Tag Archives: David Mears

Tour de Farce

ONE MAN TWO GUVNORS

The Bear Pit, Stratford upon Avon, Monday 15th May, 2017

 

Ever ambitious, the Bear Pit brings to its intimate space Richard Bean’s hit comedy, a knockabout farce based on a much earlier work by Goldoni.  Subtle, it ain’t.

David Mears plays Francis Henshall, the conniving if dim protagonist driven by basic appetites (hunger and desire), striving to keep two employees happy – and apart.  As ever with Mears, it’s a masterclass in comedy.  Characterisation, timing and physicality are all done to perfection, although from time to time, especially in the more intense moments, it’s as though he is channelling James Corden, the originator of the role at the National Theatre.  Given Corden’s phenomenal success in the part, this is no bad thing!

Others in the excellent ensemble also dazzle.  Roger Ganner’s upper class Stanley is a wiz with comic exclamations and comes complete with comedy back hair.  Jack Sargent’s histrionic, wannabe actor, Alan, is an absolute treat, while Flo Hatton’s Pauline makes a delightfully thick ingenue. Natalie Danks-Smith’s Rachel, in disguise as her murdered ‘identical’ twin is also a lot of fun.

For me though, the show is stolen by a towering performance from Ruth Linnett as Dolly, having to tilt her beehive do sharply every time she comes on or goes off – a running gag that never gets old.  Linnett is a match for Mears in the comedy stakes, able to throw away asides to the audience with quickfire precision.

There is strong and enjoyable support from the likes of Mike McClusky as Charlie Clench, Rob Woolton as Lloyd, and Graham Tyrer in dual roles of Harry the brief and Alfie the geriatric waiter.

The laughs come thick and fast – from Bean’s hilarious script, the cast’s larger-than-life, energetic playing, and the attentive eye of director Nicky Cox who doesn’t let a detail pass her by, keeping the action focused and the pace consistent in order to maximise our laughter.

An onstage skiffle trio plays through the leisurely scene transitions – the economic almost Spartan set proves to be versatile in its suggestion of the action’s locations, allowing the actors to come to the fore.  It’s a pity there isn’t more space for the running around, which would crank up Francis’s frenetic activity, but this is a taut production of Bean’s genius with plenty of sauce, relentlessly funny and expertly executed.

One-Man-Web

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Toad Hally Awesome

TOAD OF TOAD HALL

Bear Pit Theatre, Stratford upon Avon, Friday 2nd December, 2016

 

A.A. Milne’s stage adaptation of Kenneth Grahame’s beloved novel is a classic in its own right, and its brought to charming life here by director Nicky Cox and a talented cast.  The playful staging (umbrellas for wagon wheels, stepladders for trees) sits well in the studio space, while the energised performances of the actors makes the action irresistible.

Natalie Danks-Smith is a likeable Mole, a blinking innocent who finds there’s a world of adventure beyond her front door.  Dominic Skinner’s affable, dapper Ratty represents what is decent in all of us.  Badger (Shirley Allwork) is the voice of experience and authority – the characters each represent an aspect of human nature, it seems.  Toad himself is an irrepressible hedonist, selfishly sweeping everyone else along with his whims and fads, embroiling them in the problems he creates.  Toad is also a supreme manipulator, caring only for his own interests – he is the attractive but negative side of us, all ego and no conscience.  He thinks the law of the land does not apply to him – much like certain members of the ruling class today!

As Toad, David Mears is magnificent.  Repellent and attractive at once, his antics are enjoyable if reprehensible, and Mears’s performance is a masterclass in comic acting.  No detail is overlooked.  Every twitch of an eyelid, every roll of the eyes is calculated to perfection.  Toad almost swamps the stage with his personality but Allwork’s Badger provides a well-tuned counterpoint, and an equally rounded if contrasting characterisation.  It is a treat to see these two working together.

Tony Homer’s Chief Weasel is an imposing figure, dressed like a sinister doorman – he and the Wild Wooders are clearly of a lower class to the protagonists and therefore undesirables.  This is class war of a kind the Tories still propagate to this day: the lower classes are scavengers, liars and criminals – the very transgressions of which they themselves are all too guilty!  But, leaving Marx behind for a bit, Homer is rather scary at first before mellowing into a figure of fun, in the court scene and so on.  The overthrow of the weaselly squatters puts them back in their place in the societal pecking order, revolution has been averted and the status quo is restored and celebrated, while Toad gets away with escaping from prison…

There is sterling support from Charlotte Froud as a sardonic horse, Philip Hickson as a blustering judge, David Southeard as an affronted policeman, but all players work with commitment and focus, be they providing the walls of a secret tunnel or nattering away as members of the jury.  Pamela Hickson gives a delightful cameo as an exuberant washerwoman.

Songs are performed a capella – the ‘Down With Toad’ by Chief Weasel and his confederates is especially effective.  It all adds up to an enjoyable evening (my political reservations aside!) excellently presented and reinforcing the Bear Pit’s reputation for the high quality of its productions.

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Having A Couple

TWO

The Bear Pit, Stratford upon Avon, Saturday 15th October, 2016

 

Jim Cartwright’s two-hander provides the perfect opportunity for a pair of actors to showcase their skills and versatility.  Set in a pub, somewhere Northern, it introduces us to the landlord and his wife and then a host of their customers, all played by the same duo, giving us different glimpses of relationships between couples (heterosexual, working class ones, that is – the play was written in 1989, pre-diversity concerns!)

It is clear from the start that the publican and his Mrs are going through marital strife, to put it mildly.  Behind their customer service smiles and bonhomie there is bile and invective which they vent on each other at every opportunity.  But as the play goes on, the reason for this animosity becomes apparent, culminating in a heartfelt outpouring of anger and grief.

Playing all the male roles is David T Mears – his ‘Moth’ with a roving eye but a dependency on his girlfriend’s purse is as hilarious as his bullying, control freak of a husband is frightening later on.  Lucy Parrott plays the female parts – her big-man ogling woman and also her brutalised, cowed wife are standouts for me, but really, all the characterisations from this pair are well-observed and depicted.  Mears also directs and  knows when to make things broad and when to hone in on more naturalistic details.

Cartwright’s script is funny and there is a heightened, poetic quality to his writing, giving soul to his characters’ monologues.  At the heart of the piece is the couple behind the bar, their bitterness and resentment.  It all comes out in the wash for the intense final scene.  We come away having seen behind public facades into private lives – Cartwright reminds us that we don’t know what personal hell someone might be going through beneath the surface.

This production upholds the Bear Pit’s reputation for high quality work.  Expertly handled and performed, this engaging piece is well worth 75 minutes of anyone’s time.

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