Tag Archives: Pat Whymark

The Mariner

reviewed at the Headgate Theatre, Colchester on 12 October

Samuel Taylor Coleridge is probably as much remembered by the general public today for his troubled life and opium addiction as for his verse and association with Wordsworth’s circle.

Of his poetry, the most likely to be known is The Rime of the Ancient Mariner, a chilling timeless sea-farers’ tale cast in a deliberately antique format. Pat Whymark’s new play, into which she weaves her own and Emily Bennett’s music, sets The Rime into a biographical narrative.

Richard Lounds makes Coleridge into a slightly cherubic, perpetually juvenile figure, forever wanting more from life and relationships than is feasible. He is understandable, even when being irritating. Eloise Kay, who has an excellent singing voice, plays his long-suffering wife Sarah.

From the beginning of their marriage, Coleridge seems to have seen their partnership as one in which he made all the rules. Sarah was supposed to rear their children, keep house without a regular income, act as his inspiration – and follow him up to the Lakes as a full member of Wordsworth’s coterie.

The opposite sort of woman is personified by Bennett’s Mrs Bainbridge, Coleridge’s non-nonsense London landlady and Wordsworth’s devoted, free-spirited sister Dorothy. Coleridge’s equally-addicted friend Thomas De Quincey, himself engaged in a love-hate relationship with Wordsworth’s circle, is sharply personified by Anthony Pinnick.

Whymark presents this chronicle in a series of exchanges between Coleridge, Mrs Bainbridge, Sarah, De Quincey, the Wordsworth siblings and finally with the doctors who offer to manage his addiction.

The thread upon which this string of faceted beads is strung is The Rime itself. Julian Harries’ recitation is glossed by Coleridge’s own prose annotations; between them they make the familiar, often parodied poem as chilling as its author intended.

Four star rating.

The Mariner is at the Headgate Theatre, Colchester on 13 October with a matinée performance. The tour continues until 11 November and includes the Jubilee Centre, Mildenhall (15 October), the John Peel Centre, Stowmarket (17-18 October), Zinc Arts, Chipping Ongar (19 October), Southwold Arts Centre (24 October), the Jubilee Hall, Aldeburgh (25 October), the Corn Hall, Diss (26 October), the Seckford Theatre, Woodbridge (2 November), the Cut Arts Centre, Halesworth (6 November) and the Sir John Mills Theatre, Ipswich (7-9 November).

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

Goodnight Mister Tom

reviewed at the Theatre Royal, Bury St Edmunds on 28 August

David Wood’s stage version of the book by Michelle Magorian, in Karen Simpson’s production percolates the music of the Second World War as a counterpoint to the story of on small boy’s evacuation from London to the countryside.

William Beech (Jasmine Briggs) is not a happy child. His embittered mother has twisted her stark religion and personal frustrations into a strap with which – quite literally – she lambasts her son. His bruises are both external and internal.

Billeted on elderly widower Tom Oakley (Roy Hudd), his life begins to change around. Initially the sport of his new schoolmates (he can neither read nor write, but can draw), he slowly becomes integrated into village life and in the process makes friends.

Chief among these proves to be another evacuee. Zach (William Ennew). Zach is a thorough-going extrovert with parents who are both professional actors. There is also Tom Oakley’s dog Sammy, a life-size border collie puppet very well operated by Julia Cave.

The incidental music is directed by Pat Whymark and very well sung and played by the Theatre Royal’s Young Company. Hudd makes a thoroughly enjoyable Oakley, mourning his long-dead wife and their baby son with quiet dignity, and completely credible in the way his relationship with William develops.

As Mrs Beech, Sarah-Louise Young is unrelenting in her portrait of a woman who is her own worst enemy. The first half drags just a little bit, but picks up pace after the interval. Alison Heffernan’s set whisks us from London to the countryside; its splintered wooden planks suggest both rural weatherboard cottages, the bleakness of Mrs Beech’s home and the aftermath of the Blitz.

Four star rating.

Goodnight Mister Tom runs at the Theatre Royal, Bury St Edmunds until 8 November. There are matinées on 29 August, 2 and 8 September.

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Filed under Plays, Reviews 2018

Stoat Hall

(reviewed at the SirJohn Mills Theatre, Ipswich on 9 December)

Eastern Angles’ Christmas show is a Pat Whymark and Julian Harries confection, which means that it’s literate, tuneful and lethally clever – at times a little too much so for its own good. There’s a lot of cod as well as real Shakespeare and a whole series of riffs to do with Richard III and Henry VIII, not to mention tranches of East Anglian as well as national history, legend, might-have-beens and architecture.

That all means that I thoroughly enjoyed Stoat Hall, but perhaps partly because it tweaked some of my own interests. There’s an extremely hard-working cast of five, switching stage gender as adroitly as role, costume and set accessories. At the centre of the imbroglio is poor Sir Roger (Richard Mainwaring) who has the misfortune to have close blood ties to both the last Plantagent and the second Tudor kings.

Not to mention a crone of a grand-mother Agnes (Violet Patton-Ryder), a wilful wife and a daughter who takes after her (Geri Allen in both roles), a love-sick jester Perch (Matt Jopling) and a sinister in-house alchemist John Dee (Patrick Neyman, who also plays the second, stroppily butch daughter Hedwig). When Henry arrives on a wife-hunting mission, things start going even more wrong.

