Tag Archives: Richard Blaine

Funny Money

reviewed at the Southwold Arts Centre on 30 July

We’ve probably all done it at some time, haven’t we?. Picked up someone else’s coat, umbrella or bag in mistake for one’s own. Much farce is rooted in some such trivial occurrence going horrendously wrong.

Ray Cooney’s classic Funny Money, first staged in 1994, takes this situation to its natural, thoroughly illogical conclusion. Henry Perkins (Darrell Brockis) arrives home for his birthday dinner with a briefcase, outwardly the same as the one he went to the office with that morning.

Only it’s not.

This one doesn’t contain a half-eaten sandwich and left-over paperwork. it has over a million pounds in used notes. Wife Jean (Harriett Hare) is bemused. Best friends Betty (Claire Jeater) and Vic Johnson (Michael Shaw) are bemused.

Add two very different detectives to the mix (Charlotte Peak as Slater and Lee Hunter as Davenport) – not to mention a taxi-cab driver (Clive Flint) and a much-compressed passer-by (Richard Blaine) – and misunderstandings whirl ever faster.

Andy Powrie’s production keeps the pace frenetic but with split-second timing where it matters (in farce timing is the key to success). Brockis has a superbly deadpan semi-gormless expression as events spiral completely out of Henry’s control.

Harassed beyond her comprehension, it’s no wonder that Hare’s Jean heads for the gin-bottle. Shaw and Jeater act as perfect foils as Peak’s upright policewoman (who needs a body to be identified) contrasts with Hunter’s easily-corrupted officer.

Flint has fun with Bill, popping in at regular intervals to remark that the fare-meter is running overtime and wondering just who (and how many) are going to Heathrow for the Barcelona flight (or will it be Adelaide?).

Four and a half-star rating.

Funny Money runs at the Southwold Arts Centre until 18 August. There are no Friday or Sunday performances but matinées on 31 July, 7 and 14 August and early evening performances on 2, 4, 9, 11. 16 and 18 July. It transfers to the Jubilee Hall, Aldeburgh between 21 August and 1 September. There are early evening performances on 23, 25, 30 August and 1 September.

Leave a Comment

Filed under Plays, Reviews 2018

Body Language

reviewed at the Southwold Arts Centre on 11 July

Modern surgery is a miracle of science. But science can prove fallible and miracles display a flip side. Ayckbourn’s 1990 satirical comedy is set in one of those well-appointed and attractively-staffed clinics in the countryside which cater for the physical problems of the wealthy and famous.

The newest patient is model Angie Dell. Her money-eyed manager Ronnie Weston can’t wait for her to resume her lucrative career. Visiting the clinic is controversial East European surgeon Hravic Zyergefoovc with his prefered assistant Freya. The clinic’s director, and a former student of Hravic, is Benjamin Cooper.

Where the famous go, these days there follows the media. Radio journalist Jo Knapton wants a couple of interviews; not-quite-successful photographer Derek Short is after that killer glamour shot which should make both his reputation and his fortune. Fading pop star Mal Bennet wants his now-estranged Angie back.

That’s just the first scene. By the second and Act Two, Hravic has performed his miracle operation – with just one unfortunate consequence. Ron Aldridge’s direction keeps the action flowing as briskly as any scalpel and Tory Cobb’s two-level set allows that action free play.

The cast go to it with a will. Clive Flint has a field day with Hravic as does Richard Blaine with Mal. Neither Ronnie nor Derek are particularly nice characters, as Darrell Brockis and Lee Hunter make plain. Claire Jeater pulls out all the stops as Freya while Michael Shaw is suitably  suave as Benjamin.

But the centre of it all is the relationship between Angie and Jo. Charlotte Peak’s Angie has just the right combination of vulnerability and determination for someone faced with a flimsy and brief career which is basically run by other people.

As Jo, Harriett Hare radiates firstly the slightly bored attitude of someone dispatched on yet another routine assignment and later as a woman confronting very personal demons and daemons. Yes, it’s hilariously funny in parts. But it’s also something thought-provoking and slightly scary.

Four star rating.

Body Language runs at the Southwold Arts Centre until 21 July with matinées on 14, 17, 19 and 21 July (there is no performance on 20 July). It transfers to the Jubilee Hall, Aldeburgh for the week 24-28 July.

Leave a Comment

Filed under Plays, Reviews 2018

The Prisoner of Zenda

reviewed at the Jubilee Hall, Aldeburgh on 7 August

Anthony Hope added a new word to the English language in  1894 – Ruritania – with The Prisoner of Zenda. The romantic adventure novel  was quickly adapted for the stage by Edward Rose (cast of thousands) and has been filmed countless times (likewise).

