Tag Archives: Charlotte Upton

Austen Powers

SENSE AND SENSIBILITY

The Crescent Theatre, Wednesday 28th June, 2017

 

Jessica Swale’s adaptation of the Jane Austen novel whizzes along at quite a lick, condensing the action without cutting any of the important bits.  What couldn’t be clearer is the chauvinism of the age and the restrictions placed on women: they can’t inherit, they can’t go anywhere alone with a man – both of which are important plot points.  Mrs Dashwood and her daughters are dispossessed after her husband’s death and find themselves in reduced circumstances, swapping the family’s grand home for a little cottage near Exeter.  Suitors come calling, scandals come to light… On the surface, it’s a frothy rom-com but beneath it’s a biting social satire.  The wry wit of Jane Austen powers the exchanges and fuels the dramatic irony of the situations.

Karen Kelly makes a warm-hearted matriarch as Mrs Dashwood – her announcement of her husband’s death is strongly handled.  Naomi Jacobs is suitably restrained and fretful as the serious Elinor; Elinor is the ‘Sense’ of the title, ruled by her head; Marianne the ‘Sensibility’, ruled by her heart and her impulses.  Both are played well but I would like more contrast  between them.  Stephanie Cole’s Marianne who could do with being giddier or at least smiling more, especially from the off.  When reading poetry, she should really go for it.  Charlotte Upton, in a convincing portrayal as little sister Margaret, seems to embody both aspects of heart and head, in her childlike thirst for knowledge and honest reactions to events.

Thomas Leonard looks the part as the dapper Edward Ferrars, but could do with being a little bit more cut-glass in his delivery of Austen’s erudite dialogue.  Jacob Williams makes a pleasant Mr Willoughby, while James Lewis amuses as the sarcastic Mr Palmer.  Jordan Bird offers strong support as faithful servant Thomas but Adam Ragg’s Colonel Brandon is a particularly fine characterisation: the stiff-upper lip, the British reserve, the gentlemanly qualities.  Decency oozes out of him.

The evening belongs to Laura Poyner, superb in both her roles.  Provincial Mrs Jennings’s vulgarity and lust for life is in stark opposition to her snobbish Mrs Dashwood – her Fanny is a joy to behold.  The stage comes alive whenever Poyner is on and most of the cast is able to match her energy and commitment.

James David Knapp’s direction keeps the action clear in this stylish and slick production that should do well on its tour of other venues.  His original music is bittersweet and evocative.  Above all, the play serves as a showcase for the excellent costume team at the Crescent, with flawless and impressive work from Vera Dean, Pat Brown and Olivia Barnes.  Keith Harris’s simple yet elegant set: three period doorways among a landscape of books proves a versatile backdrop.

An enjoyable comedy of manners that brings a classic book to life in an accessible and entertaining way.

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Mrs Dashwood and her daughters. Stephanie Cole, Naomi Jacobs, Karen Kelly, and Charlotte Upton. (Photo: Graeme Braidwood)


Stockinged Feat

BLUE STOCKINGS

Crescent Theatre, Birmingham, Wednesday 15th March, 2017

 

Originally produced at the Globe in 2013, Jessica Swale’s drama charts an academic year in the life of a group of female students at Cambridge’s Girton college.  It’s 1896 and the ladies are there on sufferance, rather than suffrage – their studies will get them nowhere and they are struggling to be awarded the right to graduate.  The fight mirrors the wider campaign for the Vote, and, if the male characters of this piece are anything to go by, they are not a good advertisement for the gender.  The sexism is overt, laid on with a trowel, neatly dividing the cast into heroines and villains.  Where the line is blurred is when female characters such as Miss Welsh decries her Suffragette sisters, and lecturer Mr Banks sides with the ladies.

Colette Nooney is striking as Miss Welsh, imperious and determined, while Jacob Williams’s Banks is a perfect piece of characterisation, from the look to the smallest mannerisms.  They look the part because yet again Stewart Snape’s costumes are spot on.

