Tag Archives: Colette Nooney

Party Piece

THE GREAT GATSBY

Crescent Theatre, Saturday 10th September, 2017

 

The Crescent’s new season gets off to a fine start with this adaptation of F Scott Fitzgerald’s most famous novel.  Stephen Sharkey’s script retains the timbre of Fitzgerald’s prose, mainly in the mouth of our narrator Nick Carraway (John O’Neill).  Through Nick’s eyes we visit the partygoing rich of the Twenties, a carefree elite who drink and dance every night away.  By sheer coincidence, Nick happens to be renting a property next to the massive mansion of the titular Gatsby, who happens to be an old flame of Nick’s cousin, Daisy, who has since married Tom Buchanan… Gatsby urges Nick to organise a reunion, an event from which tragedy springs.

John O’Neill is a serviceable narrator, handling Fitzgerald’s heady words in a matter-of-fact way.  As Gatsby, Guy Houston exudes a suave and easy charm; along with Nick we come to understand the man and his motivations.  Colette Nooney’s Daisy is coolly laconic while Laura Poyner’s fiery Myrtle injects passion into the piece.  Mark Fletcher’s Tom Buchanan has an air of Clark Gable to him.  Kimberley Bradshaw seems perfectly at home in the era as famous golfer, Jordan Baker.  All the main players are in fine form, in fact, with strong support from character parts: Jason Timmington’s Treves, for example, and Simon King’s Wolfsheim, who brings a flavour New York into this rarefied atmosphere.  James Browning’s George Wilson is a fine characterisation but he needs to lift his head more so we see more than the top of his flat cap.

The play saves all its action until the end as the consequences of the characters’ behaviour burst to the fore.  We are amused by these people but kept at a distance from them – in the end, we have only warmed to Nick and Gatsby – and so Fitzgerald’s critique of the in-crowd sinks in its teeth.  This is the empty hedonism of Made In Chelsea with dramatic bite.

As ever, production values at the Crescent are strong.  The art deco arches that represent Gatsby’s gaff, with their artificially organic elegance, evoke the period as soon as we see them.  Keith Harris’s set flows swiftly from each location to the next – there are a lot of scenes and changes are enhanced by Jake Hotchin and Tom Buckby’s lighting design, especially the beautiful work on the cyclorama.   Stewart Snape’s costumes fulfil our expectations of the era – Gatsby’s outfits are particularly snazzy – and Jo Thackwray’s choreography gives us all the Charleston moves and black bottoms we could wish for.  If I had to nit-pick, I would say at times the music playback needs to be a touch louder, and a crucial sound effect – a car crash – needs to have more impact.  It is the turning point of the story, after all.

Director Colin Judges keeps a steady pace, allowing moments of humour to surface like bubbles in champagne.  Stylish and elegant, this is a great Gatsby.

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John O’Neill narrates while Colette Nooney and Guy Houston catch up. (Photo: Graeme Braidwood)

 

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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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