Tag Archives: Pete Meredith

Bloody Great

MACBETH

The Attic Theatre, Stratford upon Avon, Wednesday 30th 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)

Wonder-full

ALICE IN WONDERLAND

Cox’s Yard, Stratford upon Avon, Wednesday 4th 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 14th 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.

fleshcreep

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.

jack and daisy

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