Tag Archives: Daniella Beattie

Pottering About

ANNA OF THE FIVE TOWNS

New Vic Theatre, Newcastle under Lyme, Wednesday 31st May, 2017

 

It’s 150 years since the birth of Stoke-on-Trent writer, Arnold Bennett.  To commemorate this, the New Vic has commissioned this new stage adaptation of one of his Stoke-based novels.  The theatre has always sought to offer material about its local area and its people, but will this piece with its Stokie accents and dialect speak to anyone who comes from a town other than those listed in the ‘five’?

Yes, of course it does.

Writer Deborah McAndrew skillfully distills the events of the book to a couple of hours traffic on the stage, with strong characters and economic narrative techniques so that time and place are evoked superbly.  The costumes add to the authenticity, while the set, designed by Dawn Allsopp – all-brick floor (industry built this place), with a sunken rectangle for Anna’s dining room at the centre, (the hub of Anna’s world around which all other events take place) – brings style and stylisation for this otherwise naturalistic piece.  Daniella Beattie’s lighting mullions the set with patches, evoking architecture as well as mood – and there is a special effect at the end that is startlingly powerful.

Anna Tellwright (Lucy Bromilow) has been housekeeper for her father and mother figure for her little sister almost her whole life.  Dad (Robin Simpson) is a bit of a tyrant.  He feels his grip slipping when Anna comes of age and inherits a shedload of money.  Naturally, being a man, he takes control of her finances: we can’t have women being all independent of men, can we?  Bennett, writing in 1902, long before suffrage, captures the fragility of the traditionally masculine.  Dad can only lash out, tighten the reins and almost combust as he fears his position being edged into the side-lines.  Simpson is excellent as this incendiary man.  Mr Tellwright’s explosions of rage are like fireworks going off unexpectedly.

Bromilow is no shrinking violet Cinderella.  Driven by a sense of duty, she finds it difficult to enjoy her new wealth.  Her eyes are opened to the human cost of capitalism when a man is driven to suicide because he cannot make his repayments.  She glimpses what fun money can bring, when she dares to dip her toe into the waters of independence, but she never truly gets to let her hair down; her hedonism consists of the purchase of some new clobber and a fortnight on the Isle of Man – which she ends up being spending as nursemaid to a friend with the flu.  Anna’s lot is not one of frivolity and profligate spending.  She maintains the same straitlaced starchiness throughout, whatever she’s doing.  I would like to see Bromilow’s Anna let rip, just once, and lighten up!

In contrast is never-lifted-a-finger-in-her-life, well-off young woman, Beatrice Sutton (Molly Roberts, who brings colour in her dresses and humour in her portrayal).  Also delightful is Rosie Abraham as Anna’s little sister Agnes: it is through Anna’s sacrifice that Agnes is permitted a childhood rather than a life of domestic service.

Now rich, Anna becomes inexplicably attractive to her chum from Sunday school, young gent Henry Mynors (a suitably dapper Mark Anderson) and she accepts his marriage proposal – almost impetuously.  Meanwhile, decent and hard-working Willie Price (not a porn name!) offers a chance at true love.  Benedict Shaw is perfectly placed as the upstanding Willie, handsome and down-to-earth.  Who will Anna choose?  Unable to follow her heart, it is her sense of duty not any taste for the high life that leads our heroine to make her choice – with tragic consequences.

The production is superb: strong on atmosphere, with choral singing of hymns and folk tunes covering scene transitions.  Kudos to musical director Ashley Thompson for the vocal work, accompanied by the occasional brass instrument for added local colour.

Director Conrad Nelson manages the changes of tone so that we are drawn into this society and enjoy our time there.  The interval comes and you realise that while you’ve been seduced by the sound and the visuals, not much has happened really.  The drama is mostly condensed into the second half.  Bennett’s story is at heart a melodrama but he goes against the norms of the genre: the happy ending here is that duty has been served, rather than Anna getting the man she loves and deserves.  And that’s no happy ending at all.  For the time being, female independence has been shut back into Pandora’s box…

Yet another example of excellence from all departments at the New Vic.  With Stoke-on-Trent bidding for ‘City of Culture 2021’, this theatre must surely be the keystone of the campaign.