The music is suitably 16th century pastiche; the cast provide the instrumental accompaniments. Designer Richard Evans works his own particular magic with a very small acting area, ornamented by a whole series of pop-up and pop-out puppets. Not to mention an interesting variation on an autopsy. Don’t worry, no animals (two- or four-legged) were hurt during the procedure.

Stoat Hall runs at the Sir John Mills Theatre, Ipswich until 7 January. It then plays at the Seckford Theatre, Woodbridge between 10 and 21 January and at the Key Theatre Studio, Peterborough from 24 to 28 January. Check the theatre’s website (easternangles.co.uk) for performance times.

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Filed under Pantomimes & other seasonal shows, Reviews 2016

The Unhappy Medium

(reviewed at the Stutton Community Centre on 4 June)

The year is 1926, with the General Strike at its zenith. The memories of the world war which ended a mere eight years previously are still very much alive; some even festering. The desire to know certainties about deceased loved ones – including their after-life – is rampant. Fine pickings for spiritualists and mediums, at any rate in theory.

Many of these believed, as did their clients, that they did have special powers and insight. Many also were charlatans, mere performers. It is with one such that we are confronted in Common Ground’s latest tour. The Unhappy Medium is a three-hander, both in the acting and the creation. The script is by Pat Whymark (who also directs), Julian Harries and Patrick Marlowe.

Central to the story is Montague Faulke (Harries), the by-blow of a landed aristocrat who desperately wants the family’s recognition; some of its wealth would also be welcome. His colleague and, we learn, his lover as well as general fixe and dogsbody is an East End Jew of socialist tendencies, Aubrey Solomon (Marlowe). An appointment is booked by a journalist posing as a genuine seeker for contact with the spirit world.

But Morton McLean (Dick Mainwaring), hounded by an editor greedy for front-page headline, is himself a split personality with more on his mind than exposing deceptions and protecting the vulnerable. it’s a farcical comedy in which we are never quite sure whether the role-playing is more sincere than the characters are prepared to admit. Even to themselves.

All three performers go at it with gusto. Harries turns in an over-the-top portrait of a man out of his time and place. Mainwaring is extremely funny as mcLean, especially when his research requires him to do woman’s clothing and attach himself to a cumbersome recording machine. It is Marlowe though who walks away with the show, giving us the eternal cheeky-chappy Cockney as well as the man of principles shouldering an enormous chip.

The Unhappy Medium tours community and arts centres in East Anglia until 9 July, including the John Peel Centre, Stowmarket (16 June), The Cut, Halesworth (25 June) and the Sir John Mills Theatre, Ipswich (7-9 July).

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Filed under Plays, Reviews 2016

The Count of Monte Cristo

(reviewed at the Sir John Mills Theatre, Ipswich on 21 August)

Common Ground Theatre Company has found a rich seam to mine in 19th and early 20th century adventure novels. its take on The Prisoner of Zenda is now followed by The Count of Monte Cristo. By the end of Act One I was convinced that this was going to be simply Part One of a two-part sequence of adaptations – but I was wrong.

After the interval the rest of the novel rushes by in true picaresque fashion; it’s worth remembering that Dumas’ historical stories were designed for an adult readership and contain considerable contemporary political comment, not to say satire. Pat Whymark’s adaptation frames the whole thing with a meeting of an undergraduate Dumas appreciation club (cue running joke about mustard). She also directs and has provided yet another of her tuneful scores as well.

The five-strong cast works very hard portraying a vast number of different characters with multiple wig and jacket changes, not to say gender shifts. Lorna Garside and Alice Mottram share the major women’s roles (and several of the masculine ones as well). Charles Davies, Joseph Lear and Nicholas Underwood are the three male actors.

The Count of Monte Cristo tours East Anglia until 3 October and is Upstairs at the Gatehouse, Highgate between 24 and 27 August.

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Filed under Plays, Reviews 2015

Stranded

(reviewed at the Sir John Mills Theatre, Ipswich on 11 July)

Pat Whymark’s new one-act play for the Common Ground Theatre Company she runs with Julian Harries is a fairly raw slice of modern life gift-wrapped in salsa. The story concerns two young women fumbling their way out of teenage into an adult world unlikely to teach them moral maturity. Would it be worthwhile, anyway?

Kath is homeless, living rough on the outer London streets. Delia is heading fast in that direction. It becomes clear that Kath (comfortable middle-class background, albeit through adoption not birth) has chosen this lifestyle. Delia’s mother has died, and she’s in pursuit of the father who abandoned them when she was seven years old.

That father might be Len, compulsive gambler, wheeler-dealer, dodgy benefits claimant – you name it, he’s tried that wheeze a couple of times. In the course of an hour, we find ourselves caught up in their drama as Lorna Garside (Kath), Delia (Alice Mottram) and Harries draw us into their disfunctional worlds of survival-for-the-moment.

Both girls give performances which cleverly balance abrasive vulnerability with humour – even if that’s sometimes of the graveyard variety. Harries steps in and out of Len’s wide-boy carapace to add bite to the flamboyance. Len may think he’s the top dog. Any woman can see that he’s no such thing.

Stranded can also be seen at the Thatcher’s Arms, Mount Bures on 14 July, the Jubilee Hall, Aldeburgh on 15 July and St Mary’s church hall, Walton on 17 July.

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Filed under Plays, Reviews 2015