Garyswordz

Robbie Newton as the evil Abanazar

Aladdin is one of the best traditional pantomimes, and the most popular, as a full house on the opening performance, a Saturday matinee, demonstrated. Panto is as integral a part of the festive season as Father Christmas, turkey and mistletoe. You mess with that at your peril. Fortunately, in the hands of Sutton Arts Theatre the tradition, and production was in safe hands.

Casting a show such as this is difficult. Finding performers who can act, dance, be comic and sing, stretches the talent pool to its limits, but Directors Emily Armstrong off stage, and Dexter Whitehead on it, have come up trumps with a fine cast.

Phebe Jackson stars in the eponymous role. Energetic, sassy and funny, Phebe has a strong singing voice, carrying the difficult “A Whole New World” , steering it clear from the pitfalls of saccharine blandness, to recreate a touching love song. Her convincing love interest, Princess Jasmine, played by Corrine Hickley plays her vocal part in delivering “A Whole New World” too.

Princess Jasmine

Aladdin’s nemesis, Abanazar played enthusiastically by Robbie Newton, had great fun, sneering and snarling and being drowned out under a chorus of boos. It is said that “there ain’t nothing like a dame” and Dexter Whitehead stepped into those heels as Widow Twankey for his dame debut.

He did very well. He eschewed the camp, in favour of a straight “man in a dress” portrayal, making the most of his wardrobe malfunction as the show wore on, haranguing the audience, but selflessly avoiding showboating in favour of keeping the narrative on the move. Josh Higgs as her hopeless, hapless, son was the perfect foil, and also played it straight, but was flat in the right place!

The supporting cast is unusually strong with Phoebe Hooper particularly impressive as feisty Alka, the diminutive but, charismatic, head of the Sultan’s Guard. The Sultan himself, Ray Lawrence, is unassuming and effective, as is Alka’s sidekick, Seltzer ( Christian Blundell). Indeed a particularly pleasing aspect of this show is the youthfulness of the cast. Kira Mack, shimmies and shines as the Guardian of the Ring, while Louis Sutherland injects fresh energy into proceedings just when it is required as the Genie.

Production values are strong. The dance sequences are very tight thanks to a talented team and choreographer Emma Brookes, with the backline as in time as the front. There are plenty of pyrotechnics, and the cast return home on a Star Wars spaceship which flies over the audience to the wonderment of all.A lively, contemporaneous, script by Peter Wilman is child, and family, friendly, free of adult double entrendres.

I took along four guest critics , children whose response was one of absolute delight. There were a few technical problems, but the cast overcame them and personally lined the exits for farewells and photos at the end, a gesture which was much appreciated by an enthusiastic audience. Runs till 19^th December.

This review first appeared in Behind the Arras, abridged, where a comprehensive collection of reviews from the best of Midlands theatre, from a range of reviewers, is available.
http://www.behindthearras.com/

“The Wizard of Oz” is the greatest English language fairy story of the 20th century, and the best ever to come out of America. Its appeal is pan-generational, with those who enjoyed it as children now sharing the magic with grandchildren, and great grandchildren. Written by Frank Baum in 1900, it is best known for the 1939 film production. Musical purists will claim that it is a story with songs rather than a musical, with some justification. At its core it is a morality tale about self- worth . Director Jen Eglinton opts for a faithful retelling of the film which we all know and love.

This was my first visit to the Rose Theatre . I could not help but be impressed by the modern, comfortable, and spacious surroundings, as well as the warm welcome. The Nonentities set themselves quite a challenge in tackling this show, with its numerous technical features and multiple set changes, as well as multiple characters requiring lots of costume changes.