The Crescent’s Youth Theatre has amassed a strong ensemble, led by Jessica Shannon as Tess, in a remarkably nuanced performance that endears the character to us from the off.  She is supported by Neve Ricketts’s well-travelled Carolyn, Jessica Williams’s forthright Celia, and Charlotte Upton’s Maeve – who has a powerful moment when fetched home by her yokel brother Billy (Tate Wellings).  Holly Mourbey is effective as Miss Blake and there is humour from Laila Abbuq as Minnie the maid.  Jessica Potter makes an impression as strict chaperone Miss Bott.

Of the men, a right bunch of pompous prigs, Julian Southall stands out as Edwards – especially when drunk – and Laurenc Kurbiba makes a suave, caddish Ralph.  Villain of the piece is Charlie McCullum-Cartwright as Lloyd – one can easily imagine the Bullingdon Club adopting him as a mascot.  Jack Purcell-Burrows shines as the decent, gentlemanly Will, but on the whole, we wince, cringe and flinch at the abhorrent attitudes on display.  A dying breed?  I would like to think so.

James David Knapp directs with an assured hand, providing crescendos of high drama among the rituals and routines of college life.  The humour is well-timed and, for the most part, the cast handle the heightened language and stuffy accents with aplomb.  Keith Harris’s attractive set of Gothic arches divided by bookshelves serves to represent both the interior and exterior of the college, while Chris Briggs’s lighting adds to the sense of location and the atmosphere.

A challenging play well-presented, this production of Blue Stockings has legs.

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Made Man

FRANKENSTEIN

Crescent Theatre, Birmingham, Saturday 28th January, 2017

 

Nick Dear’s adaptation of the Mary Shelley novel that spawned modern science fiction will be familiar to many from the landmark National Theatre production directed by Danny Boyle and starring Cumberdick Bendibatch.   Here, in the Ron Barber studio, the show is inevitably scaled down but director Jenny Thurston ensures the play loses none of its power.

At the heart of the show is a towering performance from Andrew Cowie as the Creature.  From his ‘birth’, we see his cognitive development – he becomes an inquisitive toddler before our very eyes.  Nick Dear keeps the Creature at the centre of the story and so we empathise with him rather than fear him.  The Creature is the outsider, the ‘different’, hated for his appearance – his only recourse is to take revenge on the society that shuns him, and the creator who abandoned him.

James David Knapp is excellent as Victor Frankenstein, uptight and twitchy – he becomes unravelled as though he is the one held together by stitches.  His scenes with Cowie are electrifying – even if you know the story.  The tension is palpable.

The two main players are supported by a tight ensemble who come and go in all the other roles.  Charlotte Ireland makes an appealing Elizabeth, Victor’s fiancée; there is some amusing character work from Tom Silverton and Richard Constable as a pair of Scottish graverobbers; Paul Harris’s kindly blind man, Bethany Wyde’s cheeky Clarice, Charlotte Upton’s sweet William, Rosa Pardo Roques’s earnest Agatha, Sam Wilson’s devoted Felix – all populate the story with the best and worst of humanity.  It is very telling how they are all united, even the decent, hard-working ones, in their rejection of the Other.

Thurston delivers the macabre humour, the shocks and the tension but above all the thought-provoking aspects of Shelley’s novel: the nature of Man, the pursuit of scientific discovery, the genie out of the bottle…

There are puppets, rabbits and dogs and so on (designed and made like children’s toys, by Jenny Thurston and Richard Constable), which observe much of the action, reminders of Nature, but echoing Victor’s unnatural creation.  They are for the most part highly effective, but I think the birds could be handled with a little more finesse.  Faye Rowse’s economical set serves the locations well – a table piled with sacks suggests a snowy mountain range, and illustrative projections remind us we are watching a story from a book.  The costumes, as ever at the Crescent, are superb.  Pat Brown and Vera Dean capture the period and, as the Creature’s intellect develops, the clothes he wears change too, civilising him – on the outside, at least.

Chris Briggs’s lighting creates atmosphere, patches of enlightenment in the murk, and the inclusion of snatches of music by Messiaen underscores the action with discord.  It all adds up to a Gothic setting for Shelley’s fable, framed by the device of a group of nervous lantern-bearers opening the book and, at the end, slamming it shut.  We must be careful where we shine our light, the production says.

All in all, this is unquestionably the most powerful production I have yet to see at the Crescent, superbly presented and performed, thrilling, moving, funny and heart-rending.  Andrew Cowie’s magnificent Creature will haunt me for a long time to come.

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