Tag Archives: Crescent Theatre

Bosom Buddies

DI AND VIV AND ROSE

Crescent Theatre, Birmingham, Saturday 9th February, 2019

 

Three very different young women meet at university in the 1980s, share a student house for a couple of years, and then strive to keep in touch as their lives take them in different directions.  That’s the plot of Amelia Bullmore’s play, written and first produced in 2013.   With the action spanning thirty years, there are plenty of costume changes and music cues to convey the passage of time.  Video projections, by Kristan Webb, identify locations, with sketches supposedly taken from art history student Rose’s sketchbook.

As middle-class, promiscuous Rose Katie Merriman is hilarious, adding physical comedy to her characterisation.  Rose having trouble walking and sitting after an evening with the well-endowed Casper is a scream.  Rose might be a bit of a sheltered, spoiled Southerner, but Merriman brings her great warmth.

Tiffany Cawthorne portrays sporty lesbian Di with youthful vigour and bright-eyed enthusiasm – until events bring out darker emotions.  Bullmore’s writing gives us broad humour and delicate, sensitive scenes.  Cawthorne handles everything the script requires of her with skill and conviction.

Completing the trio is Liz Plumpton as oddball Viv, who spends her student days dressed ‘like it’s the War’ and is not shy of deconstructing events with sociological analysis.  Her militant intellectualism is in direct contrast with good-time girl Rose’s outlook; sparks fly between the two of them, which serve to deepen the bond between them.  Plumpton is superb as the slightly dour, dry-witted Viv. It takes a tragic event to bring Viv to the boil in powerful scenes, and it’s all the more moving because of her previous behaviour.

It’s a warm-hearted, very funny piece.  Director Kevin Middleton handles the sea changes of the women’s lives, navigating the differences in tone with subtlety and the broader comedic moments with splendid timing.  There are some pacing issues with some of the transitions: scenes divided into snappy sub-scenes need quicker changes; there are too many slow fades to black, when these should be reserved for the changing of the years.  But this is a minor quibble in an otherwise excellent production.  The depth and range of emotion depicted here raises the story beyond the realms of chick-lit.  It’s an examination of the bonds of friendship: the fun to be had, the closeness, the sense of belonging, as well as the bitterness and sense of disappointment when life gets in the way.

Laugh-out-loud funny and ultimately very moving, this is a fine production of a powerful play, and it makes me wish Amelia Bullmore was more prolific!

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Katie Merriman, Tiffany Cawthorne and Liz Plumpton (Photo: Graeme Braidwood)

 

 

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A Tern for the Better

THE SEAGULL

Crescent Theatre, Birmingham, Saturday 2nd February, 2019

 

Chekhov done right is hugely demanding of any company attempting to stage one of his plays.  But if the company does get it right, the play becomes less demanding on the audience and, in fact, becomes a pleasure.  Here, director Andrew Brooks gets it right, eliciting nuanced and rounded performances from his cast, in this enjoyable adaptation by Christopher Hampton.

Jacob Williams shines as neurotic young writer Konstantin Gavrilovich Triplev – (the main problem I have with Chekhov is the names.  Sometimes characters use the full name, a diminutive version, or a different name altogether, so it can take a while to sort out in your mind who they’re talking about!)  Williams seems effortlessly naturalistic, balancing Kostia’s jaded outlook and insecurities with passion for the theatre.  Konstantin’s descent into mental illness is expertly portrayed.

As his mother, Irina So-and-so and Such-and-such, Karen Leadbetter gives us the ego of the famous actress, her insensitivity and selfishness – all at Konstantin’s expense – in a measured performance that never goes over the top.  John O’Neill is more down-to-earth as her lover, celebrated writer Trigorin; he really comes into his own when Trigorin describes the writer’s lot.

The object of Konstantin’s affections, the tragic Nina is played by Hannah Birkin, who is marvellous in the part.  She even performs the pretentious twaddle of Konstantin’s play with conviction.  This is a story of unrequited love – most of the characters are afflicted by it, setting off a chain reaction of events.

Dave Hill is endearing as ailing Uncle Pyotr, while the mighty Colin Simmonds perfectly inhabits his role as the family doctor.  Amy Thompson is the picture of misery as the lovelorn Masha, and Papa Anoh Yentumi gives an assured performance as pipe-smoking Shamrayev.

The costumes by Pat Brown clearly depict the class structure of 1895 Russia, and the beautiful set by Keith Harris and Megan Kirwin, with its tree trunks and elegant furnishings, basks in the atmospheric lighting of Kristan Webb’s design.  This is a classy production of a classic play, which brings out most of the humour inherent in the text with credible characterisations that keep on the right side of melodrama.

