(reviewed at the Theatre Royal, Norwich on 7 November)
It is not just the rooms which have views in the Simon Reade stage adaptation of EM Forster’s novel: the characters all hold views on a variety of social personal and political issues. Some of these change; others are too deeply enbedded.
Young Lucy Honeychurch has the longest psychological journey to make. It is also arguably the most difficult. Lauren Coe makes her at the same time thoroughly plausible and just a touch irritating as she runs rings around most of her elders, their strictures and restrictions – not to mention their expectations.
Another excellent character study is Jeff Rawle as Mr Emerson, the self-made man wih a genuine taste for art who is more at ease with himself than the self-consciously middle-class people with whom he comes into contact. Simon Jones as Mr Beebe and David Killick as the Surrey vicar Eager also make their pompous marks.
For me, the great disappointment was Felicity Kendal as Charlotte Brtlett, Lucy’s over-fussy chaperone, so desperately determined to let down neither Lucy, her home-abiding mother (Abigail McKern) nor her own somewhat fragile social placement. Kendal goes all out to win the audience’s sympathy and is altogether too soft-spoken.
If Lucy is drawn to the slightly farouche and wild-child George Emerson, to whom Tom Morley gives the right air of unpredictablity, her socially-acceptable choice for mate is the buttoned-up Cecil Vyse; Charlie Anson decorates him with great assurance. Jack Loxton’s Freddy Honeychurch is another good portrait.
Director Adrian Noble takes us from springtime Florence to summer in Surrey at a good pace, assisted by Paul Wills’ minimally furnished set with projections to emhasise changes in location and time, dominated by flexible shuttered walls. Tim Mitchell’s lighting aids the contrast between Mediterranean sun and English dappled shade.
A Room With A View runs as the Theatre Royal, Norwich until 12 November with matinées on 9 and 12 November. It can also be seen at the Arts Theatre, Cambridge between 14 and 19 November.
(reviewed at the Theatre Royal, Norwich on 26 October)
Northern Ballet has launched its autumn 2016 tour of artistic director David Nixon’s Beauty and the Beast in Norwich. This being a Dixon production, although much of the choeorgraphy follows classical lines – and his company has the skills to make this appear just as it should be – the story, the characterisations of the main characters and the costumes combine folk- and fairy-tale elements with more than a passing nod to the late 20th and 21st centuries.
His choice of music is equally wide-ranging. Glaunov for the more-or-less traditional finale but also the uncompromising diatonic and dissonance of Poulenc and the musical picture-painting of Bizet, Debussy and Saint Saëns. The Northern Ballet Sinfonia under John Pryce Jones fused these elements at the service of the dance. Duncan Hayler’s mirrored sets are lit by Tim Mitchell, mostly to fine effect except when reflexions dazzled the audience and left the dancers in shadow.
Dreda Blow, on the opening night, makes a charming Beauty, lyrical in both her solos and in her pas de deux with the Beast and with the Prince and strong of foot for the leaps with which Dixon has endowed the part. Her Prince – initially a self-centred primping posturer – is Giliano Contadini, supporting Blow effortlessly in their pas de deux and acting well throughout.
La Fée Magnifique (think Carabosse en pointe) is Victoria Sibson with Hannah Bateman as her beneficent counterpart Luminaire, a Lois Fuller swirl of shimmering flowing tissues. This storyline has Alfred, an ambiguous man-servant who we see first as the Prince’s valet and then as a manipulator for both Magnifique and Luminaire. Hironao Takahashi conveyed an impression of this multi-faceted master of ceremonies with just the right touch of control.
Ashley Dixon as the Beast – the Prince transformed as a result of his selfishness – is a fine characterisation as well as an athletic one, dangerous as only a feral animal can be but always suggesting that something better underlies the savagery, if only it were allowed to come to the surface. This is most apparent in the opening scenes of the second act with Beauty. He thoroughly diserved th audience’s applause at the first night curtain calls.
Beauty and the Beast is at the Theatre Royal, Norwich until 29 October with matinèes on 27 and 29 October. The production’s five-centre tour continues until 7 January.