Anna

Cheer up, duck. Lucy Bromilow, Mark Anderson and Benedict Shaw (Photo: Steve Bould)

 


The Best Laid Plans…

DIAL M FOR MURDER

New Vic Theatre, Newcastle under Lyme, Wednesday 3rd May, 2017

 

I have seen several productions of Frederick Knott’s masterpiece over the years but never in-the-round, so it’s intriguing to see how a story in which doors and windows are so important is staged with neither of these features…

The short answer is: brilliantly.

Lis Evans’s design gives us the London flat of Tony and Sheila Wendice, complete with floor plan showing us where the doors and French windows are, like an architect’s plan.  The flat is an island set on a sea of street maps, to give us the Maida Vale setting, while stylish furniture evokes the 1950s period.   Rather than have his actors mime the opening and closing of the non-existent doors, director Peter Leslie Wild opts for lighting changes and sound effects – the added bonus is we see characters arriving at the flat before they ring the doorbell, increasing the dramatic irony, and also exposing the workings of Knott’s taut plot – it’s like watching an exquisitely made clock with its cogs in full view.

Nicole Bartlett is a rather cool Sheila in the Grace Kelly mode, elegant and vulnerable.  Daniel Easton is a likeable Max – her one-time boyfriend – and Paul Brendan is a workmanlike Inspector Hubbard, teasing out the complexities of the crime.  But it is William Ellis’s Tony, the mastermind of the murder plot, who captivates, weaving his web of intrigue and drawing us in – even if we know what’s coming.  Rob Heanley’s Lesgate is the heavy, coerced into doing the dirty deed, completing a flawless ensemble.

Daniella Beattie’s lighting adds to the atmosphere, although things are a little too hazy at the start, as if the peasouper in the streets has invaded the flat.  James Earl-Davis’s sound has plenty to do to give us the sense of the flat, accompanying the action with appropriate sound effects, but there is also something disconcerting in the air, keeping us on edge.

There is something incredibly satisfying in seeing Tony scheme his detailed scheme, topped only by seeing how it is foiled, brought down by a similar attention to detail.  Much of it comes from Knott’s superlative writing, of course, but this production’s skilful handling of some wordy scenes along with tense moments of action and suspense, delivers all the thrills in all the right places.

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Plan for murder – Lis Evans’s set design for Dial M For Murder (Photo: Mark Douet)

 

 


Winning by a Nose

CYRANO

New Vic Theatre, Tuesday 7th February, 2017

 

The New Vic has teamed up with Northern Broadsides for this new version of the classic romance by Edmond Rostand.  Writer Deborah McAndrew cleverly keeps the play as a verse drama – it’s not just rhyming couplets and doggerel; it’s a technical achievement in itself, let alone its faithfulness to the original while having an altogether fresh feel.  It’s her best work yet.

Director Conrad Nelson blends naturalism with more heightened moments – the changes in pace and tone of each act are handled to perfection.  We laugh, we love, we cry – in all the right places.  Nelson has also composed the score, performed by the ensemble of actor-musicians, that adds to the period feel and the emotional impact of each act.  Led for the most part by Michael Hugo’s Ligniere, the music casts its spell as much as the story and the characters.  Hugo is such an appealing presence as the minstrel – I also enjoy his ham actor Monfleury, heckled off the stage by the eponymous Cyrano.

