Tag Archives: Nicola Bryan

Our Blue Heaven

reviewed at the New Wolsey Theatre, Ipswich on 6 May

If you’re an older Ipswich resident with an interest in football, then 6 May 1978 is probably a date etched indelibly into your consciousness. That, for the rest of us, is the day on which Ipswich Town Football Club won the FA Cup at Wembley Stadium.

Obsessions, whether with sport, music or anything else, are very odd things. They have the ability to obscure, even blot out, everything else. Based on actual recollections of the Final and the matches leading up to it from individual fans, Peter Rowe has constructed the stories of three interlocking families.

The central one is the Coombes family. Father Paul (James Daffern) is out on strike, so money is tight and the main breadwinner is his nurse wife Sheila (Sarah Whittuck). Teenage daughter Sue (Anna Kitching) is supportive of her father – and even more so of Ipswich Town. Older daughter Mel (Josie Dunn) is about to get married to Scott (Joe Leat).

He’s the son of better-off Brain Tillotson (Jon House) and his wife Eileen (Nicola Bryan). Then there are the Traynors – football-obsessed Smudger (Dale Mathurin) and his heavily pregnant wife Ange (Katia Sartini), who is under the care of Sheila Coombes. Smudger – whose enthusiasm is enjoyably put before us by Mathurin – has ideas about both the timing of the birth and the names to bestow on the baby.

Peter Peverley plays the inspirational and charismatic team manager Bobby Robson, linking the club’s progress towards that ultimate goal. The other stand-out performance is that of teenage Kitching, a girl trying to balance all manner of conflicting emotions with a slowly maturing sense of responsibility. Actions do have consequences, as she discovers at an away-game against Millwall.

Designer Amy Jane Cook gives us a minimalised setting with Dan de Cruz’s four-piece band on a platform at the rear of the stage. Musically, it’s all very loud, though the a cappella rendition of “Abide with me” in the Wembley sequence has a magical effect.

Rather than attempting a realistic reconstruction of the series of home and away games, choreographer Tom Hobden has created a slow-motion stylised succession of movement pieces, ably performed by the community chorus wearing neutral black and white strips.

Four star rating.

Our Blue Heaven runs at the New Wolsey Theatre, Ipswich until 26 May with matinées on 9, 10, 12, 16, 14, 19, 23 and 26 May.

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Filed under Music Music theatre & opera, Plays, Reviews 2018

The Sleeping Beauty

(reviewed at the Gordon Craig Theatre, Stevenage on 4 December 2015)

There are a number of commercial producers of pantomimes; not all of them have the production values of Eastbourne-based Chris Jordan. This year sees The Sleeping Beauty trapped by the vengeful Carabosse in Stevenage. The sets and costumes (Shelley Claridge) are colourful and there’s some excellent choreography by Philip Joel.

We begin with Fairy Fortywinks (Nicola Bryan) confronting the much more powerful Carabosse (Wendi Peters), an immortal with grievances. Lots of them.King Clarence (Paul Bentley) is missing his late wife and seeking a suitable prince to marry his daughter Belle (Daniella Piper). She doesn’t take kindly to being cosseted either by her father or by Nellie Night Nurse ((Paul Laidlaw).

Laidlaw is an experienced Dame, of the cuddly rather than abrasive variety. Son Chester (Aidan O’Neill) is the Court Jester and, of course, secretly in love with Belle. That doesn’t make Prince Valiant (Gregor Stewart)’s task any easier as he goes in search of a suitable bride. The “Love me” duet is an attractive number.

Carabosse has a team of helpers, and very nasty they are too. There’s an attractive duet for Belle and Valiant before the spectacular final to the first act. In Act Two we have Nellie’s famous strip-tease as well as a time machine (not a million miles from Dr Who’s police-box) to take everyone forward a hundred years.

The Sleeping Beauty runs at the Gordon Craig Theatre, Stevenage until 24 January.

There’s a dragon in the ghost scene, which makes a nice change, and at least one spectacular exit through the orchestra pit – James Cleeve’s domain. Innovations are carefully blended with the expected traditional – such as the kitchen scene. And Fairy Fortywinks may keep on dropping off at crucial moments – but she has a winning way with her trumpet.

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Filed under Pantomimes & seasonal shows, Reviews 2015