Ghosted!

BLITHE SPIRIT

The Attic Theatre, Stratford upon Avon, Wednesday 24^th May 2023

Noel Coward’s classic comedy gets a spirited revival in this new production at Stratford’s cosy Attic Theatre.  Adam Clarke and Sue Kent’s set design uses the intimacy of the space to put us right in the living room with the characters.  Up close and personal with the cast, we feel part of the action.

Novelist Charles and his second wife Ruth are hosting a séance, as research for his next book.  Inadvertently, the ritual conjures the spirit of his late first wife, which would put a strain on any relationship!

Director Jonas Cemm has his fine ensemble rattle through Coward’s epigrammatic dialogue at a rate of knots, which heightens the comic atmosphere.  John-Robert Partridge is note perfect as the novelist-cum-pompous-arse Charles, while Rosie Coles is elegance personified as the long-suffering Ruth.  There is excellent support from Robert Moore as the sceptical Doctor Bradman and Matilda Bott as his excitable wife.  Den Woods’s medium Madam Arcarti keeps to the right side of caricature, bringing a touch of plausibility to the part, and Florence Sherratt makes the most of her largely silent role as Edith the accelerated maid.  Katherine De Halpert is delectable as the pale and playful, ethereal Elvira.

It’s enormous fun, played with exquisite timing from all concerned.  The supernatural facets of the story are bolstered by atmospheric sound and lighting design, by Elliott Wallis and Kat Murray respectively.  Production values are high (which is no less than what we’ve come to expect from Tread The Boards Theatre Company), with the period and the other-worldly being evoked so effectively.

The subject matter and the dialogue may seem flippant or frivolous, but Coward has plenty to intimate about human relationships. For some, ‘til death do us part’ doesn’t apply.  Perhaps there are some relationships we never get over.

☆ ☆ ☆ ☆ ☆

Making a comeback: Katherine De Halpert as Elvira (Pic: Andrew Maguire Photography)

Man-made Man

FRANKENSTEIN

The Attic Theatre, Stratford upon Avon, Saturday 15^th October, 2022

Back in 1818, young Mary Shelley invented the science fiction genre with her gothic novel that deals with those little things like creation, life and death.  By creating life and thereby usurping God, Victor Frankenstein then shirks his responsibilities as a creator.  His creation, unguided, has to find his own way in the world.  Thus, the Creature represents the human condition, floundering while God insists on being an absentee father.

This new adaptation by Catherine Prout hits all the right plot points, even with a scaled-down cast of characters.  The rather verbose dialogue is true to the style of the Shelley original and does a lot of heavy lifting when it comes to conveying a sense of the period.

Dan Grooms is an impassioned if youthful Victor, adept at showing signs of high distress both physically and emotionally.  I wonder if his pre-recorded narration would be better done live as he potters around in his laboratory.

He is more than matched by his Creature, in a towering performance from Alastair Oakley, who is imposing and innocent, ferocious and frightening, while also being pitiful.  It’s a remarkable portrayal.

This central pair is supported by a versatile ensemble.  The mighty Robert Moore is charming as Victor’s BFF Henry, and brings a touch of humour as farmer Felix; Matilda Bott is devastating as the wrongly-accused Justine; Phil Leach brings gravitas as Victor’s dad, and warmth as blind De Lacey; Joshua Chandos impresses as Captain Waldman to whom Victor unfolds his tale; while Lily Bennett does a bang-up job of making too-good-to-be-true Elizabeth sympathetic rather than soppy.

Adrian Daniel’s set has something of a steampunk aesthetic, all ropes and chains, dials and switches.  Lit by Kat Murray, it becomes a versatile and atmospheric setting for the play’s many locations.

As ever, director John-Robert Partridge makes the most of the Attic’s intimate space.  Characters roam around in blackout, menacing the front row.  Sudden screams and loud noises keep us on edge, as the gruesome tale weaves its fascinating spell.  Even the scene changes are eerily done.  It all flows smoothly and creepily – apart from some teething troubles with a recalcitrant table top that threaten to hold up the action!  With today’s matinee being only the second performance of the run, I’m sure these minor problems will soon be ironed out.

Production values are high – special shout out to Sue Kent’s make-up work on the Creature – proving that with the right treatment, the familiar fable still has the power to intrigue, provoke and shock.

Like Victor’s Creature, this spellbinding show is extremely well put together.

