Tag Archives: Suzanne Ahmet

Hard Times

reviewed at the Theatre Royal, Bury St Edmunds on 16 May

Northern Broadsides have a winning way with their adaptations of now classic plays and novels. The latest is Deborah McAndrew’s version of Dickens’ Hard Times.

The 1854 original was an indictment of the soulless factory system which blighted so much of recently industrialised England, the less-than-caring entrepreneurs it produced and the mind-numbing routines of rote-learning education and repetitive work.

Into Coketown, dominated by self-made factory owner and banker Josiah Bounderby (a magnificent performance by Howard Chadwick which deservedly takes centre stage), comes Mr Sleary (Paul Barnhill)’s Circus. It’s arrival is particularly resented by retired wholesaler Thomas Gradgrind (Andrew Price).

Price gives a well thought-out characterisation of the man who has founded a school and educated his two children in the service of pure utilitarianism. In their different ways, both young Tom (Perry Moore) and Louisa (Vanessa Schofield) rebel.

The catalyst comes when young Cecilia Jupe, pet name Sissy (Suzanne Ahmet) is sent to the school by her clown father. Ahmet captures Sissy’s dilemmas, torn between the apparent freedom of the circus – which itself requires discipline but carries insecurity – and the stability offered by the Gradgrind household.

Any Dickens story has a supporting cast of grotesques and devious-doers. Here we meet ailing Mrs Gradgrind (Claire Storey), fallen-on-hard-times Mrs Sparsit, Bounderby’s housekeeper (Victoria Brazier) and Mrs Pegler (Storey again), all of whom want more from the men of their acquaintance than they receive.

On the make in very different ways are bored society man Mr Harthouse and snooping bank employee Bitzer (a fine double by Darren Kuppan). Virtue is personified by mill-hand Stephen Blackpool (Anthony Hunt) and his platonic love Rachael (Brazier).

Louisa is lusted after by Bounderby as well as Harthouse, and Schofield gives us a portrait of a young woman stifled between duty and a scarcely comprehended yearning for a wider life – of the mind if not the body.  As Moore shows, Tom is oblivious to anything but his own selfish wants, including alcohol and money.

Conrad Nelson’s direction is fast-moving and his score evokes the place and the period; the musical director is Rebekah Hughes. Designer Dawn Allsopp seconds them with a set which allows seamless movement between locations, well lit by Mark Howland.

There are a couple of stage adaptations of Dickens’ novels currently on tour. If you can only see one – then go for Hard Times. This version brings characters which may b unfamiliar, even formulaic to full three-dimensional life. After all, Dickens wrote a paon to the power of imagination as well as a cracking good story.

Four and a half-star rating.

Hard Times continues at the Theatre Royal, Bury St Edmunds until 19 May with matinées on 17 and 19 May.

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Filed under Plays, Reviews 2018

I Capture the Castle
reviewed in Watford on 5 April

Novelists present us with persons, places and situations which our imaginations decorate at our individual pleasures. Dramatists do much of that work for us, and composers of music theatre further colour our attitudes to the story presented. It’s all even trickier when it comes to a favourite book first read when one was a very young adult.

So writer Teresa Howard and composer Stephen Edis have given themselves a problem with Dodie Smith’s I Capture the Castle. I don’t think they’ve solved it. The score is pleasant enough with its touches of Weill and popular 1930s composers, but it’s not one to send you out of the theatre with its tunes lodged firmly in your head. The successive repeats of Cassandra’s opening number act merely as punctuation points.

Both the best musical sequences occur in the second half. One is “Only men” in which New York socialite Mrs Cotton (Julia St John) and her photographer sister Leda (Shona White) make their attitude to the other sex clear. The other is the solo, morphing into a duet, for James Mortmain (Ben Watson) and his second wife Topaz (Suzanne Ahmet) in which his writer’s block and need for a muse are shown to be uncomfortably entwined.

Brigid Larmour’s direction keeps the action mainly in the delapidated castle rented by the Mortmains with seaside excursions to Southwold and culminating in a trip to London’s West End. Shona Morris is the movement director making full use of Ti Green’s precipitous set of staircases and towers. Neil, the wealthy American who now owns the castle, and his brother Simon are particularly well characterised by Luke Dale and Theo Boyce respectively.

As Cassandra (Lowri Izzard)’s older sister Rose, Kate Batter has the more difficult – because less sympathetic – role. Isaac Stanmore as Stephen, the shy boy-of-all-trades who finds himself an artist’s model en route to a Hollywood career, makes his calf-love sncere. But the star of the evening is undoubtedly Izzard as the teenage diarist who records the sheer daftness of her family and will so obviously become a far better writer than her one-novel father.

Three star rating.

I Capture the Castle runs at the Palace Theatre, Watford until 22 April with matinées on 6, 8, 11, 13, 15, 18, 20 and 22 April. It is a co-production with the Octagon Theatre, Bolton to which it transfers between 26 April and 6 May.

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Filed under Music & music theatre, Reviews 2017