TB or not TB

THE CRIPPLE OF INISHMAAN

Bear Pit Theatre, Stratford upon Avon, Friday 1^st March, 2019

 

Martin McDonagh is one of the finest stage- and screenwriters currently working.  This production of his play from 1996 clearly demonstrates his use of Irish settings, idioms and characters, mining the same comedic vein as Father Ted and Stones in His Pockets.   On the craggy island of the title, news comes of a Hollywood film crew on a neighbouring island, seeking locals to appear on celluloid.  It’s big news for a community used to hearing word of geese and cats and sheep with no ears.  ‘Cripple Billy’ is especially keen, forging a letter from the doctor in order to cajole a boatman to take him across the sea…

As the action unfolds against the backdrop of a gorgeous set by Chris Jackson and Martin Tottle, we meet a host of colourful characters.  Seemingly hostile to each other, if the insults they hurl at each other and their coarse language is anything to go by, the community has been keeping a secret from Billy his entire life.  It seems the worse they say to each other, the more they care.

We meet Eileen (Niki Baldwin) and Kate Osbourne (Viv Tomlinson), Billy’s adoptive aunties, who run a ramshackle shop that appears to stock little else but tins of peas.  Baldwin and Tomlinson are a fine double act, gossiping about local affairs, but also as characters in their own right, each handling stress in their own way: the one stuffing herself with sweets, the other talking to stones.  Paul Tomlinson’s Johnnypateenmike O’Dougal is a superb piece of character acting among an excellent cast.  Sophie Mobberley’s Slippy Helen is fierce and feisty, oozing violence and sociopathy, while Thomas Hodge as Helen’s brother Bartley is convincingly simple, his one-track mind fixated on telescopes.  Graham Buckingham Underhill makes a strong impression as boatman Babbybobby Bennett.  Dorothy Barlow gives an hilarious turn as Mammy O’Dougal, and there is credible support from David Derrington as Doctor McSharry.

The accents ring true, never veering into ‘Oirish’ parody, diddle-de-dee, and director Vanessa Comer gets the overall tone and pacing just right.  It’s a genuine pleasure to see this consistently funny piece presented so excellently.  It’s a play about community and fake news, gossip, rumour and the truth.  While we enjoy the shenanigans of the community, our sympathies hinge on the central performance by Nathan Brown as Billy.  Today we would never address a person with disabilities so bluntly, and it’s not just a matter of political correctness making us mealy-mouthed.  McDonagh shows us that the disabled have hopes and dreams of their own and a desire to be loved just like anyone else, and they make mistakes just like everyone else.  Brown arouses our compassion for Billy’s predicament rather than his condition.  The truth emerges about Billy’s past and his current tuberculosis diagnosis, packing a poignant punch.  It’s superbly done.

Thoroughly entertaining, this black comedy is a joy from start to finish.  As one of the characters observes, we know we shouldn’t be laughing, but we do.  It’s one of the best productions I’ve seen at the Bear Pit – and that’s saying something!

Who is taking whom for a ride? Babbybobby Bennett (Graham Buckingham Underhill) and Cripple Billy Claven (Nathan Brown) Photo: Patrick Baldwin

 

Tribute Band of Brothers

BLACKADDER GOES FORTH

The Bear Pit, Stratford upon Avon, Friday 2^nd November, 2018

 

I don’t enjoy tribute bands.  I don’t see the point of them – especially when the original act is still alive and kicking.  Similarly, I am puzzled when episodes from situation comedies are brought to the stage; they never work as well on the boards as they do in the medium for which they were intended.  And when you haven’t got the original cast for whom the roles were tailored, I question the whole enterprise.  You can’t hope to match the brilliance of the original so why try to emulate it?  Why not just bung the DVD on?

But here we are: three episodes of the fourth and final Blackadder series by Ben Elton and Richard Curtis.  Half a box set.  The characters are fully formed – there is no scope for development in a sit-com – so with each half-hour piece, we hit the ground running with little in the way of exposition.  The sit of the com is self-contained and self-perpetuating.

