Tag Archives: Gareth Cassidy

Buchan the Trend

THE 39 STEPS

New Vic Theatre, Tuesday 19th March, 2019

 

I have seen several productions of Patrick Barlow’s rip-roaring adaptation of the Alfred Hitchcock film version of John Buchan’s classic adventure novel, but I approach the New Vic’s crack at it with relish, knowing I am in safe hands with director Theresa Heskins and a cast which includes Michael Hugo.

Being in-the-round, the production has a fresh feel from the get-go.  On the floor, a disrupted circle of letters and symbols keeps the espionage aspect of the story at the forefront, but for the most part the stage is a blank canvas on which the story is played out, with the cast of four wheeling on what they need – invariably with speed, efficiency, and choreographed ‘business’.   The piece begins with a lot of frenetic running around, an overture, which barely lets up pace until the final bows.

One of the things that sets this production apart from all the others is the use of original music.  Where others have used themes from Hitchcock films and other pieces from the period, Heskins brings in genius composer James Atherton to score the action.  Atherton’s vibrant music is cinematic, infused with 1930s jazz, and is tailored to point up moods and moments of action, in tandem with Alex Day’s impressive sound design, which has effects to flesh out mimed actions, invisible doors and so forth.

As depressed but gung-ho amateur adventurer Richard Hannay, Isaac Stanmore is suave and silly in equal measure, throwing himself around with grace and the agility of a cartoon character.  Stanmore is matinee-idol charming and is immensely appealing.

But then, so is everyone else.  Rebecca Brewer delivers the three female roles of the piece: fearsome femme fatale Annabella Schmidt, impressionable crofter’s wife Margaret, and hapless heroine Pamela – and it’s more than a change of wig that differentiates the characters.  Brewer’s comic timing is exquisite, perfectly parodying the melodramatic acting styles of old films.

Gareth Cassidy is spectacularly good as a ‘Clown’ – giving us one broad characterisation after another (sometimes within split seconds) but it’s the details (the turn of a head, the way a character takes a step) that bring us delight.  Cassidy is an excellent foil for the mighty Michael Hugo, and they form a double-act of breath-taking skill and versatility.  The Scottish couple who run an inn, seeing off a couple of bad guys (also played by Cassidy and Hugo) is almost miraculous in its execution.

There is so much to relish here: the sequence in and on the train, for example, the political rally Hannay stumbles into, the Mr Memory routine at the Palladium… Heskins’s love of physical comedy is unleashed and, of course, she includes her trademark throwing-of-papers and long-distance-combat (I suspect there would be riots if she didn’t), pulling out all the stops to make this traditionally end-on piece a good fit for an arena setting.  For the most part, it works brilliantly; there are very few bits that don’t come off (Hannay peering through the window at two men beneath a lamp-post) because of distance and sightlines – but the next gag is always only a few seconds away and the overall standard is so high, the piece is an exhilarating display.

This is a piece of theatre that exploits its theatricality and subverts it.  The upshot is a laugh-out-loud, hilarious and admirable oasis of fun in these uncertain times where the right-wing plots are not as covert as that defeated by Hannay, and a fresh take on a modern comedy classic.

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In a rare moment of stillness, Isaac Stanmore and Rebecca Brewer take in a show (Photo: Andrew Billington)

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Oatcakes and Circuses

ASTLEY’S ASTOUNDING ADVENTURES

New Vic Theatre, Newcastle under Lyme, Tuesday 10th July, 2018

 

When pressed to come up with names from the history of circus, you might recall worthies such as Billy Smart or Mary Chipperfield.  You probably won’t even know of the father of it all, the inventor of the modern circus, one Philip Astley, an innovative impresario and equestrian performer.  Now, this brand-new production staged in his home town brings this unsung hero firmly into the limelight.  We learn that he was a military man who fought in the Seven Years War – the redcoat of his uniform inspires the traditional attire of the ringmaster – and his riding school, based on marshland in Lambeth, like him, was snubbed by the nobility whose patronage he craved.  Dubbed ‘the major with the funny voice’ Astley doesn’t fit in, he’s a solecism made flesh, until inspiration strikes, and he draws together pre-existing elements (horse-riding tricks, clowns, musicians) and invents the standard for the circus ring (still in use today…)

Frazer Flintham’s snappy script leavens the historical detail with sharply comedic, sometimes saucy, dialogue, delivered with verve by a superlative ensemble.  Irrepressible clown Michael Hugo narrates – when he’s not engaged in hilarious business – and the entire enterprise crackles with fun.

Nicholas Richardson plays Astley as a swaggering, handsome figure.  Beneath the posturing is a man driven by his heart, and his heart is in the right place.  He’s also very, very funny.  He is matched by Danielle Bird as love interest Patty Jones, a spirited, driven young woman who becomes Astley’s rock and life-partner.  Their romance is decidedly unsentimental but is encapsulated in an aerial acrobatic sequence high above the stage and without a safety net, providing one of the truly jaw-dropping moments of the night.

An accident befell the mighty Andrew Pollard, causing him to break his foot the day before the dress rehearsal last week.  A swift piece of re-blocking has him sitting among the audience with his injured extremity raised, as per doctor’s orders, but this is not enough to dampen his performance.  He gives us a range of comic characters via a variety of hats and wigs – his George III is a scream, reminding us of the present Duke of Edinburgh.  Pollard’s marginalisation is only physical; his contribution remains at the heart of this production and it befits his high-status roles (the King, Colonel West) to have them apart from the main action.