Christian Edwards in the title role is outstanding – and I don’t just mean his massive conk.  He is everything you could wish for in a Cyrano de Bergerac.  Swaggering, witty, charming, brave and selfless.  Edwards plays it with panache, literally and figuratively.  He is supported by a team of excellent players: Sharon Singh is an elegant Roxane, headstrong and independent – worthy of Cyrano’s devotion.  Adam Barlow is the handsome but dim Christian, the third point of the love triangle – he contrasts nicely with Cyrano’s erudition and we can’t help but see how sweet he is.  Andy Cryer’s De Guiche changes our opinion – we see there’s more to him than the figure lampooned by Ligniere.  Paul Barnhill’s poetic pastry-purveyor Ragueneau, Perry Moore’s prancing ponce Valvert, Jessica Dyas’s sardonic Mrs Ragueneau, Francesca Mills’s busybody Sister Martha, all help to populate the story with a wide range of characters, different facets of humanity – Rostand has respect for all walks of life and yet he makes Cyrano seem more human than all of us.  Especially touching is Andrew Whitehead’s Le Bret, his heart breaking to see Cyrano’s decline.

Lis Evans’s design is stylish – the stage floor is beautiful – and the New Vic’s costume department has pulled out all the stops for the 17th century setting.  Daniella Beattie’s lighting emulates the soft glow of the chandeliers with the occasional shaft of brightness – like Cyrano’s wit, enlivening the gloom.

Cyrano’s panache tickles the funny bone before plunging into your heart.  I know it’s only February but already I think I might have seen the show of the year.

cyrano

“You don’t have to put on the red light…” Cyrano (Christian Edwards) and Roxane (Sharon Singh)  Photo: Steve Bould


Winter Wonderland

THE SNOW QUEEN

New Vic Theatre, Newcastle under Lyme, Saturday 26th November, 2016

 

Hans Christian Andersen’s fairy tale is given the Theresa Heskins treatment in this beautiful new version that continues the New Vic’s impeccable tradition of superlative Christmas entertainment.  Heskins’s adaptation improves on the original, in my opinion, by giving the Snow Queen a backstory.  We understand why she is the way she is by seeing how she became the bogeyman, a legend used to frighten children.  The play begins with a sweet courtship scene between the awkward Soren Sorenson (a sweetly clumsy and tongue-tied Oliver Mawdsley) and Karen, the object of his affection.  They skate around the issue – literally: the cast wear inline roller skates to glide around – and come to an understanding, only to have tragedy strike, putting their romance on ice.

Polly Lister gives a chilling performance as the icy, mournful ghost.  Everything about her is striking, the voice especially.  Once again, we are treated to a magnificent score by genius composer James Atherton, and Lister’s voice is the strongest of the night.  Her scenes with Kai (Luke Murphy) are reminiscent of Edmund and the White Witch of Narnia, and there are echoes of other tales, other myths: Summer’s garden, on which Gerda becomes trapped, is like Circe’s island, and the three puzzles Kai must solve remind me of icy Turandot’s riddles with their one-word answers.

Natasha Davidson is an appealing heroine/narrator as the plucky yet bookish Gerda.  Books form the scenic elements here, great slabs like ice floes.  There is a running theme that storybooks are at least as valuable as factual ones.  The Dickensian, Gove-like education meted out by Schoolteacher (Rachael Garnett) is not enough to get children through life and its problems.  Creative thought is vital to our survival.

It’s a stunningly beautiful show, visually, thanks to Laura Clarkson’s set (the stage floor is especially important to the story), Lis Evans colourful Danish-Victorian chic costumes, and Daniella Beattie’s magical lighting design; and aurally, courtesy of Atherton’s evocative compositions, played on stage by the talented actor-musicians.

The splendid leads are supported by equally strong ensemble members.  Matthew Ganley’s Bitzer, for example, and Rachel Dawson’s Robbergirl, help to populate Gerda’s account with engaging characters.  Heskins’s direction includes her trademark ‘distance fighting’, a kind of non-contact violence that is expressive, effective and fun, and there are also stand-out sequences, like the toboggan race, the flight of the Snow Queen, and a stunning backwards scene – Heskins puts the performer at the heart of her stage effects.  She gives the design and tech teams challenges (which they meet, no question) but she is essentially an actors’ director and, above all that, a consummate storyteller.

Ultimately heart-warming, this is the perfect entertainment for a chilly winter’s night.  You leave the theatre feeling cosy and warm.  It’s the simple, uncomplicated things of life that make you feel good, especially at this time of year – I suppose this is the hygge that’s all the rage these days, something that Hans Christian Andersen knew all about.