☆ ☆ ☆ ☆

Dan Grooms as Victor Frankenstein (Photo: Charlie Budd)

Dynamic Duo

THE ADVENTURES OF SHERLOCK HOLMES

Attic Theatre, Stratford upon Avon, Thursday 15^th September 2022

Following last year’s rip-roaring Hound of the Baskervilles, Tread the Boards theatre company is back with this anthology of Holmes’s adventures.  Back as the detective duo is the excellent pairing of Robert Moore as Sherlock and John-Robert Partridge as Dr Watson.  Moore is in peril of becoming my favourite Holmes: he has the attitude, the humour, the intensity, and the heroism all down to perfection, with Partridge’s Watson and intelligent padawan and emotional barometer for the action.

The four stories in this exquisite adaptation are A Scandal in Bohemia, The Speckled Band, The Dancing Men, and The Final Problem, but the script avoids an episode structure by providing a throughline courtesy of arch-nemesis Professor Moriarty – Stephen Hardcastle in a suitably sinister portrayal.

Matilda Bott delights as a chirpy Mrs Hudson.  Leo Garrick impresses as an aggressive Doctor Roylett, while Stephanie Miles makes a spirited Irene Adler.  The supporting players get to demonstrate their versatility by doubling roles; the leading men get to demonstrate theirs by adopting disguises.

Partridge also directs, getting the tone of the piece spot on.  The intimate space of the Attic puts us right in the Baker Street flat where all the action unfolds.  Judicious use of lighting and sound effects suggests the other locations – Elliott Wallis’s superb music-and-sound design goes a long way to creating the atmosphere and a sense of time and place.

The script, by Robert Moore himself, wisely adheres to Conan Doyle, delivering everything we expect from and love about the most famous consulting detective.

There are plenty more stories that could be staged in this manner and I really hope a Tread The Boards Sherlock Holmes show becomes an annual treat.

☆ ☆ ☆ ☆ ☆

Moore, please! Robert Moore as Sherlock Holmes (Pic: Andrew Maguire Photography)

Bloody Great

MACBETH

The Attic Theatre, Stratford upon Avon, Wednesday 30^th March 2022

This production by Tread The Boards takes a traditional approach, with splendid medieval costumes conveying the historical period, although with the Northern English accents, it’s less Glamis Castle and more Winterfell.  But at least there’s consistency, creating the world-of-the-play most effectively.  The action plays out against a huge map of Scotland, which has been torn —  symbolising the political climate of the story.

Judicious use of sound design (courtesy of the brilliant Elliott Wallis) makes the intimate Attic Theatre space feel larger.  The sounds of hurly-burly surround us.  Cast members running around and fighting put us right in the action.  Enter Three Witches… This ragtag trio engender an otherworldliness, even though they could pass for mortal women – their eye-of-newt scene later on is horrible, as they place the disgusting ingredients in their cauldron.  The Witches also double as other characters: servants, messengers, giving them a direct hand in the unfolding doom of their victim.  Witch 2 (Sally Hyde Lomax) doubles as the Porter, bringing much-needed comic relief to the tense scenes surrounding the murder of Duncan.  Witch 3 (Clara Lane) makes a sympathetic Lady Macduff, while Sarah Feltham’s Witch 1, the twitchy one, offers support in a string of minor roles.  The impression is given that the Witches are more directly involved in Macbeth’s downfall than we might have thought.

Speak of the devil.  Daniel Wilby’s Macbeth is a credible warrior (some Macbeths I’ve seen aren’t!) and his conversion to the dark side, while a little speedy, is also believable.  Wilby is at his strongest in the scenes where Macbeth unravels – the banqueting scene is especially powerful – and his portrayal of a man under immense stress, with violent outbursts, is captivating.

He is more than matched by Alexandra Whitworth, who is quite simply the best Lady Macbeth I have seen.  The steely-eyed wickedness, the growing sense of isolation, the mental breakdown… all played to perfection.  Whitworth brings out the character’s humanity.  She is so much more than a wicked woman who can’t cope with the consequences of her actions.

Honestly, this is a truly excellent cast.  Phil Leach’s King Duncan exudes kindness without losing any of his regal status; Ben Armitage’s Malcolm is superb – like Macduff, we take him at his word.  Armitage gives the boy king assuredness; he is definitely this Duncan’s son.  Pete Meredith’s Banquo goes from brave and noble best mate to terrifying apparition.  A versatile actor, Meredith later appears as the doctor – the contrast couldn’t be greater.  John-Robert Partridge’s forthright Macduff is thoroughly righteous and decent.  Partridge’s rich speaking voice is a pleasure to hear, and you wouldn’t want to get on the wrong side of him.

