Tag Archives: Robyn Cara

The Be All and End All

reviewed at the Mercury Theatre, Colchester on 23 May

May used to be a month of celebration. Nowadays it is the month of examinations – those make-or-break tests upon which depend young people’s futures, not to mention their parents’ hopes.

That’s the searing theme of Jonathan Lewis’ new play, in which he leads the four-strong cast as junior Cabinet Minister Mark. He and his publisher wife Charlotte (Imogen Stubbs), in remission from cancer, have ambitions for their son Tom (Mstt Whitchurch) which have Cambridge as a vital stepping stone.

Their trouble is that Tom, a typical teenage bundle of energies and personal aspirations, would rather prefer to work in the arts. Caught up with her own desires, both personal and professional, is Tom’s girlfriend Frida (Robyn Cara). Resolutions prove to be costly affairs, in which more than money and morality are involved.

Director Damian Cruden ratchets up the tension as a series of confrontations builds to a climax. It’s very intense, and Natasha Bertram’s stylish set abets this; these are adults who live in high-profile goldfish bowls, which is not necessarily where the younger generation finds a comfortable environment.

Whitchurch’s performance is central to the York Theatre Royal’s production success with the audience. Most of us have come across someone like that in our family or personal circle. Cara’s is a much more ambiguous character, bringing out a degree of social – as well as financial – insecurity.

One’s heart goes out to Charlotte in Stubbs’ portrait of a career woman who knows she is living on borrowed time. Faced with her pair of strong-minded men, she gives us a woman being shredded emotionally as well as physically.

Mark is another multifaceted personality, with his carapace of success vulnerable to both Parliamentary and personal pressures laid bare. Lewis shows us just how unpleasant, ruthless and selfish such a person can be.

Four and a half-star rating.

The Be All and End All runs at the Mercury Theatre, Colchester until 26 May with matinées  on 24 and 26 May.

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Filed under Plays, Reviews 2018

Much Ado About Nothing

(reviewed at the Mercury Theatre, Colchester on 6 October)

Made in Colchester’s contribution to the Shakespeare quatercentenary is a production by Pia Furtado of Much Ado About Nothing. As befits a garrison town, the location has been shifted out of Italy and the period updated to somethng obviously modern, though neither of the two 20th century world wars.

So far, so good. There’s an effective opening in which, above the heavy done of transport aircraft, the returning soldiers chant Rebecca Applin’s setting of repeated “Going home”. Designer Camilla Clarke gives us an all-purpose canteen, presumably attached to Leonato (Paul Ridley)’s home. Margaret (Kirsty J Curtis) seems to be its manager with Beatrice (Danielle Flett) and Hero (Robyn Cara) offering spasmodic help. This is not peace, however, just a temporary lull in the fighting.

I’ve no quarrel with Don John, commander Don Pedro (Robert Fitch)’s rebellious half-brother, being transformed into an embittered woman by Polly Lister. But why on earth isn’t that giveaway masculine title simply changed into something like “dame”? It jars on each recurrence and detracts from Lister’s own excellent characterisation.

This is presumably a Roman Catholic (or at any rate High Church) part of the country, if the large statue of the Madonna is to be taken as something other than mere set dressing, so why have a woman minister (Emmy Stonelake) who everyone keeps on calling “he” and Friar Francis? It doesn’t make sense.

Furtado gives us an overlong disco-style party whose exhuberance somewhat smothers Don Pedro’s wooing of Hero for Claudio (Peter Bray)’s benefit. She also slices the interval midway in the church scene, thus losing rather than building the tension. The watch scenes go for nothing with Karl Haynes’s Dogberry overemphasising his malapropisms to the point where there is no humour at ll.

Jason Langley’s Benedick is well spoken and acted; Flett never quite matches, let along surpasses, him. They do manage the lethal “Kill Claudio” echange extremely well. Bray doesn’t project any of Claudio’s charm; Chris Charles’ Borachio has this n abundance and produces some of the evening’s best-spoen dialogue.

Much Ado About Nothing runs at the Mercury Theatre, Colchester until 15 October. There are matinées on 8, 13 and 15 October.

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Filed under Plays, Reviews 2016