All’s Fairy in Love and War

A MIDSUMMER NIGHT’S DREAM

Crescent Theatre, Birmingham, Sunday 9^th June, 2019

 

The Crescent’s summer touring production this year is Shakespeare’s enduring romantic comedy with a supernatural twist, and I am lucky enough to catch an indoor performance rather than brave the vagaries of the British summer!

This is an enjoyable, accessible production – Director Georgina Evans opts for modern-dress on a simple set of slender branches and fairy lights; although, I do find the draconian laws of Athens at odds with the familiarity of the attire.  I think more needs to be made of the sheer unreasonableness of the patriarchy here (Marry whom I tell you to or be celibate for the rest of your life) and poor Hermia (Charlotte Thompson) needs to be more terrified/upset/resentful/what-have-you at the onset, so that when Lysander (the excellent Jacob Williams) steps forward with an escape plan, it comes as more of a relief, a desperate measure for desperate times.  Hold up, I did say this is a comedy… In Shakespeare, a comedy is where the problems of the drama are overcome by the characters (as opposed to tragedy, where the characters are overcome by the problems).  After this dark and severe (and potentially tragic) opening, the fun and frolics in the forest should come as sharper contrast.  Evans has an eye for comic business, and it’s the little details, the interplay, the fleeting expressions, that bring the joy to this production.

Ollie Jones is Duke Theseus – he warms into the role as the play goes on, lacking the imperious tones and power of Andrew Cowie’s magnificent fairy king Oberon (special mention to Angela Daniels for his striking costume and headdress).  Aimee Ferguson is a subdued Hippolyta, yet this conquered Amazon is not shy to express her views, through action, while Shady Murphy’s Titania is a dynamic presence.  Les Stringer brings gravitas as the unreasonable Egeus, softening into a kind of Polonius figure when he is finally overruled by the Duke.

Charlotte Thompson has her moments as Hermia – particularly the slanging match with Jessica Shannon’s marvellous Helena.  Jordan Bird is a pleasing Demetrius, vying with Jacob Williams’s Lysander – both do the lovestruck fool bit rather well.  Dayna Bateman is thoroughly charming as the hardworking Puck, whose meddling in mortal affairs does not always go to plan.

The Mechanicals are a likeable bunch, led by ‘Rita’ Quince (Nicole Poole) with Scott Wilson’s Flute blossoming into a sublimely ridiculous Thisbe, towering over a diminutive Pyramus (Crescent stalwart James David Knapp having a crack at Bottom, so to speak).  Knapp’s comic instincts are sound and I’d say he could afford to be even more bullish as Bottom dominates the group’s rehearsals.

While there are some line-readings that don’t quite come across, on the whole everyone handles the language rather well and with conviction, which is no mean feat when there are scenes comprised of rhyming couplets.  Of course, the play-within-a-play provides the most laughs – it’s one of the funniest scenes in Shakespeare, in all theatre, probably, and the company do an excellent, raucous job with it.  There’s a lovely celebratory feel to the closing moments and a rousing song to finish.  Funny and sweet, the show would perhaps benefit from starker contrast between the dark and light to intensify the impact of both.

Top Bottom: James David Knapp (Photo: Graeme Braidwood)

Work of Genius

BREAKING THE CODE

Crescent Theatre, Birmingham, Saturday 6^th October, 2018

 

Before Alan Turing became a household name some fifty years after his early death, Hugh Whitemore wrote this play which went a long way to establishing the computing pioneer as one of the most important figures of the Second World War.  Turing’s work in cracking the code of the Germans’ Enigma machine played a major part in our defeat of the Nazis – we have a lot to thank him for.

The timeline of the play is not in chronological order.  It is up to the audience to decode the order of events to build up a picture of Turing’s life story.  Director Liz Plumpton keeps the staging simple, allowing clues from the script to inform us which decade we’re in. She is blessed with a superlative cast, who keep us riveted throughout.  The intimacy of the in-the-round setting puts us right in the action as we eavesdrop on Turing and the people in encounters at work and at play.

Making his debut at the Crescent, Jack Hobbis is stunningly good in the lead role.  Hardly ever offstage, he is utterly convincing, inhabiting the character with nuance, animation and total conviction.  This Turing is eminently likeable, for all his eccentricities, quirks and directness.  I suggest the Crescent treat Hobbis the way Turing treated his tea mug: chain him to a radiator so he can never leave the building!  I have seen lesser performances win all sorts of awards.