There is strong support from the likes of Tom Lane’s Lennox, Edward Manning’s Ross, and Patrick Large as Seyton.  Everyone handles the language with clarity and understanding.  John-Robert Partridge’s direction gets everything right, the supernatural bits are unnerving, the action scenes are exciting – the climactic swordfight between Macs Duff and Beth is thrilling – making the confines of the performance space seem large enough to contain this story of a nation in upheaval, while yet intimate enough to chart the decline of our tragic hero.  Partridge doesn’t clutter the stage (there’s no room) but lets Shakespeare’s text do the donkey work, ensuring that this superlative cast deliver the time-worn words with truth, ease and freshness.

Bloody marvellous.

☆ ☆ ☆ ☆ ☆

Mr and Mrs: Daniel Wilby and Alexandra Whitworth as the Macbeths (Photo: Andrew Maguire Photography)

Sound as a Hound

THE HOUND OF THE BASKERVILLES

The Attic Theatre, Stratford upon Avon, Saturday 30^th October, 2021

This is my second production of Arthur Conan Doyle’s most famous story in two weeks.  From what I understand, there’s at least a third one doing the rounds.  There’s definitely something in the air, given the current popularity of this tale.  And what’s not to like?  An intriguing mystery, Holmes and Watson in great form, and the prospect of a supernatural beast!  Bring it on.

Heading the cast as the world’s most famous consulting detective is Robert Moore, who is quite possibly the best-looking Holmes I’ve ever seen.  Moore’s Holmes is a little imperious and condescending, but there’s humour there too, and the portrayal is nuanced so at times you can see the cogs working, and at others know when Holmes is withholding something.  This Holmes brims with pent-up energy, mental and physical and there’s never any indication of him not being in charge.

Adapter-director John-Robert Partridge appears as Doctor Watson — this case elevates Watson from the role of mere sidekick to the great man; he is permitted to investigate on his own.  Partridge’s Watson is no fool.  Somewhat lugubrious and implacable, he has a rich speaking voice and an understated authority, as though he is Holmes’s star pupil rather than just a sounding board for Holmes’s thoughts.

This excellent pairing is supported by a fine quartet of actors in all the other parts.  Ben Armitage’s Sir Henry Baskerville is laidback and easy-going, a fine contrast to the clipped tones and reserved demeanour of the detective duo.  Armitage’s Henry breezes through the action until the potential consequences dawn on him and he becomes sober and stunned.

Andrew Woolley’s Barrymore the butler is imposing and sinister —more so than his naturist Stapleton, a man prone to terrifying outbursts.  I think something more could be done to emphasise his position as a naturist; an undersized butterfly net alone doesn’t cut it.  Kate Gee Finch doubles as an underused, long-suffering Mrs Hudson, and as the tightly wound Beryl Stapleton in an effectively emotional performance.  Sarah Feltham proves invaluable as a tearful Mrs Barrymore, a guarded Laura Lyons, and a coolly professional Doctor Mortimer.

The intimate performance space of the Attic puts us right in the Baker Street apartment, with other locations suggested by dust sheets on the furniture, or through the use of lighting and sound effects.  The music and sound design by Elliott Wallis go a long way to creating an unsettling atmosphere, underscoring the action and cranking up the tension during the transitions, not least for the climactic confrontation between hound and man.  Onyx Redwood’s lighting adds to the chilling aspects of the story, with director John-Robert Partridge making superb use of complete darkness to put us on edge, as unseen figures weep, laugh, and startle us.  There’s even a kind of Woman In Black gliding around.

An atmospheric and engaging staging of a solid adaptation.  Now, with all this interest in the Hound, perhaps I should dig out the musical comedy version I wrote twenty years ago and see if anyone’s interested…

****

Robert Moore on the case as Sherlock Holmes

Wonder-full

ALICE IN WONDERLAND

Cox’s Yard, Stratford upon Avon, Wednesday 4^th August, 2021

This year’s summer show from Stratford-based company, Tread The Boards is an exuberant adaptation of Lewis Carroll’s nonsense classic.  All the highlights you expect are here, and the cast of just six work hard to populate the stage with the well-known characters.  Being an outdoors show, technical elements are limited, but director John-Robert Partridge makes a virtue of this, relying on the physicality of the actors to get across the fantastical elements of the story.  Moments like Alice’s fall down the rabbit hole and an underwater sequence are superbly handled by the ensemble.  There is a dance-like quality to their movements, even if they’re just shifting scenery.  Also tackled extremely well are the changes in Alice’s size as she eats and drinks various things that shrink or extend her.  It’s clever stuff that engages our imagination to make the effect work.  Certainly the children in the audience are engaged and on board.  This is where the true ‘wonderland’ is to be found.