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Frozen assets: Polly Lister as the Snow Queen (Photo: Andrew Billington)


With Flying Colours

PETER PAN IN SCARLET

New Vic Theatre, Newcastle under Lyme, Tuesday 26th July, 2016

 

Theresa Heskins adapts and directs this world premiere: the first stage version of the ‘official’ sequel to J M Barrie’s classic.  The novel, by Geraldine McCaughrean, takes Barrie’s world and characters and moves them on, away from the innocent times of playing in an Edwardian nursery.  The world has changed.  It’s not so much that Wendy and John have grown up but the world has too.  The First World War has changed and tainted things forever.  It is suggested that their brother Michael (the little one with the teddy bear) was killed in action.

And so the entire piece is permeated with sadness and a sense of loss, alleviated in part by the exuberance of the cast and the infectiously jaunty score by composer and M.D. (and genius) James Atherton.  1920s jazz informs the aesthetic and members of the cast reveal themselves to be virtuosi on a range of instruments.  Jonathan Charles’s Slightly gives a star turn on the clarinet – and special mention goes to Natasha Lewis for her raunchy trombone.

The plot is action-packed.  Wendy and John recruit some of the Lost Boys for a return visit to Neverland, following a series of nightmares.  The play opens with one of these, a recap of the demise of Captain Hook – Andrew Pollard has never looked more dashing and debonair.  In order to fly back, the grown-up children hatch a fairy (New Vic favourite Michael Hugo being delightfully funny as Fireflyer) for a handy supply of dust, and don their own children’s clothes in order to be children again.  A strong theme is that clothes make man – you are what you wear, as Gok Wan would have it.  There is some truth in this idea of life as a game of dressing-up, but I’d add that it’s also how people react to the clothes we wear that shapes our behaviour. When Pan puts on an old red pirate coat, he takes on the unpleasant characteristics of his former nemesis.  Clothes make Pan.

Isaac Stanmore (formerly Dracula and Robin Hood) returns as another New Vic leading man and brings out Pan’s never-ending supply of youthful energy.  He also delivers the changes to Pan’s nature as the coat takes over, becoming a nasty-minded tyrant before our very eyes.  Perry Moore is also a returning player; this time he’s John, shedding his grown-up stuffiness for a more boyish, adventurous personality.  Rebecca Killick’s Wendy is fun and assertive without being the bossy little madam she is sometimes shown to be.  Suzanne Ahmet cuts a dash as Tootles, a doctor who has to borrow his daughter’s clothes – notions of gender identity are teased at – and Mei Mac exudes energy as Tinkerbell.  The mighty Andrew Pollard creates a creepy and compelling presence as the friendly but sinister Ravello, wraithlike and charming.

The whole cast must be absolutely knackered, with all the running around, physicality and, of course, the flying – here portrayed by climbing up lengths of silk and bringing to mind the New Vic’s production of Peter Pan a few years ago, which was the most beautiful and moving version of the story I have ever seen.  There are moments of beauty here too, with the silks, the sails, the lighting (designed by Daniella Beattie) – and I am struck by how bloody good the sound design is; James Earls-Davis works wonders in this arena setting to give us a cinematic soundtrack that is finely focussed, helping us to follow the action, which at times can be very busy and frenetic.  Theresa Heskins employs some of her trademark tricks – maps are ‘thrown’ across the stage, fights are carried out across a distance, softening the violence in one way, making it all the clearer in another – and her well of theatrical invention seems never to run dry.  The result is a charming if melancholic experience, rich with ideas and played to perfection.  The show only suffers from a lack of audience familiarity with the material.  We wonder where it’s going rather than wonder at it.  But then, Peter Pan was new once too.

pan in scarlet

Suits you, sir. Ravello (Andrew Pollard) helps Pan (Isaac Stanmore) into his scarlet coat, while Fireflyer (Michael Hugo) looks on, aghast. (Photo: Geraint Lewis)

 


Sounds Horrible

DRACULA

New Vic Theatre, Newcastle under Lyme, Tuesday 10th March, 2015

 

Director Theresa Heskins has adapted the Bram Stoker novel fairly faithfully for this brand new production – most of the main characters are here and all the key scenes but what lifts this version above and beyond the main pre-existing others is…well, everything.