The mighty Brendan Stanley is thoroughly credible as no-nonsense detective Mick Ross, and Phil Rea is also on excellent form as Turing’s Bletchley Park boss, Dilwyn Knox, a humorous cove, decidedly old-school.  Angela Daniels, as Turing’s mother, adds depth to her characterisation as the action unfolds, while Sanjeev Mistry makes a strong impression as Turing’s fateful bit of rough, Ron Miller.  Amy Thompson combines sweetness with efficiency as female boffin Pat Green, and Tony Daniels has a pleasing cameo as top-secret brass, John Smith.  Young actor Louis Clare appeals as Turing’s schooldays chum, Chris Morcom and later dazzles as Greek trick, Nikos, spouting the language like a native – an impressive feat on its own but Clare imbues Nikos with a remarkable presence as he listens to Turing’s babbling.

Jennet Marshall’s costumes do most of the period work for the production, evoking the era superbly, while Kristan Webb’s lighting design stylishly takes us from place to place and time to time.  The final moment, of Turing with his poisoned apple, will stay with me a long time.

A superlative production that is both humorous and gripping; another jewel in the Crescent’s sparkling crown.  We learn a good deal about the tragic genius, who has become a hero-martyr type, a figurehead for the decriminalisation of homosexuality.  I wonder if the Alan Turing Law, passed as recently as 2017, pardoning all those cautioned or convicted of homosexual acts, would bear his name if he hadn’t saved us all from fascism, or whether the long-overdue law would have been passed at all.

Genius! The brilliant Jack Hobbis (Photo: Graeme Braidwood)

Stable Relationship

EQUUS

Crescent Theatre, Birmingham, Saturday 30^th June, 2018

 

The Crescent’s Ron Barber Studio is home again to yet another outstanding production.  Director Stewart Snape’s take on the Peter Shaffer classic is instantly engaging, thoroughly engrossing and blisteringly devastating.

The mighty Colin Simmonds completely inhabits the role of disillusioned psychiatrist, Martin Dysart, charged with his most disturbing case ever: the case of an (un)stable boy who, for some reason or other, took it upon himself to blind six horses in one night.  Simmonds’s Dysart feels as well-worn as his jacket, jaded in his erudition, and also very funny.  Shaffer’s play has a rich seam of humour running through the soul-searching and philosophising and Snape gets the tone spot on.  Dysart’s professional relationship with kindly magistrate Hesther comes across, thanks to the chemistry between Simmonds and Jo Hill, but of course, it is the scenes between Dysart and his patient that grip and thrill the most.

Sam Wilson and Colin Simmonds (Photos: Graeme Braidwood)

Sam Wilson is an excellent Alan Strang: pent-up and brooding at times, aggressively blaring out his thoughts at others.  Wilson switches from teenage Alan to young boy Alan with ease in his re-enactments of key moments from his troubling life.  An understanding develops between doctor and patient, and the mystery unfolds…

Sturdy support comes from Andrew Lowrie as Alan’s repressive father – nowadays we might call him ‘gammon’ – and Zena Forrest as Alan’s mother, credibly desperate (beneath a somewhat ill-advised wig!) as she seeks to understand but mainly exonerate herself from the shocking act of violence perpetrated by her child.  Jess Shannon is matter-of-fact as Alan’s attempted love interest, Jill – a pleasing contrast to all the wordy soul-searching of the others; Angela Daniels makes a formidably efficient Nurse; while Josh Scott has his moment as the bewildered stable owner.

Phil Leonard makes a strong impression as the Young Horseman, and also as Nugget, one of the ill-fated horses.  As is customary in this show, the horses are represented by actors in stylised masks, using movement (head tossing, foot stamping) to evoke horsiness.  John Bailey’s creations for this production are elegant constructions of wire that the actors don like ritualistic masks.  The tramping of their hooves, and assorted other noises, add to the tension.

The story is played out on a set of wooden floorboards and railings, suggestive of the stable, and also of a performance space: it is where Alan’s memories are staged, and also his place of worship.  The face of a horse is stained into the wood, reaching up the back wall and along the floor, almost like a presence itself.  Colin Judges’s design is beautifully efficient, superbly suited to Shaffer’s theatrically sophisticated script, where narration and reconstruction are entwined with more naturalistic scenes.  John Gray’s splendid lighting, warm straw and cold blue, adds to the atmosphere.

This play about passion builds to a searing climax: the stylised re-enactment of the crime itself, a Bacchic moment, horrific in a symbolic way, leading Dysart to understanding at last, and brings to a close another superlative offering from the Crescent.

In a word: blinding.

Boots and All

HOBSON’S CHOICE

Crescent Theatre, Birmingham, Sunday 12^th November, 2017

 

Harold Brighouse’s classic comedy first appeared in 1916 when the tide of women’s suffrage was running high.  Set in 1880, it tells of Hobson, a widower and owner of a shoe shop, seeking liberation from the three grown-up daughters who work in his shop without pay, so he can have some peace and quiet.  He sets to marrying off the younger two – the eldest, at the advanced age of 30 is beyond hope, he feels.  This eldest, Maggie, takes matters into her own hands by browbeating the timid on-site shoemaker into marrying her.  She then orchestrates matters so that her sisters are able to wed the men of their choosing, manipulating their father until he is worse off than when he started.