Eminently watchable and entertaining, this is one Chekhov you really ought to check out.

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Dave Hill and Jacob Williams (Photo: Graeme Braidwood)

 

 


Working Wonders

ALICE IN WONDERLAND

Crescent Theatre, Birmingham, Tuesday 4th December, 2018

 

Director James David Knapp brings his own adaptation of Lewis Carroll’s classic to the stage in this ponderous production.  This is an Alice who wonders about things rather than at them, as she is presented with riddles and cod philosophies from almost all the strange characters she encounters.

Ruth Waterson, making her Crescent debut, gives an assured performance as Alice, playing her as a serious, thoughtful child.  She comes to life when she joins in with the other characters: the caucus race, for example, and the Lobster Quadrille.  If Alice, our guide through this weird land, is so serious, the characters she encounters should be weirder, crazier, but they’re a bit po-faced too.

There is a lot to enjoy from the large cast.  Marcus Clarke’s Dodo shakes his tail-feathers and has a mad spark in his eye; later, his King of Hearts is delightfully dotty – he could do with a crown, though.  Erin Hooton’s twitchy White Rabbit, John Paul Conway’s snooty Knave, Niall Higgins’s Mock Turtle… Standing out is Molly Wood’s Duchess, a bedraggled eccentric, convincingly bonkers.  Jordan Bird’s Mad Hatter makes an arch, camp double act with Carl Foster’s March Hare, along with a fearsome French Dormouse (Ella-Louise McMullan) keeping them in check.  There is a delicious portrayal of the mad Queen of Hearts by Alice Macklin, capricious, volatile, tyrannical, truly psychopathic, and bringing a lot of oomph to the second act.  But I think I enjoy most of all the trio of gorblimey gardeners, played by Amelia Hall, William Stait and Ronnie Kelly.

James David Knapp provides a new twist in the tale.  It’s not easy bringing Carroll’s plotless novel to the stage to make a coherent piece, but Knapp provides a through-line – the material is on his side, with the disclaimer that not everything has to make sense.  He has clearly drilled his ensemble of children very well – every one of them is in step and focussed, which is no mean feat.

The costume department has excelled itself.  The designs of Dyjak Malgorzata combine what we expect of the characters with some innovative ideas, with the assistance of Vera Dean and Pat Brown to craft these wonderful creations.

The show works best during its absurd moments, rather than when Alice is being exhorted from all corners to ‘grow up’ – when she is clearly the most mature character on stage.   The production values, the talent, the ideas are all there.  All it needs, overall, is to lighten up, to – as Alice’s draconian mother is reminded to do – let its hair down.

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Off her head: Alice Macklin as the Queen of Hearts (Photo: Graeme Braidwood)

 


Fast Love

ROMEO AND JULIET

Crescent Theatre, Birmingham, Saturday 3rd November, 2018

 

Andrew Cowie’s stripped-back but classy production begins with a fracas in a restaurant, when an obscene gesture from a waiter provokes an outburst.  The action freezes and the Chorus (Pat Dixon) delivers the famous prologue, which sketches out the entire plot.  Dixon instantly becomes the Prince of Verona, chastising the rebellious citizens and promising capital punishment to all those who further disturb the peace.  Dixon is authoritative, no-nonsense, but we haven’t really got the sense of the blood feud between the two families.  A couple of incidents of table-flipping hardly seem worthy of a death sentence.

The familiar story plays out on an almost empty stage – a couple of flats provide wings; there’s a chair – but Cowie’s bold ideas provide a fresh approach, and many of them work very well.  When someone is killed, red petals tumble from above like snowflakes, marring the pristine set.  The petals remain in place, because the violence colours everything else that follows…

Samuel Wilson is a handsome and likeable Romeo, who warms up considerably after his character stops mooning around after Rosaline.  His scenes with Fi Cotton’s gender-swapped Friar Laurence are among his strongest.  Laurence here is some kind of ordained wise-woman, toting a trug of herbal remedies to complement her ecclesiastical offices.  She is the parent-figure Romeo lacks and Cotton’s confession scene at the play’s climax is heart-rendingly emotional.

Also gender-swapped, in a genius move, is the Nurse, played by Alan K Marshall as a sensitive, slightly camp, family retainer.  It works brilliantly, for humorous and for emotional purposes, and Marshall is superb in the part.  Holly Prescott’s Mercutio is a party girl and an energetic presence, but there is no need to overemphasise every sexual innuendo unearthed in the text.  It’s enough to lean on the words with a cheeky look, I find, rather than going all Kinga from Big Brother with a bottle.  Joanne Brookes’s Benvolio’s best moment comes when she’s telling the police what happened to Tybalt.

