Tag Archives: Rebecca Brower

Out of Order

reviewed at the Palace Theatre, Westcliff on 10 July

Farce requires two masters. One to write it. Another to direct it. For the current Out of Order tour, Ray Cooney combines the two roles, aided by a well-balanced ensemble cast and a deceptively realistic set by Rebecca Brower. Stage management also took a thoroughly deserved curtain-call bow.

The ingredients for the perfect farce include a scantily clad nubile girl (or two), a pompous personage losing his trousers, an upright citizen who should know better being caught out in flagrante, usually by his spouse (who herself may not be completely blameless, a vast number of doors – and split-second timing by a straight-faced cast.

Cooney has updated his 1990 West End success to incorporate up-to-the-minute political references. Out ant-hero is junior Cabinet Minister Richard Willey (Jeffrey Harmer) who plans to spend the night of a vote-critical debate with Jane (Susie Amy) who just happens to be the secretary to the Leader of the Opposition.

Things go awry (of course they do) and gormless, mother-ridden bachelor PPS George Pigden (Shaun Williamson) only makes them worse. The action takes place in a hotel near the House of Commons and the quartet in the suite (did I mention an apparent corpse (David Warwick) tastefully draped over the windowsill?) have to cope with a hotel manager who knows his job (Arthur Bostrom) and a waiter who knows how to rake in tips (James Holmes).

Sue Holderness as Richard’s wife Pamela, Jules Brown as Jane’s firebrand husband Ronnie and Elizabeth Elvin as Nurse Gladys (not just a pillow-smoother) complete the cast. Yes, it’s formulaic. No, it’s probably not politically correct. But it is a thoroughly enjoyable laugh-out-loud evening of light-hearted theatre with just the right hint of a bite.

Four and a half-star rating.

Out of Order runs at the Palace Theatre, Westcliff until 15 July with matinées on 13 and 15 July.

Leave a Comment

Filed under Plays, Reviews 2017

Arms and the Man

(reviewed at the Palace Theatre, Watford on 7 October)

Like director Brigid Larmour, this is a Shavian comedy which seems not to have been in my theatre-going orbit for decades. For all that it seems to have drifted out of fashion, it’s a play well worth reviving, and Larmour does it proud with a cast that knows what it’s about and intriguing, somewhat minimalist sets by Rebecca Brower. It’s briskly paced, but the activity is never cumbersome.

Hannah Morrish’s Raina sets the tone from the opening scene with her mother Catherine (Kathryn O’Reilly) and Jill McAusland’s pert maid Louka. Enter the fugitive Captain Bluntschli, to whom Pete Ashmore gives a dash of derring-do as well as Swiss pragmatism. He and Morrish play beautifully off each other throughout. Raina, of course, thinks she is in love with the dashing cavalry officer Sergius (Assad Zaman).

This is another well thought-out performance, edging dangerously towards the over-blown but always reined in short of it. Walter van Dyk’s Major Peckoff is just the sort of patriarch that his womenfolk manipulate with ease. McAusland deepens her own characterisation in her exchanges with David Webber’s Nicola; this authoritative Black actor adds an interesting dimension to his creed of how to survive as a servant.

Music and sound is by Arun Ghosh, never obstrusive but nderpinning the setting of one of that sequence of Balkan conflicts which peppered the late 19th century. It all ends, as in a Shakespeare comedy, with a dance choreographed by Jack Murphy. The audience just has to sit back, look and listen. And enjoy the experience.

Arms and the Man runs at the Palace Theatre, Watford until 22 October with matinées on 8, 12, 15, 20 and 22 October.

Leave a Comment

Filed under Plays, Reviews 2016

Coming Up

(reviewed at the Palace Theatre, Watford on 14 October)

I remember Neil D’Souza’s first play A Small Miracle from its Colchester production a few years ago. it was a quirky exploration of pilgrimage, longing and just a couple of things which cannot easily be explained away by rationality. Coming Up also deals with longings, journeys both mental and physical and quite a few inexplicable things. The title refers to an India catch-phrase signifying social mobility and the ladder of success. Ladders, as everyone who has ever played a board game knows, also have snakes.

We are in India, a time-shift country in more senses than one. The action takes place partly in present-day Mumbai, now a thriving economic hot-spot – at least, if you’re on the top of the go-getting heap. We are also, frequently at the same time, in rural Mangalore between 1938 and 1943 as well as in a narrative time limbo. Director Brigid Larmour, movement director Shona Morris and designer Rebecca Brower have eschewed naturalism for a fluidity which is neither wholly Indian nor completely Western.

D”Souza plays Alan Lobo, a middle-aged British Asian now successful in business, and ruthless with it. He’s in Mumbai to see if shifting his enterprise to the Philippines will be worthwhile; it’s all down to the bottom line. He has also taken the opportunity to visit his aunt Alice (Goldy Notay) and renew his boyhood friendship with her son Daniel (Mitesh Soni). The names tell you that this is a Christian family.

Clambering to the top in business often has to be a ruthless, single-minded affair. Alan’s casualties include his estranged father Jacob (Ravin J Ganatra as the older man, Notay as a boy), Alan’s wife Anya and his call-centre manager – and occasional mistress – Hanna (Clara Indrani). Christian India may have said that it ignored the caste system, but the Lobo family’s status as mere farm labourers automatically relegate him to the bottom of the heap, even as an altar boy scrubbing latrines rather than attending class.

The two priests of Pezar parish are the authoritarian, not to say sadistic and libidinous, Fr Mendoza (Ganatra) and the twoo-soft-for-his-own-good Fr Alvares (Soni). Ganatra takes on the part of Ghalib, Alan’s Mumbai driver. Indrani additionally plays teacher Mrs Pereira, the thoroughly unpleasant cook who torments young Jacob and a sinuous man-eating tiger who prowls through both his dreams and his reality.

It may all sound incredibly complicated, but this style of staging allows the action to flow and the changes in location to evolve without physical scene changes. A sari, androgynous shirts and loose trousers switch Indrani and Notay effortlessly between rôles and sexes; a crucifix or stole marks the priest from the layman. The acting is uniformly good and Arun Ghosh’s soundscape makes fine use of the Schubert “Ave Maria”.

Coming Up continues at the Palace Theatre, Watford until 24 October.

Leave a Comment

Filed under Plays, Reviews 2015