The script still sparkles with sarcastic barbs and acerbic observations and feels fresher than any episode of Open All Hours penned in more recent years.

As blustering, boozing patriarch Hobson, the mighty Colin Simmonds gives a majestic performance in a superb characterisation.  The timing is impeccable; the nuances and the broader moments provide a masterclass in comic acting.  He is matched by two fellow leads: Kimberley Cormack as the level-headed, assertive and somewhat Machiavellian Maggie in a formidable display – you wouldn’t want to cross her; and James David Knapp is endearing and extremely funny as the timid and shy cobbler, Willy Mossop.  You wouldn’t want to be in his shoes, so to speak.

Between them, these three bring the play to remarkable life and they are supported by a strong team of players: Notably, Amy Thompson as Vickey, Emily Jane Carey as Alice, Carl Foster as Fred Beenstock, and Damien Dickens as Albert Prosser.  There are memorable cameo appearances from Jo Thackwray as the haughty Mrs Hepworth and Brian Wilson as Hobson’s drinking buddy, Jim.

Faye Rowse’s set design evokes the period stylishly and effectively, while Angela Daniels’s costumes reveal not only the characters’ status but also the changes in their fortunes as the action unfolds.  Charlotte Robinson’s hazy lighting suggests gas- or candlelight.  Director Les Stringer hits all the comedic hotspots while maintaining the emotional truth of the situations.

Thoroughly engaging and massively entertaining, this is a splendid production of a masterpiece and is a ‘shoe-in’ for one of my favourites of the year.

The shoe’s on the other foot. Kimberley Cormack, James David Knapp and Colin Simmonds (Photo: Graeme Braidwood)

 

 

Guilty Pleasure

WITNESS FOR THE PROSECUTION

Crescent Theatre, Birmingham, Sunday 26^th February, 2017

 

Agatha Christie’s courtroom drama is a far cry from the typical, almost cosy murder mystery affair to which she is inextricably linked.  The play uses the trappings of civilised society, i.e. a court of law, to expose the seedy underbelly of human nature.  In the safe haven of our seats in the auditorium, we enjoy the unfolding details – a violent murder, acts of betrayal – but there is a bitter aftertaste to this entertainment that reminds us our fascination with crime as drama is, at best, a guilty pleasure.

This production exudes excellence at every turn.  A top-notch cast populates the story with credible characterisations, breathing life into Christie’s wry observations and the more verbose legalese of the professional lawmen.

Geoff Poole and Katie Merriman get things off to a promising start with some amusing character work as employees of Sir Wilfred, the barrister defending the case.  Their accents give us both place and period.  We’re in London in the 1950s.

Bill Barry is excellent as Sir Wilfred.  He and Brian Wilson, as lawyer Mayhew, give off an air of focussed professionalism, inspiring confidence in the system at work.  Equally strong is the barrister for the prosecution, Myers (John O’Neill), grandstanding in the courtroom under the quiet authority of Mr Justice Wainwright (Geoff Poole again, in complete contrast to his earlier role).

When Zena Forrest enters, as German ex-pat Romaine Heilger, she makes a striking impression, not just because of her Teutonic froideur.  Angela Daniels’s costume work cuts a dash – especially with the female characters.  After all, men’s suits and the accoutrements of the court have barely changed for decades!  Forrest is superb as the haughty femme fatale, provoked on the witness stand to losing her composure and saying too much… Alex Whiteley makes a good fist of Scottish busybody, Janet McKenzie, bringing humour to proceedings with a pleasing appearance in the box.

Director Les Stringer keeps us hooked throughout.  It’s a lengthy sit (three hours, including two intervals) but Stringer manages to avoid any sense of the staid and the static in scenes that involve a lot of talk and a lot of sitting around.  He contrives a crescendo at the end of the second act between prosecutor and prisoner, that is absolutely electrifying.

The set by Colin Judges (his real name) is stunning for the courtroom scenes, displaying craftsmanship to be sure, but it also says something.  The court speaks of power and permanence, and the establishment at work.  The set adds to the authenticity of the piece as much as the language and ritualised conduct of the court.  But even the establishment can get it wrong sometimes, Christie reminds us.

Christie provides more twists than Chubby Checker for a thrilling denouement.  The tables aren’t just turned, they spin!

Mark Payne dazzles, if that’s the right word, as nervy defendant Leonard Vole, as twitchy as his rodent namesake.  Personable and decent, he elicits our sympathy from the start, in what develops into a towering and emotional performance with real star quality.

A thoroughly enjoyable, old-school visit to the theatre, but old-fashioned does not mean lacking in power to entertain.  On the contrary, when it is played and presented this well, you know you’re in safe hands for a good night out.