Each cast member plays several parts but they each get their stand-out moments.  Pete Meredith’s Playing Card Gardener, for example, and his Mad Hatter, aided and abetted by Julia Holland’s March Hare.  Holland teams up with Lucy Edwards as Tweedledee and Tweedledum to give a spirited rendition of The Walrus and the Carpenter.  Edwards also makes for a fun Cheshire Cat.  Danny Teitge is a likeable and quirky White Rabbit, establishing a rapport with the younger members of the audience, and is especially good as the speaking end of the Caterpillar.  Director John-Robert Partridge practices what he preaches in a couple of featured roles.  His Mock Turtle has a showstopping number about soup, and chiefly, his Queen of Hearts is deliciously camp and tyrannical—I trust this is not indicative of his directorial style!

As Alice, Hannah Whitehouse hardly leaves the stage, capturing the fun and earnestness of the role, Alice’s forthright, logical approach to a world that makes little sense, trying to reason her way through this cavalcade of crazy characters.  The focus of the action, Whitehouse is an appealing and expressive presence.

The sound design is by Elliott Wallis, and it includes some of his original compositions, adding to the charm of this enchanting and imaginative production.

The show is touring until September to a range of venues across the region.  You can book tickets by clicking HERE.

****

Small but perfectly formed

JACK AND THE BEANSTALK

The Attic Theatre, Stratford upon Avon, Saturday 14^th December, 2019

 

Stratford’s intimate Attic theatre may not seem a suitable venue for pantomime but clearly Tread The Boards Theatre Company, returning for their tenth Christmas show, know how to make it work.  What we lose in scale and spectacle is more than compensated for by closeness and directness.  Director Jennifer Rigby delivers all the crucial elements for a traditional show; the reach-out-and-touch properties of the space add a personal touch.  We are all in it, inescapably, and the proximity of the actors adds to the fun and to our admiration of their talents.

John-Robert Partridge’s script gives the cast of seven plenty to do.  Annaliese Morgan makes an appealing and fun Fairy Beansprout, brandishing a leek for some reason instead of a wand.  Contrasting perfectly with her sweetness, is the sneering Danny Teitge as the Giant’s menacing henchman, Fleshcreep, in a detailed, hilarious performance that accentuates the comedy of the role.  Jack Scott-Walker is suitably heroic as Jack, and his duet with the Princess (Nicolette Morgan) demonstrates his fine singing voice.  The Princess is spirited and fun-loving, definitely not one of those royals who keeps herself aloof.

A Fleshcreep to make your skin crawl: Danny Teitge (Photo: Andy Maguire Photography)

Marc Alden-Taylor quickly establishes himself as a favourite, swiftly befriending the audience and enlisting us into his ‘gang’ in a skilful portrayal of Simple Simon.  The comic timing is spot on and his rapport with the audience, especially the children, is hugely enjoyable.  There is energetic support from Linden Iliffe as a perky Lord Chamberlain, but the icing on this Christmas cake comes in the form of Pete Meredith’s superlative Dame Trot.  Naughty but never vulgar, Meredith is a hoot with a seemingly inexhaustible supply of garish gowns and colourful wigs that complement his characterisation perfectly.

There are amusing scenes with Daisy the Cow (appearing as herself) and the Giant is heard but never seen – in fact it is here, that there’s a slight issue: the sound mix makes the Giant a bit hard to understand when he has prolonged dialogue, but the actions and reactions of the cast mean that we still get the gist of what he’s booming on about.

There are plenty of jokes and lots of well-worn routines: a bit of It’s-Behind-You with a prowling ghost, some silliness in a schoolroom scene, a breakneck rendition of The 12 Days of Christmas, a hilarious, if extraneous, balloon ballet that elicits belly laughs… and there is also excitement with an impressive bout of swordfighting between Jack and Fleshcreep, all the more thrilling at such close quarters.  Running business with a bag of sweets keeps us actively engaged, but more could be made of the water pistols given to young audience members to ward characters off particular areas of the stage.

A highlight for me is a brand-new original song, composed by the excellent musical director Elliott Wallis and sung by Danny Teitge (with support from Daisy the Cow).  Teitge’s delivery and Wallis’s skill make the number sound as if it has been lifted from a Broadway show.  It fits perfectly the character and the context and is performed exquisitely.

In fact, the cast sells all the musical numbers well, with lively pop choreography by Catherine Prout, and when they all sing together it’s fantastic.  The energy never flags in this fine, fun production that proves you don’t need grand spectacle and expensive effects to enchant and entertain.

Daisy the Cow (herself) and Jack (Jack Scott-Walker) in a mooving scene (Photo: Andy Maguire Photography)