Jason Eddy declaims and postures as Astley’s treacherous rival, Charles Hughes, while Nickolia King-N’Da impresses as Astley’s talented but rebellious son, John, who doesn’t wish to be saddled with horse-riding tricks for the rest of his days.  Luke Murphy does a star turn as Billy the Little Military Horse, in a hilarious scene of audience involvement.  Gareth Cassidy is also great fun as Astley’s BFF Alfie, while Oliver Mawdsley lends splendid support as Bert.  The cast is augmented by a quartet of circus performers who tumble and juggle and brandish fire around, bringing the thrills of the circus to this already-entertaining show.

Director Theresa Heskins brings her hallmarks to bear (non-contact combat, letters thrown across the stage…) and they work like a dream.  There is also a wealth of inventiveness that heighten the theatricality of the piece and add to the humour: walking across the marshland, for example; judicious use of ladies’ fans…)  How do you stage trick-riding when you have no horses?  Cleverly, is the answer.

There is also much that is deeply traditional, from the clowning to the carnival barking, but it is married with amusing anachronisms and contemporary references, making this just as much a play of the now as it is of the then.  Co-director Vicki Amedume ensures the action looks and feels like it belongs in a circus.

James Atherton’s original music is suitably circussy and melodramatic, providing the perfect accompaniment to the daring of the acts and the perfect underscore to the twists of Astley’s fortune.   The New Vic Workshop has outdone itself with the props: bicycles converted into fairground horses are wonderful to behold, and Lis Evans’s costumes keep the 18th century to the fore.

I come away having laughed a lot and having been charmed by the story, thrilled by the acts, and above all with a sense of injustice.  Surely Astley, the progenitor of an entire form of popular entertainment, deserves a more permanent monument than this excellent but ephemeral entertainment?

Meanwhile, this is the New Vic doing what it does best, and I cannot recommend this wonderful show highly enough.

Astounding!

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Linked in: Jason Eddy and Nicholas Richardson (Photo: Clara Lou Photography)


Pleasure Voyage

TREASURE ISLAND

New Vic Theatre, Newcastle under Lyme, Saturday 25th November, 2017

 

With this new adaptation of the Robert Louis Stevenson classic adventure, Theresa Heskins plots a course for another big Christmas hit.  Setting her version firmly in the North West, there is a host of Merseyside accents here – a change from the now-cliched West Country aarrs we immediately associate with the genre!  Our hero is plucky Gem Hawkins (a plucky Nisa Cole) who has to disguise herself as a cabin boy, having stowed away on board a ship bound for the titular island.  Cole is a ball of energy, likeable and expressive, and our guide through this dangerous, exciting world.

Another change is that Doctor Livesey is also female (Ellen Chivers) but if the TARDIS can have one, why not the Hispaniola?

Into the sleepy coastal pub where Jem works with her mother (a forceful Jessica Dyas) comes a stranger – in the book he’s Billy Bones, here he’s Captain Flint (Richard Costello), bringing with him intrigue, mystery and action but also electric guitars! Suddenly, James Atherton’s score is alive with heavy rock!  It’s a surprise and a welcome one.  Atherton can write in any style, it seems, and this deliberate period-smashing inclusion heightens the energy levels and the theatricality of the storytelling.  Heskins directs with customary wit and invention (Flint polishing off plate after plate of eggs and bacon is a delight!) and everything is in service of the narrative.  However, it does feel at times that the narrative loses momentum and needs crank-starting every now and then as the next iconic moment appears on the horizon.

The production is rich with gems: Andy Burse’s Squire Trelawney is a hugely enjoyable, upper-class buffoon; Lauryn Redding’s Darby McGraw is in great voice and is the most menacing of the pirates (female pirates are well-documented); William Pennington is a sweetly mad Ben Gunn – and he plays a mean xylophone; and Gareth Cassidy’s Red Dog is amusing in his intensity and attempts at subterfuge.

Tom Peters’s Long John Silver lacks the impact or charisma of Costello’s Flint, and it takes quite a while for the character to come alive.  His first scene requires him to sit, static, an approach which provides contrast to all the action we’ve seen so far, but denies him a big introduction.  We need to engage with him in order to be taken in.  Stevenson makes him a morally ambiguous figure and his relationship with Jim/Gem is key.

Certain moments are perfect.  A dance of tropical birds, fleshed out by members of the Young Company and accompanied by Atherton’s rousingly tropical score, is a delight for eye and ear.  The scene with Gem and agile baddie Israel Hands (Leon Scott) in the ship’s rigging is the best scene of the piece: tense and expertly executed.  The pirates’ song that opens the second act.  James Atherton’s score as a whole.  The New Vic’s production team: Lis Evans’s costumes, Daniella Beattie’s lighting, Alex Day’s sound… as ever, production values are high, from the big ideas (the wooden frame that lowers to represent the ship) to the smallest detail (the puppet parrot is elegantly performed (by Jessica Dyas).

There is a wealth of good ideas here, enough to get us through the patchy (eye-patchy?) bits when the dramatic thrust of the plot is becalmed.

Funny, thrilling and inventive, this is one worth setting sail for.

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The show is rigged! Nisa Cole leads a cast of pirates