Comedy First Class

THE GRADUATE

The Crescent Theatre, Birmingham, Sunday 6^th September, 2015

 

We are accustomed to seeing films adapted into stage shows these days, usually as musicals. Here, adaptor Terry Johnson turns the iconic film of the swinging 60s into a thoroughly enjoyable comedy of sexual mores.

Fresh out of college, Benjamin Braddock lacks direction in life. An encounter with the wife of his father’s friend leads to sexual liaisons in a hotel room. Mrs Robinson, however experienced, is not enough for young Ben, who craves conversation as well as rumpy-pumpy, and so he latches onto his lover’s daughter instead. Before long, the situation unravels and Ben decides to leave it all behind, but will Elaine go with him, and is marriage the happy-ever- after it’s cracked up to be?

Shaun Hartman is excellent as the stumbling, fumbling Ben, and he is well-matched by Sarah Ridgley as Elaine. Tiffany Cawthorne is flawless as the casually predatory Mrs Robinson, oozing self-assurance as well as boredom. Brendan Stanley is her husband, really coming into his own when the truth becomes known to him in the second act. We can sympathise with his hurt and sense of betrayal but also laugh at his psychotic hot-headedness.  Wanda Raven is hilarious as Ben’s excitable mother, and there is strong support from Helen Rose Carter in a number of roles, including a be-tassled stripper in a sleazy club. The mighty Colin Simmonds delivers a masterclass in comic timing as Ben’s bewildered father – his remarkable performance is worth the admission price alone, but he is surrounded by a company of highly effective actors who are too good to be upstaged. Director Keith Harris pitches every scene just right for maximum comic effect, allowing the dramatic moments to develop, and the simple but versatile set hints at the period rather than swamping us with detail. Similarly, Angela Daniels’s costumes are evocative, allowing the timeless qualities of the story to come to the fore.

Are we shocked today by Benjamin’s carrying-on? Not in the least but it’s interesting that included on the poster among the warnings of nudity and sexual activity is the advisement that herbal cigarettes will be smoked. This is how times have changed. (PS. Herbal cigarettes always stink the place out).

This production offers many delights: a funny script delivered with skill and panache. My one quibble is that some of the scene changes take a little long, adding to the running time, but because it’s early in the run, I’m sure the hard-working stage hands will pick up the pace.  Some scenes end suddenly, revealing the script’s cinematic origins – transitions need to be snappy to match.

Once again, the Crescent delivers the goods to an extremely high standard. The Graduate plays until September 12^th and is well worth a couple of hours of your time.

On The Nose

CYRANO DE BERGERAC

The Crescent Theatre, Birmingham, Sunday 5^th July, 2015

 

Edmond Rostand’s grand play is here presented in the Crescent’s Ron Barber Studio in this scaled-down adaptation by Glyn Maxwell. Even so, it’s an ambitious project: the Crescent is never shy of a challenge. A chorus of nuns form the chorus of minor characters in support of the protagonists. Some of them cope better than others with the heightened language and some have real stage presence: Angela Daniels, for example, as a lusty servant and as a Captain in the army! Les Stringer brings dignity as Le Bret and Alan Bull’s Ragueneau the cake-shop proprietor adds a touching quality: the experience of these two enriches the mostly young company.

Andrew Elkington is the dashing but goofy and gauche Christian de Neuvillette, unable to articulate his love for Roxane, until the eponymous Cyrano steps in to write epistles of love on the younger, better-looking man’s behalf. Cyrano loves Roxane too and so the letters are infused with his heartfelt but unspoken passion. As the big-nosed Cyrano, the excellent James David Knapp drives the piece with vigour and verve but he needs to be matched, in the comic moments, with equal energy. Director Alan K Marshall needs to make the comic business as sharp and quick-fire as Cyrano’s wit. The early scenes plod along at a steady pace, and the humour is ponderously dealt with – to its detriment.

When things take a more dramatic turn, the production comes into its own. An elegant Roxane, Hannah Kelly brings sensitivity as well as humour to the role, while Andrew Elkington’s Christian discovers fire in his belly in a satisfying performance. I warm to Nicholas Shelton’s De Guiche – he gets better as the play goes on. By the end, this stripped-down piece has the power to move. The dramatic climax is handled very well indeed.

Pat Brown and Vera Dean have gone all out for the costumes. In the absence of any set they evoke the period. Indeed, rails of costumes form the entrances and exits of the scenes, while dozens of frocks are suspended from the ceiling. This abundance of period clothing makes it all the more baffling why Cyrano himself is dressed like a modern-day supply teacher throughout. Like his nose, his costume sets him apart from the rest – not necessarily in a good way.

There is atmospheric lighting courtesy of Chris Briggs. Everyone is working so hard, you will them to succeed – and they make a good fist of it.

On the whole, this is an enjoyable production. It just needs to tighten up on the comic business to match the high quality of the emotional moments.