Tag Archives: Natalie Harman

Season’s Greetings

reviewed at the Gordon Craig Theatre, Stevenage on 7 November

The time of goodwill to all? Not if you’re planning to spend Christmas with Bernard and Phyllis. Ayckbourn’s wry look at the stresses marriage and parenthood impose when a miscellany of relations comes together doubles as cautionary tale and brutal farce.

Incompetent pacifist doctor Bernard, obsessed with his dire puppet-show for the house-party’s children, starts the festivities off by being at odds with Harvey, his wife Phyllis’ bellicose ex-service uncle over violence in films.

Phyllis drinks too much. Much too much. Her brother Neville is one of those men who tinker endlessly, preferably with other people’s gadgets. His wife Belinda is simply frustrated with life and love (what there is of it).

Enduring yet another pregnancy is Pattie; Eddie her husband is a gormandising layabout more concerned with cadging a job from Richard Munday’s somewhat blinkered Neville than taking his fair share of child-rearing.

And then there’s Rachel, Pattie’s intense and somewhat odd sister. She’s invited Clive, a would-be writer on whom she’s become fixated, as her guest. When he finally appears, he becomes the catalyst for what ensues.

You get the picture. Catherine Lomax’s production keeps the action on the move with a wide set that gives us hall and stairs, the living-room and dining-room. Victoria Fitz-Gerald’s Belinda and Lewis Collier’s Clive make a good central couple.

It is the misfits in the several households who really grab our attention. Paul Lavers’ militant Harvey is suitably lethal while Adam Shorey blithers away as Bernard. Alice Redmond allows Rachel a proper measure of pathos, even while she irritates.

Natalie Harman’s wine-swigging Phyllis comes into her own with the snakes-and-ladders game as Christmas Day ends. Chris Aukett’s Eddie, devouring anything edible in sight, is another infuriating delight.

As Pattie, Naomi Slights evokes understanding; her future – like her immediate past – is a bleak one. You really don’t want to be invited to join any of these people for an extended break; one evening would probably suffice.

The compliments of the season to you, too.

Four star rating.

Season’s Greetings runs at the Gordon Craig Theatre, Stevenage until 10 November with matinées on 8 and 10 November.

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Filed under Plays, Reviews 2018

Sleeping Beauty

reviewed at the Gordon Craig Theatre, Stevenage on 29 March

Reminding young people, and their elders, that there’s more to a traditional tale than its Disney version is an excellent idea. The sequence of spring musicals devised by Catherine Lomax shows just what can be done if you strip away any pantomime and animation elements.

This Sleeping Beauty is the joint creation of Lomax (direction), Phil Dennis (musical direction) and Khiley Williams (choreography). Connor Norris’ permanent set is medieval with soaring gothic arches and flambeau-bearing towers.

Lisa Hickey’s costumes contrast period realism for the court and townspeople with flower fantasy for the immortals. The good fairies represent spring flowers – Natalie Harman’s Tulip has a jolly-hockey-sticks personality, Francesca French’s Primrose is more sedate while Rebecca Gilhooley’s Bluebell (akin to the Lilac Fairy familiar from the ballet) is quietly authoritative.

In opposition stands Ellen Vereneiks’ withering Narcissus, the Carabosse of this musical. All four have strong voices, easily coping with Dennis’ mixture of bravura singing and close harmony. Abigayle Honeywill’s Beauty, Oliver Stanley as King Favian and Glenn Anderson as Prince Rowan make the most of their individual and concerted numbers.

This production is due to be seen in Chesterfield, Middlesbrough and Skegness when the short Stevenage run closes. This is the sort of small-scale but stylish staging of new work which deserves a wider audience; that in turn means that more attention (which includes money) can be alloted to casting and overall production values.

Four and a half-star rating.

Sleeping Beauty plays matinée and late afternoon/early evening performances until 2 April at the Gordon Craig Theatre, Stevenage.

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Filed under Family & children's shows, Music Music theatre & opera, Reviews 2018