Joe Palmer makes an impression as the hothead Tybalt, but Romeo makes quick work of despatching him – not only does the script have more cuts than a Tory government, the moments of action are underdone.  Also impressive is Thomas Baldachin as comedy servant Peter, tackling a risky bit of audience involvement with aplomb.

Simon King is at ease with his power as Lord Capulet; his denouncing of Juliet’s reluctance to marry the man he has chosen for her is a highlight of the performance, demonstrating that if you let the script have its head, old Willy’s words still have the power to move no matter how many times you’ve heard them.  As for Juliet herself, the excellent Charlotte Upton delivers a striking performance, handling the verse with assurance and emotional intelligence.

The clean, sometimes stark lighting by Kenny Holmes and Molly Wood, coupled with the chic costumes by Dewi Johnson, add to the fashion shoot aspects of the production design.  In the second half, the lighting slashes strips across the stage, suggesting rooms or corridors in the Capulet mansion for example, but also casting the characters into strong relief, showing how simple, sparing use of tech can be atmospheric and support the drama.  The costumes suggest Italian couture and La Dolce Vita – until Romeo and his mates rock up to the ball sporting superhero costumes, presumably so he can scale the walls to see Juliet, for stony limits cannot keep Spider-Man out!

Cowie keeps the theatricality of the piece at the forefront of our experience.  At first, the bright white setting has the clinical coldness of a photoshoot, but then again, Shakespeare used nothing in the way of representational scenery either, letting his words do the job instead.  Where this production falls short is when moments aren’t allowed to breathe: there is humour, inventiveness and emotional power, but it rattles along without building up a sense of danger.  I don’t think the ‘two hours traffic of our stage’ is meant to be taken literally.  This show could benefit from another quarter of an hour.

Stylish, sophisticated and surprising, overall this is an enjoyable imagining of the famous tragedy.

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Tangled web! Romeo (Samuel Wilson) and Juliet (Charlotte Upton) Photo: Graeme Braidwood

 

 


Work of Genius

BREAKING THE CODE

Crescent Theatre, Birmingham, Saturday 6th 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.

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


Boss Play

ONE MAN TWO GUVNORS

Crescent Theatre, Birmingham, Sunday 23rd September, 2018

 

Richard Bean’s hit comedy is served up with gusto by director Mark Payne and his energetic ensemble.  Set in Brighton in 1963, this is a world of gangsters, scrap metal merchants and lawyers, where the height of sophistication is ‘a pub that does food’.

Leading the cast as the hapless Francis Henshall is Damien Dickens, who puts his own stamp on the role, making it less James Corden and more Adrian Chiles.  Dickens has the unenviable task of beating himself up, which he manages with aplomb, and I warm to him as the performance progresses.  He could do with some padding to make more sense of the references to the character’s bulk.

Naomi Jacobs is absolutely perfect as Rachel Crabbe in disguise as her late twin brother Roscoe, and she is matched in brilliance by Shaun Hartman as her love interest, Stanley Stubbins.  This pair are Henshall’s two guvnors and it is from the contrivances of the plot that keep the bosses separate that most of the farce arises.

Graeme Braidwood convinces as patriarch Charlie ‘the Duck’; Hannah Bollard is pitch perfect as Henshall’s love interest Dolly in an arch and assured performance, while Jason Timmington’s declamatory actor Alan Dingle is also enormous value.  Lara Sprosen’s Pauline is winningly dim.  There is strong support from John O’Neill as Lloyd Boateng, Jordan Bird as Gareth, and Brian Wilson as Harry, but the show is almost stolen from the leads by a brutally slapstick performance from Jacob Williams as doddering octogenarian Alfie who bears the brunt of the comic violence.

The set, by Megan Kirwin and Keith Harris, is stylish and functional without being fussy so the cast has plenty of room to run around in.  Vera Dean’s costumes evoke the era effectively – although Harry Dangle’s sleeves could do with turning up!

Payne paces the action to maximise comic effect.  The asides are delivered with pinpoint timing and Bean’s hilarious script, brimming with brilliant lines, is given the energy and punch it needs to make it work.

A splendid production that is laugh-out-loud funny from start to finish, proving there is still plenty of mileage in long-established comic tropes (the play is based on an 18th century Italian piece) and demonstrating yet again the wealth of talent on and off the stage at the Crescent.  I had a boss time.

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Damien Dickens and Jacob Williams fail the audition for Help The Aged (Photo: Graeme Braidwood)

 

 


Stable Relationship

EQUUS

Crescent Theatre, Birmingham, Saturday 30th 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.

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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.

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