The stage is darker than I’ve ever seen it. Not only does this lend a creepy atmosphere but it focusses our hearing. Sound is brought to the fore in the form of sound effects, performed live by the cast – we’ve all seen footage of radio drama being recorded or sound effects being added to a film soundtrack. At first, as the effects support the mime of the actors, you look up to their workbenches to see how the sounds are produced, but after a while, you let that go as the action draws you in. Sound designers James Earl-Davis and Alex Day are certainly inventive and undeniably ‘effect’-ive. Also, the eerie music and atonal soundscapes of brilliant composer James Atherton create an unsettling mood, as evocative as they are unnerving.

An excellent Isaac Stanmore is a lively Jonathan Harker, arriving at Castle Dracula, and our narrator. Light and dark create doorways – as with radio drama, the scenery is left to our imagination. Daniella Beattie’s lighting is precise and sharp, using chiaroscuro like an Old Master to illuminate or keep in shadow. With horror, it’s not so much what is shown as what remains hidden. And what we don’t see, we hear. That sound may really be a fork plunging into half a cabbage or whatever, but to our engaged imaginations, it is something much, much worse.

From his first entrance, Jack Klaff’s Dracula casts a long shadow – just as the character does over the rest of the proceedings. He stalks around the stage at a steady pace, intoning his lines without melodrama. That famous line about the “children of the night” is absolutely chilling here – Heskins has successfully avoided all notions of the camp and the kitsch. The well-worn story comes across as something entirely fresh. Klaff, with his snow-white hair and his exotic vocal tones embodies menace. His three brides (Hazel Lam, Sophie Morris, and Rebecca Rennison) bring Gothic eroticism in their seduction of Jonathan Harker, shinning up lengths of rope and silk and contorting themselves in mid-air. It’s rather spectacular but the work of ‘aerial director’ Vicki Amedume really packs a visual punch in the second act, when Dracula, now younger and revitalised and Jonathan Charles, hovers over Mina’s bed, slowly swooping down to her in hypnotic silence. Absolutely stunning.

Charles also moves with inhuman grace – his Dracula is not like us at all, and more animalistic than Klaff’s elder statesman.

Jasmine Blackborow is Lucy, full of girlish verve until the Count sinks his fangs into her. Her transformation into an undead wraith is superbly realised and so is her execution with a stake to the heart. Here sound and visuals combine in a moment of sheer horror. And yet there is nary a flash of fang or a drop of blood – Heskins keeps those details in our minds, and there’s nowhere scarier than one’s one mind.

New Vic stalwart Ali Watt’s Dr Seward has an emotive outburst, while John O’Mahony’s Professor Van Helsing maintains a sort of calm urgency. Sarah Schoenbeck’s Mina, ostensibly the damsel in distress, has an inner strength and an appeal that goes beyond her character’s function in the plot. Indeed, the whole ensemble is top notch – even the unseen Renfield, played (vocally) to the hilt by Conrad Nelson. Scenes are interspersed with recorded snatches of the lunatic’s case, as a counterpoint to the main action, a scientific examination to contrast with the supernatural events as they unfold. Unfortunately there is no pay-off for Renfield – the extracts don’t really go anywhere.

Tables and beds, formed of black blocks, rise and sink into the stage floor, the trap doors yawning like graves… There are many things about this production, both in form and in content, that will stay with me for a long time. Heskins has triumphed yet again in this departure from her usual style and has created a piece that is truly memorable, creepy and above all, beautiful.

Jack Klaff

Jack Klaff


Sentinel Review: Stones in his Pockets

STONES IN HIS POCKETS

New Vic Theatre, Newcastle under Lyme, Friday 5th July, 2013

Here’s a link to my review on The Sentinel website.

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