Mark Sterling’s version keeps the multiple settings, from palace and cathedral to forest hunting-lodge and gloomy castle dungeon but manages it all with a cast of seven. Tory Cobb has thrown in one of Suffolk Summer Theatre’s specialities (a train sequence) for good measure. Miri Birch’s costumes work better for the women than for the men.

The story concerns the disputed monarchy of one of those turbulent Balkan states sandwiched between two fading but still powerful empires – the Austro-Hungarian and the Ottoman – fiercely independent, proud of its traditions but wary of its neighbours. The about-to-be-crowned king is Rudolf V; his envious illegitimate half-brother Michael wants to take his place.

A proposed marriage between Rudolf and his cousin Flavia (who herself has a claim to the throne) is a further complication, as is Michael’s mistress Antoinette du Maubin. Then there’s Rudolf’s double, a folk-melody enthusiast from England, Rudolf Rassendyll. Not to mention Michael’s dashingly sinister wheeler-dealer factotum Rupert of Hentzau.

That hard-working cast take it all as seriously as it should do. Joe Leat’s double of the wine-addicted king and the English gentleman who takes his place at the behest of loyal Colonel Sapt and Fritz von Tarlenheim is very well contrasted, the one all sodden self-pity and the other reluctantly dashing.

Rick Savery is suitably sinister as Michael, though Saul Boyer didn’t (for me on the opening night) quite strike the right note for a man who takes such pleasure and pride in manipulating others. Clive Flint’s Sapt and Tom Slatter’s Fritz are stalwart in their military attempts to keep the monarchy in place, whatever their personal feelings about the incumbant.

In this version,  Amy Christina Murray as Princess Flavia has more to do than just be the decorative object of Rassendyll’s self-sacrificing love, an updating which works in the context. Sarah Ogley’s Antoinette is also more than her dark mirror image. Richard Blaine stages an excellent couple of sword fights, though the costume department could surely have provided sheathes for them when not in use.

Noisy scene changes will presumably quieten down and be slicker (too many glimpses of the people effecting them on the opening night) as the run and its transfers progress. One query – in the last meeting between restored king and his English saviour, why does Rasendyll have dark hair when he and the king have been much lighter throughout?

Four star rating.

The Prisoner of Zenda runs at the Jubilee Hall, Aldeburgh until 12 August with matinées on 10 and 12 August. It transfers to the Southwold Arts Centre between 15 and 26 August and can also be seen at the Theatre Royal, Bury St Edmunds from 6 to 9 September.

 

 

Leave a Comment

Filed under Plays, Reviews 2017

Tom, Dick and Harry

reviewed at the Southwold Arts Centre on 1 August

Twelve years ago, attitudes were – if not more generous – less chauvinistically entrenched than today. Tom, Dick and Harry, co-written by master farceur Ray Cooney and his son Michael, has the attitudes to migration from conflicted European and Mediterranean countries, adoption and to the disposal of body-parts after research of that time, not of ours.

Director David Janson has wisely kept the farce to the period of its original production. The situation set up at the beginning is simple. Linda (Rosanna Miles) and Tom (Darrell Brockis) are expecting a visit from an adoption agency which will determine that their home will be a suitable environment and that they will be responsible parents.

Tom’s basic problem is dual-faceted. He and Linda are short of the cash needed to buy their rented house outright and he has one of hs layabout brothers Dick (Rikki Lawton) “renting” the top of the house. The third sibling Harry (Bob Dobson) just about holds down a job as a porter at a teaching hospital while inventing pie-in-the-sky schemes for getting rich.

Having borrowed Dick’s van for a cross-channel “booze cruise”, Dick has returned not just with contraband amounts of brandy and cigarettes but also a brace of stowaway Kosovan refugees – Katerina (Melissa Clements) and her grandfather Andreas (James Morley). All of whom, together with some purloined human remains, are littering up the house.

Mrs Potter (Claire Jeater) from the adoption agency is due any minute now. You can guess the rest, even up to the intervention of the local PC (Michael Shaw) and the intrusion of the people-smuggling capo Boris (Richard Blaine). It’s all fast and furious with the brotherly trio earning applause when miming attempts to communicate with the non-English speaking Kosovans.

Tory Cobb has kept the setting simple, with the all-important doors – you can’t have a farce without them and they keep stage management busy – and a flight of stairs behind a simple(?) sofa and armchair. Jeater has a nice line in pursed-lip affrontedness and Morley thoroughly revels in Andreas’ trumpet-playing and weakness for the bottle. But the evening belongs to Tom, Dick and Harry.

Four star rating.

Tom, Dick and Harry runs at the Southwold Arts Centre until 12 August with matinées on 3, 5, 10 and 12 August. It transfers to the Jubilee Hall, Aldeburgh between 14 and 19 August with matinées on 17 and 19 August.

Leave a Comment

Filed under Plays, Reviews 2017