Garyswordz

*****
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

The Fired Up Theatre Company are starting to define the word versatile. From the rock opera’s of The Wall and Quadrophenia, and the thriller-scape of The Fell Walker, they now tackle this traditional murder mystery classic. Much played in numerous film and television adaptations, it was also produced for the stage by the Peepolykus Theatre Company at the West Yorkshire Playhouse in 2007.

The Hound of the Baskervilles is the third of the crime novels written by Sir Arthur Conan Doyle featuring the detective Sherlock Holmes and is often voted the best by aficionados of Doyle. Originally serialised in The Strand Magazine from August 1901 to April 1902, it is set largely on Dartmoor in Devon in England’s West Country and tells the story of an attempted murder inspired by the legend of a fearsome, diabolical hound of supernatural origin. Sherlock Holmes and his companion Dr. Watson investigate the case.

Holmes and Watson are such established figures in popular literary culture that many productions have veered towards pastiche. This production is billed :“a tragi-comedy, farce thriller, melodramatic theatre performance”, so there was quite a lot to fit in!

The production opens to a bare stage, bar a chair, a back projection screen, and mists seemingly rolling in from the dark moors around. A company of thirteen ensured the minimalist stage was always busy, the big screen providing still and live action backdrops. The latter was particularly well utilised for live action footage of the cast at a railway station and on a train, courtesy of Chase Water Heritage railway. Original music by Helen Thorne and incidental music by Jimmy Dewhirst was particularly atmospheric and effective.

Mal Dewhirst’s script was authentic and easy on the ear, humorous without veering into pastiche. His running gag of a complex situation being a “two pipe problem” consistently drew laughs. Co-director Simon Quinn also took on the part of Sherlock Holmes in an engaging portrayal, part wacky Dr Who, part North Bank Boot Boy. John Westoby was a credible foil as Dr Watson, deferential, a poor shot, and always second best to Sherlock’s inimitable powers of deduction.

Supporting were a strong cast. I particularly enjoyed Michael Lieber’s Dr Mortimer, his stage wife, Frida Andersson, got to wear the best dress, and looked fabulous, whilst convincingly attempting to invoke the spirits of the dead in the seance scene. Anthony Webster as Barrymore, sporting a mane of hair that will have Andie MacDowell green with envy, and should have L’Oreal racing to swap models, was excellent, giving a restrained, nuanced performance, as did Tamsyn Ashton as his wife, evoking the “downstairs” of Downton Abbey.

Minor parts can have big impacts and Will Green set a confident tone at the start as the Coroner, whilst the teasingly androgynous Mrs Frankland was played with zest and good humour by Hannah Smith.

The temptation on stage adaptations is to grossly simplify the plot, but with thirteen actors at his disposal, Mal Dewhirst’s writing does not compromise, and still tells the tale effectively within the one hour fifty minute performed running time.

A fine adaptation of a popular tale, well told. “Hound of the Baskervilles” runs till Saturday 17th October.

Glen Miller is a name that resonates amongst the second world war time generation. His music has endured to delight the generations that have followed.

Born in 1904, Miller was an American big band musician, arranger, composer, and bandleader in the swing era. He was the best-selling recording artist from 1939 to 1943, leading one of the best known big bands. Miller’s recordings include “In the Mood”, “Moonlight Serenade”, “Chattanooga Choo Choo”, and “A String of Pearls”. Very popular in Great Britain, his link with our country was immortalised when he departed from RAF Twinwood Farm near Clapham, Bedford for France to entertain U.S. troops, but disappeared, presumed dead, in bad weather over the English Channel.

Theatre impresario Bill Kenwright is a shrewd judge of what is popular and what stories and performers will pull in the crowds. Glen Miller and his music is a safe bet for those of a certain age, but billing Tommy Steele as the lead, a man twice the age Miller was when he died, was a risk. Steele’s love of Miller and his music was a driving factor in his casting, but would it work? Particularly when Miller’s finest work is instrumental.

Director Bob Thompson sidesteps the age issue by using Steele to mainly narrate Miller’s story, which amounts to little more than stage directions to enable the next big band number as we are treated to a well selected slice of the Miller musical catalogue. He also re-imagines some scenes as Miller. Steele sings solo on “The Nearness of You” and duets with Miller’s wife-to-be Helen , energetically played by Sarah Soetaert on “Zing! Went the Strings of My Heart”. Soetaert is 50 years Steele’s junior, I half expected him to break into a rendition of “Some Guys Have All the Luck” ! The 16-piece onstage orchestra are terrific, the choreography snappy, delivered by a six-strong chorus whose tap dancing delighted an appreciative audience.

Flared forties skirts swirled and twired with the girls, Zoe Nicole Adkin, Siohban Diffen and Jessica Allen a visual and technical delight. Tap dancing is a lesser displayed skill in contemporary shows. Steele wisely left it to the youngsters, who excelled.

Steele transcends popular music culture like no-other, apart from Sir Cliff Richard. The affection Steele feels for performing and his audience was palpable, as was the affection returned on a very well attended Monday opening night. A fifties rock and roller, he has appeared in musicals pretty much non-stop since, with that energy always present in this lively show which runs till Saturday 24th October.

Gary Longden