(reviewed at the Queen’s Theatre, Hornchurch on 24 August)
Forget the Chuck Berry 1956 hit and even the Beatles’ 1963 version. Bob Eaton’s full-length musical called Roll Over Beethoven, now premièred at Hornchurch’s Queen’s Theatre, has snatches of Beethoven as well as a variation on Shakespeare’s Hamlet as the story line, iambic pentameters and all.
We are in a northern town in the mid-50s. Johnny Hamlet is in the middle of his National service; his school-friends Larry (Laertes) and Horace aka Waltzer (Horatio) have secured postponements – Larry through being at university and Waltzer by flourishing his homosexuality at the selection board.
One of the most interesting things about Eaton’s plot is that Eaton makes the Ghost into a malevolent downright vindictive figure. Fred Broom revels in the part as he seeks to manipulate his son towards murder. The not-quite grieving widow Gertie (Sarah Mahoney) and her new husband Claud (Antony Reed) are partners in a faltering music-shop business with Henry Polonius (Steven Markwick), whose attitude to changing tastes is mirrored in his repression of his lively 17-year old daughter Ophelia (Lucy Wells).
Wells has one of the best first-half numbers in “Seventeen” and the “Ghost train” sequence with Broom, Markwick and Wells is also effective. So is “Murder by silhouette”, when Rodney Ford’s lego-style design becomes a major actor in the sequence and Mark Dymock’s lighting complements this admirably. Matt Devitt’s direction keeps the pace going briskly while allowing breathing space between the numbers and the dialogue exchanges.
Ben Goddard is the musical director though, as usual with the cut to the chase… c company, all the cast play keyboards, strings, brass and percussion as appropriate. As in the original tragedy, it is Hamlet on whom we focus. Cameron Jones makes this mixed-up and angry young man very real as he struggles to find his own path through a tangle of lies and other people’s emotions.
Roll Over Beethoven runs at the Queen’s’s Theatre, Hornchurch until 12 September.
(reviewed at the Queens Theatre, Hornchurch on 2 February)
This is a thriller for three actors by the American playwright David Foley, doubling as a type of hommage to the films of Tarantino. After the sort of disco music and light show which puts us firmly in the world of the glitterarti, we are in the living-room of the Manhattan apartment which belongs to Camille (Lucy Benjamin).
Camille is a (very) wealthy widow and a designer of the sort of show-off jewellery which one might describe as bling. She also has a penchant for bedding younger, personable men. In this case it’s Billy (Tom Cornish). But Billy doesn’t just want to be paid for his services; he has a hidden agenda.
What would a woman who owns not just the penthouse but the whole apartment block do when her one-night stand refuses to accept his dismissal? She calls the security man (Sam Pay) – and this is where the plot thickens into a positive peasouper of double-and triple-crossings.
Director Simon Jessop wisely keeps the action at boiling point with just enough space for the sort of half-nervous laughter with which an engrossed audience can relieve its tension. The pace is brisk; even with an interval it’s less than two hours, which is just about right.
All three actors are excellent; our sympathies and understanding veer wildly as each new revelation presents itself. Cornish has the sort of louche sexiness which suggests an inherent morality and Benjamin matches him as the woman who takes what she wants, and comes back for the next helping. In many ways Pay has the most difficult role as a man who isn’t quite as clued-up as he thinks he is.
Though one might query if the whole thing wouldn’t have worked even better without the intermission (silly me! I forgot about those vital bar takings…)
One of Rodney Ford’s excellent sets – all exposed brick walls, angular chrome furniture and off-white upholstery – locates us in place and time. And if anyone know how to stage a stage fight which has the audience wincing in sympathy, it’s Malcolm Ranson.
Deadly Murder runs at the Queen’s Theatre, Hornchurch until 21 February.