Tag Archives: Woodbridge Seckford Theatre

The Mariner

reviewed at the Headgate Theatre, Colchester on 12 October

Samuel Taylor Coleridge is probably as much remembered by the general public today for his troubled life and opium addiction as for his verse and association with Wordsworth’s circle.

Of his poetry, the most likely to be known is The Rime of the Ancient Mariner, a chilling timeless sea-farers’ tale cast in a deliberately antique format. Pat Whymark’s new play, into which she weaves her own and Emily Bennett’s music, sets The Rime into a biographical narrative.

Richard Lounds makes Coleridge into a slightly cherubic, perpetually juvenile figure, forever wanting more from life and relationships than is feasible. He is understandable, even when being irritating. Eloise Kay, who has an excellent singing voice, plays his long-suffering wife Sarah.

From the beginning of their marriage, Coleridge seems to have seen their partnership as one in which he made all the rules. Sarah was supposed to rear their children, keep house without a regular income, act as his inspiration – and follow him up to the Lakes as a full member of Wordsworth’s coterie.

The opposite sort of woman is personified by Bennett’s Mrs Bainbridge, Coleridge’s non-nonsense London landlady and Wordsworth’s devoted, free-spirited sister Dorothy. Coleridge’s equally-addicted friend Thomas De Quincey, himself engaged in a love-hate relationship with Wordsworth’s circle, is sharply personified by Anthony Pinnick.

Whymark presents this chronicle in a series of exchanges between Coleridge, Mrs Bainbridge, Sarah, De Quincey, the Wordsworth siblings and finally with the doctors who offer to manage his addiction.

The thread upon which this string of faceted beads is strung is The Rime itself. Julian Harries’ recitation is glossed by Coleridge’s own prose annotations; between them they make the familiar, often parodied poem as chilling as its author intended.

Four star rating.

The Mariner is at the Headgate Theatre, Colchester on 13 October with a matinée performance. The tour continues until 11 November and includes the Jubilee Centre, Mildenhall (15 October), the John Peel Centre, Stowmarket (17-18 October), Zinc Arts, Chipping Ongar (19 October), Southwold Arts Centre (24 October), the Jubilee Hall, Aldeburgh (25 October), the Corn Hall, Diss (26 October), the Seckford Theatre, Woodbridge (2 November), the Cut Arts Centre, Halesworth (6 November) and the Sir John Mills Theatre, Ipswich (7-9 November).

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Filed under Music Music theatre & opera, Plays, Reviews 2018

Sherlock Holmes and the Hooded Lance

reviewed at the Seckford Theatre, Woodbridge on 16 December

Common Ground’s creative team of Julian Harries and Pat Whymark have a good like in spoof shows, both for their own company and others. This year we are treated to a Sherlock Holmes adventure which I don’t think you’ll find in the official Conan Doyle canon. Five actors share some 18 parts between them.

Dick Mainwaring as Watson is the exception to the quick changes of costume and gender. He and Holmes (Harries) are broke in Baker Street with Mrs Hudson (Emily Bennett)’s Christmas fare receding faster than well-paid sleuthing. It’s fortuitous that Inspector Le’Opard (Joe Leat) comes calling with a problem.

The music which Whymark has composed and her dance routines are as usual well-conceived (she and Alfie Harries) accompany hese. Noteworthy are Bennett’s ballad as Miss Claypole, a department store employee stuck in a deadend job and only staying in it for the pension, the chorus numbers (which have considerable satirical bite) and Watson’s second-act lament.

Theatrical in-jokes as well as political ones flow through the dialogue; this is not really a show for small children. The ins and outs of the plot are sufficiently complex to keep the laughter coming; puppets (juggling with cats, anyone?) supplement the cast. Patrick Neyman  has the chance to switch accents as well as clothes as Mycroft and half of the store’s ownership.

Six other theatres are included in the Christmas tour, and I suspect that the whole thing will have tightened and speeded up once it is run-in. Common Ground, like many other smaller-scale regional companies, has learned that make-do-and-improvise can be a dramatic advantage as well as a drawback. This is a clever show, but somehow not quite clever enough.

Three and a half-star rating.

Sherlock Holmes and the Hooded Lance plays at the John Peel Centre, Stowmarket between 18 an 20 December, at the Jubilee Hall, Aldeburgh from 1 to 3 January, at the Corn Hall, Diss on 5 January, and at the New Wolsey Theatre Studio, Ipswich between 8 and 13 January. Peformance times and seat availability vary, so check the company’s website: www.commongroundtc.co.uk for details.

