Garyswordz

A three handed play, with all -female cast, by David Mamet, written in 1999. “Boston Marriage” is set a century earlier, the title being a euphemism, said to have been in use in New England in the decades spanning the late 19th and early 20th centuries, to describe two women living together, independent of financial support from a man. The place is assumed to be Boston, New England.

The term “Boston marriage” became associated with Henry James’s The Bostonians (1886), a novel involving a long-term co-habiting relationship between two unmarried women. Although James himself never used the term, his sister Alice, who lived in such a relationship with another woman, Katherine Loring, was among his sources .

Plays about, or featuring, gay men are not uncommon, those featuring lesbian relationships less so. However acceptance of women living together in ambiguous circumstances has been more socially accepted over the years than men doing likewise. The plot is modest, the script verbose, making it a challenging play for a director. If it is played as a niche lesbian drama it narrows its audience, if played as a straight parlour play its raison d’etre is lost, if sexed up, the border between comedy and vulgarity can be fine.

Director Sandra Haynes aims for subtle, rather than vulgar, comedy, and implied, rather than overt sexuality.

Alison Cahill is the stay-at-home Anna, mistress to a wealthy man who maintains her lavish, kept lifestyle, while her lover Claire (Joanne Richards) has met an innocent young woman whom she hopes to bring to Anna’s house to seduce. Although pivotal to the plot, we never physically meet the intended prey. Anna is waspish and overbearing, Claire is all aloof social refinement mixed with carnal lust. Both principals handled their word heavy, demanding roles, admirably, although I read more sexual chemistry and tension in the play than is portrayed here.

Between the two lovers is the put-upon Scottish maid Catherine (Jen Godbehere) , whom Anna calls with equal indifference Mary, and any other name that comes to mind. Catherine’s quick wit, sly disobedience and cheeky subversion are nicely played, and Godbehere’s confidence in the part grew as the play progressed. The cruel bullying by Anna of Catherine is explained by her desire for her, as evidenced by her proposition , mirroring Claire’s desires for a younger woman too.

The badinage is witty and quick-fire, designed to shock, that the outwardly refined can be so filthy of thought and bedroom desire. Curiously the language uses frequent anachronisms ( “Go tell it to the marines”) combined with obscure and arcane words and phrases a century old, all delivered in iambic pentameter making it a demanding piece for the actors to learn.

The studio performance was particularly apt for this single set production, a parlour play performed in a parlour. “Boston Marriage” runs until Saturday 14th March.

I came to this production “cold”, knowing nothing about the show, having little regard for puppets, and a disregard for much American humour. Little did I know how much my theatrical spirit would be enriched and my views changed over the proceeding two and a half hours!

Richard Ham as Princeton

Avenue Q is a downmarket New York street inhabited by humans and puppets. The show revolves around Princeton, a college graduate searching for a purpose amidst his penury, surrounded by a nymphomaniac puppet, a masturbating monster and a Korean harridan, amongst others. It is an adults only production which draws on the idealistic world of children’s television characters, and then imagines what will happen when they grow up.

The cast consists of three human characters and eleven puppet characters who interact as if human, Sesame Street-style. The puppets are animated and voiced by actor/puppeteers who are present, unconcealed, onstage, but remain “invisible” relative to the storyline. The same puppet may be operated by different puppeteers in different scenes, and the actor voicing the puppet may not be the one animating it. One puppeteer sometimes voices two or more puppets simultaneously. Conversely, the so-called “live-hands” puppets require two puppeteers — again, in full view of the audience. It is a complex show to stage, but six months in rehearsal pay off.

Highbury Theatre itself is a little gem, tucked away on the Sutton Coldfield/ Erdington border. Modern and well appointed, the higgledy- piggledy café and bar lounge provide plenty of space for refreshment, whilst the auditorium itself is up to date, with comfortable seating and well raked tiers.

Producers Keith Hayes and Nigel Higgs have gone the extra mile on production values, and are paid back in spades. A professional set has been imported rather than an improvised constructed version being built, the puppets are the bespoke creations made by Paul Jomain for the West End run, and instruction on how to use them was provided first hand by West End puppeteer Nigel Plaskitt.

