Tag Archives: Nichola McAuliffe

Great Expectations

reviewed at the Theatre Royal, Bury St Edmunds on 6 March

Plays and novels both tell us stories, though in different ways. The crucial thing for any adapter of a novel as a play is to be faithful to the sense of the source. S/he can use the novel’s dialogue to reinforce authenticity, but what to do with extended passages of description and lengthy recounting of events passed?

Ken Bentley’s version of Dickens’ Great Expectations for Tilted Wig in Sophie Boyce-Couzens production captures the atmosphere very well – with considerable aid from designers James Turner (set and costumes), and Richard Williamson (lighting). Ollie King’s music is appropriate and atmospheric.

Where adaptation and theatricality let the audience down are just those narrative passages; some seem interminable. The cast of eight, all with two exceptions playing several rôles, does its best to give them variety, but cannot help that overall feeling of sag.

Séan Aydon makes a credible Pip, giving us all the lad’s rough edges as he fumbles his way through to apparent fortune and maturity. Nichola McAuliffe’s Miss Haversham is a scintillation of white tatters, combining the pathos of the jilted woman’s dementia with an aura of sinister manipulation.

Two of the nicest people to whom Dickens and Bentley introduce us are blacksmith Joe Gargery and lawyer’s clerk Wemmick. Edward Ferrow does them proud. Both Eliza Collings’ Biddy and James Camp’s Herbert Pocket offer well-rounded portraits of simple goodness and honesty.

Daniel Goode’s Magwich is a properly frightening creation as is James Dinsmore’s Jaggers. Isla Carter doubles Molly, the murderess who Jaggers assists to cheat the gallows and Estella, that dangerous star flaring so brightly in both Pip’s and Miss Haversham’s colliding worlds.

Perhaps too many of us know Great Expectations too well; it has been dramatised and filmed many times. Dickens was persuaded to change the ending, potentially to satisfy his readers who would have originally read the novel in weekly installments. I’m not sure that these second thoughts were better ones; Bentley missed a trick here.

Four star rating.

Great Expectations runs at the Theatre Royal, Bury St edmunds until 10 March with matinées on 7 and 10 March. The national tour includes the Palace Theatre, Westcliff between 19 and 24 March.

 

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Filed under Plays, Reviews 2018

The Silver Gym

(reviewed at the Queen’s Theatre, Hornchurch on 18 April)

Nichola McAuliffe’s new comedy The Silver Gym premiered at Hornchurch’s Queen’s Theatre is in the tradition exemplified by Richard Harris’ Stepping Out of 1984. We meet a disparate group of women signing up for the gym which former soldier Stella (played by McAuliffe) is setting up in a near-derelict building in an equally ramshackle part of town.

Stella has ploughed all her savings into the venture; at first one wonders why on earth she should do it. Her new clients are nigab-masked Assieh (Susan Aderin), Jewish former pole-dancer Lysette (Kim Ismay), overweight Cerise (Pauline Daniels) and Violet (Suzanne Bygrave) and that token man Franklyn (Peter Straker), a street trader of fruit and vegetables. His laid-back performance almost runs away with the show

She also has a secretary Doucette (Houmi Miura), Rather more interested in doing her manicure than actually working. Into this mix add Casey (Carol Sloman), an upper middle-class wife with an agenda of her own. It’s all directed with considerable fire by Glen Walford within a realistic setting by Amy Yardley which works well until the final intended show-stopper sequence.

The individual performances are all very good; we can sometimes feel during our encounter with these slightly oddball people that we might might encounter them on the street in everyday life. McAuliffe has done her best to show us human beings, well aided by her cast, director and in the initial design. But ultimately they are types. Not quite two-dimensional, but never fully three-dimensional either.

The Silver Gym runs at the Queen’s Theatre, Hornchurch until 7 May with matinée performances on 21 and 30 April.

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Filed under Plays, Reviews 2016