Perhaps the biggest challenge is artistic. The very first song is one of the greatest standards, “Over the Rainbow”, sung solo with no ensemble overture preamble , just keyboard accompaniment. Jessica Schneider (Dorothy) rises to the task well. Harold Arden’s melody is beautiful, the lyrics, by Yip Harburg ( who also wrote them for” Springtime in Paris “and “Brother Can You Spare a Dime”) are sublime. Its themes are of innocence and experience, dream and disillusion. When sung by a child it tells of innocence, by a young woman it is hopeful, by an older person it is a melancholic lament. A huge challenge for any singer for whom the ghost of a young and old Judy Garland stalks any performance. Jessica pitches it as a song of innocence, shouldering the responsibility of the opening number with calm authority. However her stiff wig was a constant visual irritation.

Jessica Schneider as Dorothy with Toto

Before the storm hits Aunt Em’s farm in Kansas, the first set of characters are introduced from whom Joe Harper stands out, first as Hickory, then as the Scarecrow, whilst also producing the video footage of the storm in between. Harper is the energy which drives the show forwards, funny, charismatic, and with thoughtful characterisation, whether he is front of stage stealing the limelight, or supporting from the chorus. The scarecrow’s sidekicks are an energetic Bob Graham as the Lion, and a far from creaky Andy Bingham as the Tin Man.

The multiple sets are simple but effective with stage manager Hilary Thompson expertly marshalling the many set changes as Toto entertained the audience first snuggling up to Dorothy and then, with good judgement, biting Miss Gulch who doubles as the Wicked Witch, played with a twinkle in her evil eye by Hannah Tolley ,who revelled in her anti-hero persona. Richard Taylor entertains as Prof Marvel whilst playing sympathetically the bombastic Oz.

Tori Wakeman was suitably mumsy as Aunt Em, coming into her own as the Good Witch Glinda which gave her the opportunity to show off her fine soprano voice. Music was provided by Musical Director Keith Rowland who had the formidable task of fleshing out the sound for some big numbers with just a keyboard, working non-stop throughout the show. However for a show with a large, able and well costumed cast, the limitations of the accompaniment weakened the impact of several of the musical numbers, particularly “Follow the Yellow Brick road”.

The stand out ensemble set piece arrived when the cast arrived in the Emerald City, richly costumed, and presented with brio and enthusiasm, it was the point at which the evening took off.

Tori Wakeman as Glinda and Hannah Tolley as the Wicked Witch in the Wizard of Oz at the Rose Theatre

The opening night audience warmly acknowledged the cast’s efforts for the curtain call, efforts which grew in confidence as the evening unfolded. Jen Eglinton has produced a show which is faithful to its antecedents for aficionados of the story and fun for the youngsters who are seeing and feeling the magic for the first time. It runs till Saturday 5th December.

This review first appeared in Behind the Arras, abridged, where a comprehensive collection of reviews from the best of Midlands theatre, from a range of reviewers, is available.
http://www.behindthearras.com/

Gary Longden

****

Author Frederick Knott is best known for “Dial M for Murder” (1952)which was successfully portrayed in the cinema by Alfred Hitchcock, and “Wait Until Dark” (1966) which appeared both on Broadway, and in the cinema, starring Audrey Hepburn. In between, he wrote “Write Me a Murder” in 1961. Although the lesser known of the three, it is by no means the runt of the litter, and was a good choice for the Grange Players.

Written in three acts, this is the tale of brothers Clive and David Rodingham, who inherit the family fortune, including the Estate, upon the death of their father. Wheeler- dealer Charles Sturrock is only too happy to relieve them of their responsibilities by buying the estate. His wife Julie is an aspiring writer whom bohemian David is happy to help. Then fiction becomes fact, as the plot twists and turns.

This is the Directorial debut of sisters Suzy Donnelly and Louise Farmer. Choosing a lesser known work was shrewd, few in the audience will have seen it before, equally shrewd was casting so well .

Joseph Hicklin is animated and impressive as pompous Lord Clive Rodingham, his stage brother David (Aarron Armstrong Craddock) neatly counterpoints him as the boat dwelling author whose prospects have dramatically improved, and whose character changes with it. Elena Serafinas produces a fine supporting role as hard drinking, chain smoking, GP,Dr Woolley. Medical mores have shifted in the past half century.