The cast are divided into two teams for the two week run, such are the demands of the production. Unsurprisingly the colourful puppets are superb, operated by black clad actors, but with both acting meaning that there are often twice as many expressions to observe as people on stage. Although a musical, the libretto is strong and humorous, reaching out way beyond its American origins with some neat contemporary and local references added in.

But it is the songs which shine. “Everyone is a little racist sometimes” is painfully funny with lines such as “Ethnic jokes might be uncouth/ But you laugh because/ They’re based on truth”. However the stand out moment is the outrageously crude show-stopper, “You Can Be as loud as the hell you want ( When You’re Makin Love)” . The sight of puppets bent over a table “at it”, their puppeteers bent over the table simulating being at it, whilst other puppets perform oral sex, and a monster masturbates while watching, is not standard theatre fare, and had the entire audience roaring with laugher at the ever –increasing contortions on the puppets and puppeteers’ faces.

The large and rotating cast deliver a tour de force as an ensemble, with no weak links. On the night, Liz Webster, an actress for whom amplification is usually unnecessary, was outstanding as Korean harridan Christmas Eve. She convincingly terrifies fiancé Brian (Richard Beckett) throughout, yet sings a beautiful solo , and duet (with Kate Monster) too; “When You Ruv Someone”. Karisse Willets delights as Kate Monster, and Suzy Donnelly sways and sashays a treat as Lucy the Slut. Richard Ham holds things together nicely as Princeton and Dave Fox’s Gary Coleman is streetwise and fun. Counterpointing the main characters, Dave Carey and Mark Murphy are a wonderful comic double act as the onanistic Trekkie Monster, and Duncan McLaurie offers a poignant, sensitive portrayal of Rod the closet gay who retains his friendship with Nicky, nicely played by Simon Baker.

Coming out as a puppet isn’t easy

The original production was conceived by Robert Lopez and Jeff Marx, but it is this terrific company, and Keith Hayes vision which shine through. A great show, memorably realised, offering laughs, reflection, coming of age poignancy, and good old fashioned bawdiness, a brilliant night’s entertainment.

Avenue Q is on at the Highbury Theatre Centre until February 28. To book tickets call 07931 033661 or visit http://www.avenueq.org.

Directors Nigel Higgs ( left) and Keith Hayes (right) with ensemble behind

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France has produced some fine playwrights of weight and comedy – Molière, Racine, Yasmina Reza and Feydeau, to name but a few. But its most frequently performed playwright worldwide is Marc Camoletti, author of “ Boeing Boeing”, a farce in a form made popular by Brian Rix, but with a distinctive Gallic favour. Although now some forty five years old from when it first opened in 1960 , and ran for seven years in the West End, its mix of sexual comedy and national stereotypes still resonates long after the rumble of the engines of Super Caravelles have disappeared into the distance.

Set in Paris, and originally featuring two Frenchmen, the play was recently revived with two American men in the male roles. For this production, the men are British, whilst the women retain their national identities. The plot is simple, playboy Bernard has three fiances who are air hostesses with different airlines whose conflicting schedules means that he runs a menage a quatre, enabling him to always enjoy one at home, whilst the others are the other side of the world. This arrangement is normally assisted by his long suffering French housekeeper Bertha. However the arrival of old friend Robert complicates matters and provides vital auxilliary assistance when Bernard’s carefully organised diary begins to nosedive from 35,000 feet as new faster aircraft shred his meticulous diary arrangements

Director Christopher Waters’ task in producing this play was complicated by two very late cast changes. It is to the enormous credit of all involved that the identity of the late additions was not at all apparent. Jennifer Mears took on Bertha the housekeeper with a week to go – and is an absolute delight. Laconic, droll, world – weary, and acerbic, she shuffles whilst the other girls shimmy, and steals the show whenever she appears. Sarah Carter only had two weeks longer to get up to speed as TWA hostess Gloria. Flamboyant, brash, man-eating and sassy, her confident performance was a delight. Representing Lufthansa is Phebe Jackson as Gretchen. As well as being beautiful, she has presence , enabling her to play the Teutonic stereotype with ease. The physical jousting with Robert was particularly pleasing. Third fiancé aboard is Katrina Ann Foster, Ait Italia’s Gabriella, who revelled in her sex kitten role, coquettish, sexy and …Italian.

