Tag Archives: New Vic Theatre

A Load of Ballads

THE STRANGE UNDOING OF PRUDENCIA HART

New Vic Theatre, Newcastle under Lyme, Tuesday 2nd July, 2019

 

First produced by the National Theatre of Scotland in 2011 as a piece of pub theatre, David Grieg’s engaging play gets a production on a grander scale at the New Vic.  It begins as a meeting of academics at a conference about folk ballads and, as everyone speaks in rhyming couplets, there is a heightened sense to the narrative.  We meet our heroine, the bookish, strait-laced Prudencia (Suni La) fighting her corner against pretentious naysayers and revisionists.  We meet Colin (Matthew McVarish) blokey and annoying.  We meet a host of characters as the ensemble of four populate the increasingly rowdy and drunken conference.  It’s funny stuff and the humour is engendered and enhanced by the writing.  The rhymes are sophisticated and witty; director Anna Marsland is at pains to retain the patterns of naturalistic speech without glossing over the rhymes.  Grieg makes great use of enjambment and assonance and other things I barely remember from A Level English Lit.

Prudencia sets out in the snow to find a B&B… An encounter with a character from her beloved ballads changes things forever.  ‘Nick’ (David Fairs) is all the more sinister because of his normalcy.  He is in fact the Devil, come to take Prudencia to Hell.

It’s a play of two halves.  After the verse of the first half, the second is mainly in prose.  It gets a bit meta as Prudencia tries to use verse to assert power and make her escape.

Suni La makes Prudencia an appealing figure, who loosens up as the action unfolds.   For her, Hell is a transformative experience.  David Fairs is superb as the satanic Nick, funny, charming and formidable – scary at times.  Matthew McVarish is great fun as the drunken Colin, the unwitting hero, and there is sterling support from Eleanor House as a moustachioed professor and Alice Blundell as a plaintive Woman.   All the cast play musical instruments and sing, keeping the pub flavour of the entertainment going.

E. M. Parry’s design has books suspended like bunting – the books are integral to the storytelling, with illuminated pop-up versions displaying locations. Marsland uses books as stepping-stones to help Prudencia along her journey, which is symbolic as well as visually satisfying. Daniella Beattie’s lighting and charming projections enhance the storytelling nature of the piece.  All levels of the auditorium are put to use, so while we don’t get the intimacy of a pub theatre, we are surrounded by the action as well as being part of it.

Irresistibly engaging, beautifully presented, and ultimately life-affirming, this unusual yet accessible play is a delight from start to finish.  And who doesn’t enjoy a bit of Kylie? (And no, it’s not Better The Devil You Know)

Fiendishly good.

NewVicTheatre_TheStrangeUndoingOfPrudenciaHart_9-1170x780

Suni La as Prudencia Hart (Photo: Andrew Billington)

 

Advertisements

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.

39 steps

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


Sweet Nothing

MUCH ADO ABOUT NOTHING

New Vic Theatre, Thursday 14th February, 2019

 

This co-production between the New Vic and Northern Broadsides sets Shakespeare’s quintessential rom-com in post-war Britain, in the North Country.  The war is just over and the country’s in a partying mood.  And so Don Pedro and his entourage arrive at Leonato’s house, dressed in the uniforms of the period, while the womenfolk are dressed as land girls.  The actor-musicians get us ‘in the mood’ with some Andrews Sisters harmonies and jazzy arrangements, courtesy of Rebekah Hughes.

Matt Rixon cuts an imposing yet avuncular figure as the fun-loving Pedro.  In contrast is his brother, disgruntled and creepy Don John (Richard J Fletcher).  Boyish Claudio (Linford Johnson) has set his sights on Leonato’s daughter Hero (Sarah Kameela Impey) but it is another couple, here played a little bit older, who steal our attention.  Robin Simpson’s fast-talking Benedick is perfectly matched by Isobel Middleton’s classy, sassy Beatrice.

The plot comes to a head in a powerful church scene and what has been a delightful comedy up to now becomes searing drama.  Director Conrad Nelson manages the change of tone expertly – so even if you know what’s coming, we share the shock of the characters.  Claudio’s rejection of the supposedly unfaithful Hero, Leonato’s bitter shame at the public scandal, Hero’s stunned silence and heartfelt pleas of innocence… It’s cracking, eye-watering stuff and having proved themselves deft with witty comedy, the cast come into there own with the more emotional stuff.  Special mention here to Simeon Truby for his devastated Leonato.  And there’s more to comeL  Beatrice and Benedick, alone together for the first time since they have been tricked into believing they are in love with each other, swap declarations and promises.  Suddenly, it’s life and death stuff.  It’s dizzying writing from old Shakespeare, and it’s played to the hilt.

