you know anything about du Maurier’s own life story, including her near-obsession with Cornwall, you can detect autobiographical elements as this three-cornered drama unfolds. The revised script is by Mark Rayment and Phil Clark’s production located it firmly in its period with no attempt to whittle away the moral issues propounded or their solution. The resolution is perhaps for us in the 21st century an overly romantic one, but attitudes to many things have changed over the past 50 or 60 years.

Eliza McClelland makes an appealing heroine as Stella, matched by Chris Clarkson’s domineering Evan a man as selfish as only those who are certain of their own genius can be. Light relief is provided by Jill Freud as Mrs Tucket, the indispensable “help”, and to a lesser extent by Michael Shaw as Robert, who hopes that Stella will one day agree to marry him.

Then there’s Rosanna Miles as Cherry, so insouciant on the surface but actually as uncertain about what the future holds as her elders – not to mention her hard-drinking husband. Too many of her lines, which are vital to the plot, seem to be thrown away – but that could just be the Jubilee Hall acoustics. Her younger brother, home on sick-leave from the Navy with a broken foot, is played by Harry Emerson.

September Tide runs at the Summer Theatre, Southwold until 12 September.

Leave a Comment

Filed under Plays, Reviews 2015

Out Of Order

(reviewed at the Southwold Summer Theatre on 5 August)

Westminster – that’s Parliament, by the way, not the Abbey – exerts a strange facination for us ordinary folk whose closest approach to its arcane mysteries is usually just through the ballot-box. We all know that odd things can go on in its corridors of power, let alone in various offices.

So Ray Cooney’s farce Out Of Order has been keeping audiences chuckling for several decades. Guest director David Harris has mounted his new production for Suffolk Summer Theatres with what one might describe as mainly the theatres’ resident repertory company – just what you need for a piece which requires ensemble playing of a high order.

The plot concerns junior Minster Richard Willey (Michael Shaw) who should be attending a critical debate, as he tells his country-living wife Gladys (Kate Middleton), but is actually holed up in the Westminster Hotel expecting an evening of unbridled sex with Jane. There is already a slight problem; Jane Worthington (Rosanna Miles) has a husband Ronnie (Rick Savery) and is secretary to the Opposition Leader.

Problem the second reveals itself in the person of a body (Harry Emerson) wedged between the balcony and the sash-window (keep an eye on that window – it plays a major if noisy role). Who can help our lovers? Probably not the hotel manager (Christopher Elderwood) or the waiter (James Morley). Instead Willey summons his PPS, the thoroughly repressed and mother-fixated George Pigden (Chris Clarkson).

Mrs Pigden’s nurse-companion Pamela (Eliza McClelland also arrives on the scene. Cooney runs every possible permutation on the ensuing situations, all with the deadly but hilarious logic which is the essence of farce. Harris stirs the mix adeptly as everyone in turn seems to find themselves either in the cupboard or the bedroom, on the balcony, in a wheel-chair (don’t ask!) and usually with or without their usual clothes. Guaranteed to raise yor spirits, whatever the weather outside the theatre.

Out Of Order runs at the Southwold Summer Theatre until 15 August and at the Jubilee Hall, Aldeburgh between 18 and 22 August.

Leave a Comment

Filed under Plays, Reviews 2015

How the Other Half Loves

(reviewed at the Southwold Summer Theatre on 8 July)

You can never take an Ayckbourn play at its face value. How the Other Half Loves was his second major commercial success in 1070; David Harris’ production which opened this year’s Suffolk Summer Theatres season sensibly keeps the 1969 setting for this typical blend of sharp social satire, surreal elements and a wryly compassionate look at what motivates people to behave in certain ways in situations partly of their own making.

The emphasis, as Ayckbourn likes to place it, is very much on the female condition. We meet the Fosters – lady-who-lunches Fiona and company manager Frank – and the Phillips – company man-on-the-make and new mother Teresa – share Maurice Rubens simultaneous living rooms.

These characters have enough complications between them without really needing the Featherstones – country mouse Mary and Welsh new employee William. That’s when the sexual, social and work permutations really start to create their own momentum. If you know Southwold’s summer Theatre, you know that the stage is quite small, though Rubens’ ingenuity works a miracle of visual stretching.

Small is the last word you could use to describe the acting with the balance between over-the-top (OTT) and naturalism beautifully balanced. Rosanna Miles is in turns funny and pathetic as Mary, the mouse who does eventually unsheathe her well-concealed claws. Eliza McClelland flounces and pirouettes in her chiffon and high heels to hilarious effect (the costumes are by Miri Birch).

Then there’s Teresa (Terri to her husband and friends). Marriage hasn’t turned out to be the bed of roses she probably expected a year or so ago; her husband is an autocrat, her son is at the teething, sleepless and whimpering stage, so everyday chores like housework and cooking are being relegated to a secondary status. All of which Kate Middleton makes utterly credible.

Bob does not like what his fun-loving but acquiescent wife has becomes one tiny bit. As Chris Clarkson amply demonstrates, the man is selfish and a bully. Physically Bob may meet his match in Rick Savery’s Will – but in many ways each is as thoughtless and liable to jump to conclusions as the other. Thoughtless, in the other hand, is not an adjective you can apply to Michael Shaw’s Frank.

Yes, the man is so absent-minded and easy to distract that you wonder how on earth he has reached his senior professional level. But there’s a steel core under all that fluff and his tenacity both provides the comedy as he becomes helplessly involved in marital and social turmoil of which he was partly the cause. When he turns the tables… but you really ought to see for yourself how it ll works out.

How the Other Half Loves runs at the Southwold Summer Theatre until 18 July and transfers to the Jubilee Hall, Aldeburgh from 23 July to 1 August.

Leave a Comment

Filed under Plays, Reviews 2015