Paul Tomlinson’s Captain Blackadder has the sneering, sardonic tones down pat as he dishes out sarcasm, hyperbole and absurdist similes, but he is disadvantaged by not having a funny face.  Rowan Atkinson’s facial expressions go a long way in selling the often-verbose lines; Tomlinson, sorry to say, is too good-looking!

Nathan Brown’s youthful Baldrick channels Tony Robinson rather well and his comic timing is excellent.  Roger Ganner’s bleating General Melchett is perfectly monstrous in his pigheadedness (bringing to mind the stubbornness of a Brexiteer, wilfully disregarding disaster), he’s an excellent foil for Richard Ball’s nervous wet lettuce Darling.  There are amusing turns from Justin Osborne, enjoying himself as the dastardly Baron von Richtofen, and from director David Mears who goes ‘over the top’ as the bombastic, bullying braggart Lord Flasheart.  How much are they imitating the original cast?  How much is advisable?  Audiences expect the familiar intonations and appearances, I suppose – which is why tribute acts have little to do with creativity and originality.  Tonight, the cast member who seems to make the part his own is Thomas Hodge as posh thicko Lieutenant George.

Mears does well to translate the action to the stage (although sit-coms are somewhat stagey in themselves) making efficient use of a changeable set, built by Martin Tottle and Chris Jackson.  The final images, when the series came to a definite and irrevocable end, made for one of the most powerful scenes of television ever, and Mears makes a good fist of emulating them.  It’s a wrenching change of tone, a sobering moment and a reminder that those who died in this stupid and futile war were more than statistics from a century ago; they were real people, with hopes and dreams, a sense of humour, fears and friendships…  And this is the point of this production and what makes it, in the end, a fine and fitting tribute.

Thomas Hodge, Paul Tomlinson and Nathan Brown (Photo: Sam Allard)

Blissful

HAY FEVER

Bear Pit Theatre, Stratford upon Avon, Monday 18^th June, 2018

 

Noel Coward’s 1924 play is perhaps best described as a ‘comedy of bad manners’.  Set in the country retreat of the Bliss family, it depicts what transpires one weekend when each member of the family decides to invite a guest to stay.  In terms of plot, that’s about it – the play lacks the depth and development of Coward’s later works, but the beastly behaviour of the Blisses provides such fun, we don’t seem to care about the script’s narrative shortcomings.

Ruling the roost as former actress Judith Bliss is Lesley Wilcox, serving up the ham in hefty slabs – but all without breaking character.  Judith has quit the stage but has never stopped acting; she spends her days in the throes of melodramatic hyperbole.  Wilcox is a monstrous joy to behold.

Following in their mother’s footsteps are waspish daughter Sorel (Zoe Mortimer in fine form) and dapper son Simon, played by Josh Whitehouse-Gardner, who is perfectly cast.  Of all the company, it is he who gives the best clipped, Cowardian delivery.  As the father, David Bliss, Roger Harding warms into the role and is soon hurling himself into histrionics along with the rest of his brood.

The hapless guests include Vivien Tomlinson, good fun as a kind of prototype ‘cougar’ figure, Myra Arundel; Paul Tomlinson as Richard, delivering a nice line in awkwardness; Thomas Hodge flounders around agreeably as nice-but-dim Sandy; while India Willes’s Jackie is a study in social anxiety and shyness.

Judith’s thunder is almost stolen by her maid of all work, Clara, played by Shirley Allwork, in a hilarious piece of character work in perfect contrast with all the posh nobs she has to serve.

Director Colin Lewis Edwards gets the pacing of the rows and arguments spot on, and the funniest scene comes when our hosts attempt to entertain their motley guests with an abortive parlour game.

Special mention must go to Bel Derrington and Graham Robson for their elegantly detailed and substantial set, contained within the confines of the Bear Pit’s intimate performance space.

Coward is a worthy successor to Oscar Wilde and a forerunner of Edward Albee, and this high quality, classy production delivers the goods.  What does the play have to say to us today, 90-odd years since it first appeared?  Perhaps it’s that the ‘elite’ are still riding roughshod over the rest of us, callous and careless in their conceited conduct.  Or perhaps it’s just that impoliteness and rudeness remain terribly funny – as long as someone else is on the receiving end.

Lesley Wilcox as Judith Bliss (Photo: Sam Allard)