The problems of the witty elite are solved by the hapless intervention of an underclass, the local Watch, whose bumbling makes Dad’s Army look like a crack unit.  Their leader Dogberry (David Nellist) mangles the language with malapropisms, while Anthony Hunt’s spiv of a Borachio makes a convincing transition from bragging to repenting.

Choreography by Beverly Norris-Edmunds keeps the party atmosphere going, with energetic period moves, and there is some lovely a capella singing at key points.  Sigh No More, Ladies works excellently as a bit of barbershop quartet.

This is a wonderful feelgood production that also puts us through an emotional wringer.  Performed by a superlative company, directed in a manner that maximises the comic and the dramatic elements, and serving as a testament to Shakespeare’s genius, this is a Much Ado to savour.

I loved it.

©NOBBY CLARK+44(0)7941-515770
+44(0)20-7274-2105
nobby@nobbyclark.co.uk

Isobel Middleton as Beatrice (Photo: Nobby Clark)

 


Warm and Fuzzy

THE WIND IN THE WILLOWS

New Vic Theatre, Newcastle under Lyme, Saturday 24th November, 2018

 

This brand-new adaptation of Kenneth Grahame’s classic children’s novel is written by the New Vic’s genius-in-residence, Theresa Heskins, and is directed by Peter Leslie Wild.  It bears all the hallmarks of a great New Vic Christmas show, with the Workshop and technical crew all flexing their creative muscles to translate fantastic worlds onto the stage.  And so, Laura Willstead’s set has painted branches, like illustrations, and sprigs of greenery draped all around.  Tree trunks made of cloth descend from above, like roots probing into soil, to create the Wild Woods… while Lis Evans’s Edwardian costumes give us the pre-WWI period while emphasising the anthropomorphism of Grahame’s characters; ears on hats and tails protruding from trouser seats are all that differentiate species.

With original music by Matt Baker, performed by the cast, the story unfolds, beginning with Alicia McKenzie’s inquisitive Mole setting off on adventure.  She encounters Richard Keightley’s dapper Ratty and their voyage in his boat is positively lovely, with Daniella Beattie’s lighting and projections creating a captivating illusion.  Emma Manton’s Badger, younger and more female than is traditional, is schoolma’am-ish and forthright, but it’s Matthew Burns’s long-suffering Horse who delights the most.  Burns later appears as a cheerfully macabre Jailer, when Rob Witcomb’s ebullient Toad falls foul of the Law.

This Toad is sweet-natured despite his manic obsessions.  Witcomb makes him more of an Ed Balls figure than a Boris Johnson, while Kieran Buckeridge’s villainous Fox is more exploitative and, yes, more than a bit scary.  Even scarier is Sophia Hatfield’s strident Mrs Otter; you would not like to tangle with her.

The whole enterprise is played with exuberance by the talented ensemble.  Their choral singing is enough to melt your heart.  Peter Leslie Wild’s direction keeps things moving, and very much in the New Vic in-house style, with cast members holding up shelves, car wheels and so on, to keep the scenery flowing.  The sequence involving the train is breath-takingly executed, a remarkable piece of physical theatre.

Heskins tweaks the ending a little to give us a timely nudge in these dark days of austerity and isolationism.  Wealth is better shared, Toad demonstrates, better when it’s put to use creating opportunities for the marginalised.  It’s subtly done, augmenting the heart-warming feelings the show has engendered from the start.

Cosy, charming and consistently amusing, this is a family show that makes you feel as warm and fuzzy as the woodland creatures it portrays.

toad

A car getting toad. Rob Witcomb, poop poop!


Peake Performance

QUEENS OF THE COAL AGE

New Vic Theatre, Newcastle under Lyme, Tuesday 11th September, 2018

 

This new play by Maxine Peake documents the true story of four members of Women Against Pit Closures and their occupation of Parkside Colliery in the 1990s.  Peake’s writing clearly shows the influence of the late, great Victoria Wood with whom Peake worked in dinnerladies:  the down-to-earth Northern humour, the bathetic domestic notes, and above all the warmth and humanity of people in adverse conditions.

Kate Anthony is Anne, determined and a bit scatty – it emerges she is the wife of a certain A. Scargill esq, and here the play offers insights into what life was like for his Mrs and their daughter.  Anthony is superb, balancing Anne’s drive with her more humorous moments.

Jane Hazlegrove, formerly of Casualty, is great fun as the brash, earthy Dot, who suffers from claustrophobia – but that doesn’t stop her from descending thousands of feet below the ground.  Joining Dot with the crasser remarks and brash observations is Danielle Henry as Lesley.  This is a very funny play.