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Filed under Music Music theatre & Opera, Pantomimes & Christmas season shows, Reviews 2017

The Ladykillers of Humber Doucy Lane

reviewed at the Sir John Mills Theatre, Ipswich on 8 December

Be warned! Eastern Angles’ seasonal offering changes name when it reaches Peterborough’s Key Theatre for the final week of its three-venue run. There it becomes The Ladykillers of Orton Brambles – both are areas which  actually exist in their respective cities.

But one never expects everyday logic in on of these variations on a popular literary or dramatic themes. Harry Long’s script is (very loosely) based on the Ealing Films comedy – and of course there has recently been a very successful stage version at the nearby New Wolsey Theatre. Our band of robbers, newly sprung from gaol, here masquerade as thespians rather than musicians to hilarious effect.

Dominic Conway has provided some catchy tunes for the cast of five to sing and play. Designer Sean Turner makes a small acting-area with the audience on two sides and the necessity for a bewildering number of costume changes seem as natural as Laura Keefe’s production allows.

The gang is masterminded by Todd Heppenstall as Left Eye with Emma Barclay’s Cow Crusher as his right-hand person. Barclay also doubles as Binkie Blaine, a landlady whose crush (to put it politely) on Michal Ball provides a running joke throughout.

Also involved is slow-witted Scar Feet (Daniel Copeland) and thwarted dancer Smithy; Alex Prescot’s interpretation of the menservants in the production of The Importance of Being Earnest and Keshini Misha’s Method-soaked Kim are ponted reminders of performers who drive their directors  to drink.

We also meet the policemen whose boring desk-duty is scarcely enlivend by Binkie’s regular reporting on conspiracies; she’s an up-to-date old lady, for her suspecisions are well nurtured by Facebook and Twitter.

Four and a half-star rating.

The Ladykillers of Humble Doucy Lane/of Orton Brambles runs at the Sir John Mills Theatre, Ipwich until 6 January. It transfers to the Seckford Theatre, Woodbridge between 9 and 20 January and (with the alternative title) to the Key Theatre Studio from 23 to 27 January. Performnce dates and times vary. Check the Eastern Angles website:www.easternagnles.co.uk for details and seat availability.

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Filed under Music Music theatre & Opera, Pantomimes & Christmas season shows, Plays, Reviews 2017

The Old Curiosity Shop

reviewed at the Southwold Arts Centre on 27 October

Common Ground’s autumn production now launched on its East Anglian tour is an adaptation of Dickens’ The Old Curiosity Shop. A cast of five, all of whom sing and play musical instruments, take us through the story of Little Nell and her grandfather as they flee London and the nefarious designs of Daniel Quilp.

The adaptation is by Julian Harries and Pat Whymark (who has also composed the music which is such a major part of the production. The effect is, I would imagine, close to that produced by one of the small-scale touring companies which plied the various East Anglian circuits in the 18th and 19th centuries.

It is in some measure a ballad opera, in the style of The Beggar’s Opera or Black-Eyed Susan. Two numbers stand out – “The fair orphan maid” in the first half and “The turning of the tide” towards the end of the second act. All the cast take several roles, including drag versions of Kit Nubbles’ mother, the sadistic Miss Brass and the waxworks proprietor Mrs Jarley.

The one woman in the cast is Eloise Kay, who takes on Nell (her age updated from the original “not quite fourteen”), the downtrodden Mrs Quilp and the Brass household drudge eventually nicknamed “the marchioness”. Quilp and the mysterious Single Gentleman makes an interesting doubling, as does pliable lawyer Mr Brass and Nell’s devoted but gambling-addicted grandfather.

Harries, Joe Leat, Tristan Teller and Ivan Wilkinson there for play all the male and the afore-mentioned female ones in a production in which Whymark  takes Dickens’ story seriously as well as briskly while allowing space for character development. Notably these include Kit and Dick Swiveller. The Punch and Judy show is a delight – that’s the way to do it!

Four star rating.

