Tag Archives: Katie Goldhawk

Grail Trail

SPAMALOT

Crescent Theatre, Birmingham, Sunday 2nd June, 2019

 

Eric Idle’s musical parody of Arthurian legend speaks of a leader who will rise from chaos to unite a divided country… We couldn’t half do with King Arthur today!  I doubt such a leader will spring from the current Tory leadership contest.

This lavish production at the Crescent is directed by Keith Harris, bringing together all the technical elements of the production and marrying them to an outstanding cast, with the result being a hugely impressive, massively enjoyable visit to the theatre.  They really have pulled out all the stops with this one.  Colin Judges’s splendid set of castle walls, towers and trees has just the right amount of storybook illustration to it, while Stewart Snape’s costume designs remain true to the period (when they need to) and introduce glamorously anachronistic specimens (when they don’t): the Camelot presented here has more in common with Las Vegas than Medieval England!  There is also an appearance by a magnificent wooden rabbit.  Of course there is.

Joe Harper heads the cast as King Arthur, imperious, regal and daft in equal measures.  He has a fine singing voice too – in fact, when the knights all sing together, the quality enriches the material.  Idle’s songs are pastiches, sometimes simplistic in structure, but the chorus at the Crescent still delivers the goods.  The musicians, under the baton of Gary Spruce add pizzazz and texture to the score.   Beautiful.

The female lead is Tiffany Cawthorne’s Lady of the Lake, with a dazzling display of vocal fireworks that doesn’t take itself seriously, mocking the over-singers and belters of musical theatre and elsewhere.  Cawthorne is also a delightful comic player and doesn’t miss a trick.

Among the knights there is plenty to relish: Mark Horne’s camp Sir Robin, Paul Forrest’s heroic Lancelot (who has a surprise for us later on that is deliciously realised), and Nick Owenford’s Marxist-peasant-turned-loyal-knight Dennis Galahad.  I always have a soft spot for the faithful manservant Patsy, and here Brendan Stanley does not disappoint in a masterclass of a portrayal that demonstrates how supporting roles can make a mark.  Brilliant.

There are so many highlights, so many hilarious throwaway moments, I can’t mention them all, but I have to bring attention to Katie Goldhawk’s defiant posturing as the stubborn Black Knight, Jack Kirby’s Hibernian enchanter, Tim, Luke Plimmer’s Not Dead Fred, and Dave Rodgers as a taunting French soldier.

For me, the funniest scene is between Herbert (Nick Doran) and his father (Toby Davis), with a couple of dim-witted guards and a daring rescue by Lancelot.  Doran plays the gayness of the role without mockery or stereotype and his Herbert is all the more endearing because of it.

You don’t have to be a Monty Python aficionado to be royally entertained.  For those of us that are, it’s fun to identify where Eric Idle nicked the ideas from.  Only the other day I was bemoaning the fad for adapting every bloody film into stage musicals – this is one of the best ones, not least because it makes fun of the theatrical form as much as sending up the content.

Director Keith Harris gets the tone spot on and for almost all of it, the required energy levels are there to carry it off.  This is a real tonic of a production, joyous, silly and glorious – now, if only I could stop whistling THAT SONG from The Life Of Brian…

spamalot

Brendan Stanley and Joe Harper (Photo: Graeme Braidwood)


Steps in the right direction

THE 39 STEPS

Crescent Theatre, Birmingham, Saturday 8th September, 2018

 

Of all the incarnations of John Buchan’s novel of 1915, Patrick Barlow’s stage adaptation is my favourite – perhaps it’s because the world has moved on and the stiff-upper-lip hero is hard to take seriously anymore.  I have lost count of the number of productions I have seen yet it is still with excitement that I approach this one in the Crescent’s Ron Barber studio.

The space is dominated by Keith Harris’s set, which consists mainly of a mini proscenium arch with curtain and a rostrum.  This comes in useful for scenes set in the London Palladium and later in a Scottish hall, but most of the time it pushes the action downstage and so close to the audience it feels cramped.  The rest of the scenery is conjured from judicious use of some simple settle-type benches, which create an armchair, a box at the theatre, a bed and so on as the story demands.  There is a portable window, which is used for laughs, but no portable door – a missed opportunity, there.

The cast of four is very strong.  Leading is a dapper David Baldwin as urbane twit and action figure, Richard Hannay.  He is pitch perfect and, in this intimate space, you can see Hannay’s cogs working behind his eyes.  As his three leading ladies, Annabella Schmidt, Pamela, and Margaret, Molly Wood is also strong – her ‘Cherman’ accent is particularly good, but she needs to ensure that Pamela’s best line (I’m not surprised you’re an orphan) is not lost among her wracking sobs.

Everyone else is played by a couple of ‘Clowns’, both of whom prove their versatility.  Katie Goldhawk’s Scottish characters come across especially well, while Niall Higgins’s nefarious Professor and his wacky Scottish landlady are hilarious.

Director Sallyanne Scotton Mounga elicits wonderful characterisations across the board, and her staging gives rise to plenty of titters.  In her hands, Barlow’s script is consistently amusing but I get the feeling we are being short-changed when it comes to the play’s set pieces: the escape from the train, for example.  Much fun is had with the party behind the closed-door bit, but the wild wind outside Margaret’s cottage is another opportunity overlooked.  The sound effect is there, courtesy of Roger Cunningham, but it doesn’t affect the action.  More could be made of the actors’ physicality to get locations across.  Further steps could be taken.

There is plenty to enjoy here, but I come away thinking the creative envelope could be pushed a little further to give us moments of inventiveness to dazzle and delight and take our breath away.

39 steps crescent

Strangers on a train: Katie Goldhawk, Niall Higgins and a bemused David Baldwin (Photo: Graeme Braidwood)