Special mention goes to Lucy Tuck, recruited only a couple of days ago to take over the role of Elaine due to the indisposition of the originally cast actor.  Tuck comes on with a script but it’s mainly as a safety net; her performance is almost there as is the chemistry with the rest of the cast.  Quite an achievement – give her to the end of the week and you won’t see the join!

Male roles are played by Conor Glean as sympathetic and easy-on-the-eye miner Michael – a scene in which he and the women share imaginary ecstasy pills is hilarious – and John Elkington gives us villainy-embodied in the form of pit manager Ramsey and also Des the tour guide, and James, a miner who seems to be from another era…

Miners past and present, played by an ensemble of community volunteers, haunt the stage during scene transitions, evoking the industry that has come and gone.  Georgia Lowe’s design is a good fit for the arena set-up of the New Vic, where the darkness adds to the impression of being deep underground.  The pounding, industrial house music used to cover changes is a refreshing change from the colliery brass bands we might expect!

Director Bryony Shanahan paces the humour effectively and brings out the personal-is-political aspects of Peake’s fine script.  Peake raises issues, social and political, many of which have not been consigned to the past.

A highly entertaining and powerful piece that reminds us to stand up for what we believe, to protest those who ride roughshod over us, that it is the protest that matters, the being counted, rather than the result.  If we’re going down, it’s better to go down fighting.  A losing battle is still a battle although I’d like to think there is hope for success.

RET-QUEENS-OF-THE-COAL-AGE-L-R-Jane-Hazlegrove-Dot-Conor-Glean-Michael-image-Keith-Pattison

Going underground: Jane Hazledine and Conor Glean (Photo: Keith Pattison)

 


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!

New-Vic-Theatre_Astleys-Astounding-Adventures_image-by-Clara-Lou-Photography_11-1170x780

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


Whisky Business

WHISKY GALORE

New Vic Theatre, Wednesday 16th May, 2018

 

Based on true events, which were subsequently novelised by Compton Mackenzie, this adaptation by Philip Goulding arrives at the New Vic via Oldham Coliseum and Hull Truck Theatre.  It bears the hallmarks of what could potentially be a hilarious show.

Framed as a play-within-a-play, the set-up is a fictional theatre group, the Pallas Players, are to stage the story of two remote islands where a dearth of whisky, due to the War, turns into a glut when a ship carrying thousands of bottles runs aground.  The group is all-female, presumably because in 1943, all the men are off warring. The cast of seven will play all the parts, islanders and outsiders alike, led by Sally Armstrong as Flora Bellerby, our narrator (among other roles). This framing device is a well-worn one.  The hapless troupe in The Play That Goes Wrong springs immediately to mind, and the mighty Oddsocks employ the same convention for all of their productions of Shakespeare and other classics.  Even Brecht uses it, when a load of factory workers present The Caucasian Chalk Circle.  And so, we are on familiar ground.

The performance style is akin to the wildly funny The 39 Steps where a cast of only four do everything.  Perhaps seven is too many to maintain the necessary madcap pace and to keep the sense of heightened theatricality constant.  Larger-than-life characterisations, quick changes and smart ideas for the staging ought to add up to a whole that is funnier than the sum of its parts.  Unfortunately, the overall effect is patchy.  This kind of approach works best with scenes that involve action (Waggett’s car and the cut-out sheep, for example)  Director Mark Babych’s staging ideas amuse but do not blow us away with their inventiveness.  We have seen it all before and in places (such as some of the staged ‘mistakes’) it comes across as a bit tired.

The cast, though, is indefatigable.  There is much to enjoy in the playing: the stuffy posturing of pompous Captain Waggett of the Home Guard (Isabel Ford) brings to mind the likes of Kenneth Connor and Arthur Lowe; Shuna Snow as young Sergeant Major Fred Odd gives a convincing portrayal – you could easily imagine Fred swaggering into the Queen Vic; but the scenes that really come alive are those that feature Christine Mackie as the fierce Mrs Campbell, mother to the timid George (Lila Clements).  Mackie is a real hoot as this formidable woman, keeping to the right side of caricature.  Joey Parsad has her moments as pub landlord Roderick, among other appearances, and Alicia McKenzie is great fun as Waggett’s wife Dolly.  There is a running joke: cast members share the role of the brazen and coquettish Annag, and also that of Paddy the Waggetts’ dog.  There is a lot of coming and going but it needs speeding up in places, and I don’t think the re-blocking of the action for the New Vic’s in-the-round arena always works.

And so, I’m afraid what should be heart-warming and intoxicating as any dram of the good stuff, turns out to be in need of a splash of soda to liven things up.

Christine-Mackie-Shuna-Snow-and-Isabel-Ford-1170x780

Shuna Snow as Fred, Isabel Ford as Waggett, and Christine Mackie as Paddy the dog (Photo: Joel Chester Fildes)