The Od Curiosity Shop tours East Anglia until 25 November, including the Corn Hall, Diss (28 October), the Jubilee Centre, Mildenhall (30 October), the John Peel Centre, Stowmarket (2 November), The Cut, Halesworth (3 November), the Seckford Theatre, Woodbridge (4 November), the John Mills Theatre, Ipswich (6 and 7 November), the Theatre Royal, Bury St Edmunds (between 9 and 11 November, with a matinée on 11 November), the Headgate Theatre, Colchester (13 November), the Wingfield Barns (22 November) and the Jubilee Hall, Aldeburgh (24 November).

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Filed under Music Music theatre & Opera, Plays, Reviews 2017

Stoat Hall

(reviewed at the SirJohn Mills Theatre, Ipswich on 9 December)

Eastern Angles’ Christmas show is a Pat Whymark and Julian Harries confection, which means that it’s literate, tuneful and lethally clever – at times a little too much so for its own good. There’s a lot of cod as well as real Shakespeare and a whole series of riffs to do with Richard III and Henry VIII, not to mention tranches of East Anglian as well as national history, legend, might-have-beens and architecture.

That all means that I thoroughly enjoyed Stoat Hall, but perhaps partly because it tweaked some of my own interests. There’s an extremely hard-working cast of five, switching stage gender as adroitly as role, costume and set accessories. At the centre of the imbroglio is poor Sir Roger (Richard Mainwaring) who has the misfortune to have close blood ties to both the last Plantagent and the second Tudor kings.

Not to mention a crone of a grand-mother Agnes (Violet Patton-Ryder), a wilful wife and a daughter who takes after her (Geri Allen in both roles), a love-sick jester Perch (Matt Jopling) and a sinister in-house alchemist John Dee (Patrick Neyman, who also plays the second, stroppily butch daughter Hedwig). When Henry arrives on a wife-hunting mission, things start going even more wrong.

The music is suitably 16th century pastiche; the cast provide the instrumental accompaniments. Designer Richard Evans works his own particular magic with a very small acting area, ornamented by a whole series of pop-up and pop-out puppets. Not to mention an interesting variation on an autopsy. Don’t worry, no animals (two- or four-legged) were hurt during the procedure.

Stoat Hall runs at the Sir John Mills Theatre, Ipswich until 7 January. It then plays at the Seckford Theatre, Woodbridge between 10 and 21 January and at the Key Theatre Studio, Peterborough from 24 to 28 January. Check the theatre’s website (easternangles.co.uk) for performance times.

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Filed under Pantomimes & other seasonal shows, Reviews 2016

Holy Mackerel!

(reviewed at Sir John Mills Theatre, Ipswich on 19 December 2016)

You expect something different from Eastern Angles’ Christmas shows – and this year’s offering certainly lives up to that expectation. The script is by Harry Long and produced in partnership with the West Country-based Shanty Theatre Company. The story (yes, there is one, and it’s based on fact) concerns what happened in 1896 when East Anglian fishing-boats muscled in on the mackerel shoals around Newlyn.

At that period, most of the Newlyn fishermen were staunch Methodists, not putting to sea between Saturday sunset and Monday dawn. The East Anglians (nicknamed “Yorkies” in Cornwall) had no such scruples and cornered the weekend market by loading their catches onto the early Monday morning train to Billingsgate market in London.

Unsurprisingly, rioting ensued which involved over 1,000 Cornish men. Long’s script homes in on just a few main characters, neatly defined for the audience by wearing their names (or those of their boats) on skirts or tarpaulins. Mags (Louise Callaghan) is our heroine, an attractive committed Methodist who falls for not-too-bright Norman (Long) who, among other educational deficiencies, has no idea of what Methodism might be.

No story to do with the sea would be complete without a thorough-going villain. Christian Edwards plays Brassy, all country-gentleman tweeds and shooting-stick; he is the owner of the boats attempting to muscle in on the Cornish mackerel harvest. Mabel Clements and David Copeland complete the cast which – Tim Bell’s production is in the full Eastern Angles tradition of 17 parts (not to mention songs, dances and instrumental accompaniments) being shared among a minimum quantity of players.

Verity Quinn has designed some interesting sets and costumes. Stu McLoughlin is the composer with Barnaby Southgate as musical director. Penny Griffin’s lighting adds to the atmosphere. It may be slightly offbeat even for an Eastern Angles Christmas show but this collaboration with a like-minded theatre company suggests that the seeds of similar productions may already be germinating.

Holy Mackerel! is at the Seckford Theatre, Woodbridge until 23 January and at the Key Theatre, Peterborough between 26 and 30 January.

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Filed under Pantomimes & seasonal shows, Reviews 2015