The show opens with theatre emergency exit procedure helpfully demonstrated by all three girls, who along with Bertha, retained their accents admirably and consistently. Martin Groves deserves particular credit for a sumptuous, lavish and convincing flat interior that inevitably boasted a lot of doors which opened and closed with increasing frequency as the farce hotted up. The costumes of the air hostesses including fitted jackets and pencil skirts were equally pleasing on the eye.

The action itself pivots around Dexter Whitehead as Bernard, whose smug swagger is soon pricked by the logistical chaos which envelops him with the unstoppable power of four Pratt & Whitney engines. I was a little confused by the programme notes which suggested that the setting was the 1980’s, some joyous period song classics from Sailor reinforce this, whilst the uniforms and some of the aircraft references seemed 1960’s, not that it affected proceedings or the audiences’ enjoyment of the show.

Gloria sorting out her love interest

Rod Bisset as Robert is the perfect foil to Bernard. He enters the production like a lamb, but leaves like a lion, with a girl to boot! His erstwhile innocence falling away as he starts to savour city life. The first half of the show is longer than the manic second, but its two hour running time never drags. Waters understands the raw ingredients of farce, and this production offers pace, slamming doors and scantily clad girls aplenty. It is also worth noting that despite the late arrivals, not a prompt was heard, or entrance missed. Sexy without being sleazy, racy without being particularly bawdy, it is easy to see how this farce has endured, and this production does full justice to the original spirit and vision of the show, running until 17th January.

There are a number of festive productions popular at Christmas time. Charles Dickens’ “A Christmas Carol” is a favourite, and with good cause. Its message of festive cheer and hope at the expense of parsimony and gloom is evergreen, its allure demonstrated by an almost full Monday night house.

Although the theatre is located within the anonymous Intu shopping centre, the auditorium and facilities are fabulous. This show boasts an intricate and imposing set, dominated by a giant clock face, echoing Derby’s clock making heritage, ready to herald the ghosts and spirits of Christmas past, present and future. A revolving walkway keeps things moving on ground level, and above, an elevated walkway provides for split level balcony performance.

Ebeneezer Scrooge is the, at first cold, then warm, beating heart of what unfolds. Although written 170 years ago, the sentiments and debate resonate today, indeed an opening rant could easily have been mistaken for an Ian Duncan-Smith speech. Jim Barclay as Scrooge revels in moving from Victorian curmudgeon to philanthropist in a script well adapted by Neil Duffield. Director Sarah Brigham does not shy away from poverty, offering beggars and orphans, equally she knows how to put on a set piece which is pleasing to the eye and ear including song and dance, particularly in the feast scene.

Kate Robson-Stuart plays Mrs Cratchit

A talented ensemble cast sing and play musical accompaniment on stage. Musical Director Adam Howell has arranged several of the traditional, familiar carols which pepper the show with original, pleasing harmonies, the highlight of which is “In the Bleak Mid-Winter”. Local children, in three teams, ably support their adult, professional counterparts. This night’s performance was played by Team A, from whom` Freya Youngman stood out. Daniel Willis is an engaging Bob Cratchit, the fragrant Kate Robson-Stuart is a delight as his wife. The chain-laden ghost ( by Christopher Price) is the most striking of the spirits, straining against his shackles as he foretells doom.

At two hours, the show leaps along at a lively pace with something for everyone. The social commentary is faithful to Dickens’ vision in the novel, the script is humorous and witty, the Victorian sense of Christmas, both in spirit and stage presentation, will delight children in a family friendly production.

Charity and overseas aid have come under much media scrutiny recently in an era of financial austerity, Dicken’s reminder that it is our humanity which binds us together and can make us great is as pertinent now as it has ever been. “A Christmas Carol” runs until Sunday 4th January.