Charles Sturrock is memorably brought to life as local boy made good by Andy Jones, tough, quick witted, and hustling all the time. But Millie Farrelly , as Sturrock’s wife Julie, stood out for me, moving from timid downtrodden doormat, to scheming scarlet woman, in a fine, convincing, compelling, performance.

Told in nine scenes, with one interval, the single set designed by Suzy Donnelly ( she works hard) and Quinn Paddock is functional and effective, yet stage manager Libby Allport also deserves acknowledgement for all the curtain pulling and prop moving that nine changes involves. Rosemary Manjunath also excelled in producing characterful, evocative and authentic period costuming. My only minor quibble being that the merry widow Julie Sturrock probably would have been able to afford more than one pair of shoes.

Donnelly and Farmer have made an auspicious debut with this murder mystery. The inevitable initial scene setting is enlivened by some first class character acting, the humour in the writing is skilfully exploited, and they have a neat eye for detail. A murdered character is dragged off stage “dead” by stagehands during the blackout rather than experiencing a Lazarus like recovery much to everyone’s amusement. The full house warmly acknowledged the finale which featured a cleverly posed curtain call for what was a stylish, and hugely satisfying production, which runs till Saturday 28th November.

Gary Longden

This review first appeared in Behind the Arras, abridged, where a comprehensive collection of reviews from the best of Midlands theatre, from a range of reviewers, is available.
http://www.behindthearras.com/

*****
Author Anthony Horowitz is one of the most prolific and successful multi- media writers around, writing books, TV series, films, and plays . His best known work includes the bestselling teen spy series Alex Rider , and TV series Midsomer Murders, and Foyles War.

Mindgame was originally written as a novel, before Horowitz adapted it for the stage, premiering in Colchester in 1999 before transferring to the West End in 2000. A taut psychological thriller, it is particularly well suited for the tight close spaces of amateur theatre.

With just four characters, this is a demanding production for the cast. Mark Styler is a brash young writer, determined to visit notorious serial killer Easterman as research for a book he is writing. Dr Farquar is not keen to facilitate the interview, Nurse Plimpton is a strangely anxious nurse in attendance.

What follows is a twisting exploration of the public’s fascination with murder, sadism and serial killers. What separates those who enjoy reading about it, to those who do it? Who is interviewing who ( whom…) ? Who is the victim? Who are the guilty parties? Coming out of the theatre audiences will also namecheck Quentin Tarantino, such is the clever dialogue, and macabre, dark, turns.

This is a particularly difficult play to review without revealing key plot developments. What I can say is that if you like twisting psychological thrillers, you will love this production.

Ben Field delivers a fine, nuanced performance including many difficult soliloquies. Joseph Flanagan is a marvellous foil as his inner self is revealed. Liz Webster plays a supporting, but vital role, and is frighteningly vulnerable when cornered.

Theatre goers should be aware that there are some very convincing violent scenes, but that they are lightened by a witty, wry, erudite, contemporary script . It has the audience laughing out loud both to relieve tension, and to enjoy some waspish black humour. The durability of a Marks & Spencer shopping bag has surely rarely been similarly tested. Suffolk audiences will require a sense of humour.

Director Vida Green has done a fabulous job. Technically, it is a challenging show, and with many extended speeches, keeping the audience engaged is a constant concern. Fortunately her cast are superb providing no weak links, just wonderfully compelling performances. The intimate atmosphere of the physical theatre is exploited marvellously as we become part of events unfolding at Fairfields Hospital. John Islip and his team have constructed a credible hospital set which remains in situ for the duration with only minor amendments.

An unusually edgy choice by Sutton Arts, a choice which was wholly vindicated by the response from an audience who were captivated by the play’s progress, and who demonstrated their appreciation by more laughs than I have heard in many comedies, and a rousing reception at the end.

Mindgame runs till 31st October, I suggest that liver is off the menu for dinner beforehand.

Gary Longden