Tag Archives: Stratford Play House

Homeless not Hopeless

STREETS APART

Stratford Play House, Stratford upon Avon, Saturday 6th April 2019

 

First off, it’s very pleasing to see new work being created and produced in a town that thrives on centuries-old drama.   This brand-new piece by local playwright Jackie Lines depicts what life is like for an increasing number of vulnerable people who, through no choice of their own, wind up on the streets.  Passers-by give examples of the abuse faced by homeless people and illustrate the negative attitudes and common misconceptions about them.  It’s an effective start.

The play tells of the efforts of a group of volunteers in a centre as they strive, with limited resources, to make life better for the homeless.  We meet a range of characters from the streets, such as ex-army, PTSD sufferer Neil (a powerful Graham Tyrer) who declaims poetry and rants through mental illness, like a latter-day Vladimir or Estragon.  There’s Mick, a former plumber who lost everything after a life-changing injury that led to an addiction to opiates, played by Mark Spriggs with intensity, strength and vulnerability.  The inclusion of a couple of original poems by Spriggs enriches the show.

Largely, the story concerns the fate of young couple Tom (Tom Purchase-Rathbone) and Susan (Emma Beasley) who have found each other on the streets, having each come from horrendous childhood backgrounds.  At first, they are cautious about accepting help from the centre, but gradually, they blossom and thrive, although there are some setbacks along the way.  Mick, who, despite the intercession of bleeding heart Sandra (Rachel Alcock) declines help, does not end so happily: there is some kind of moral message here.  If you accept help, you’ll be fine; if you don’t, you won’t.

Among an effective cast, Zoe Rashwan’s forthright Carol stands out and the drama is leavened by comic relief from Gill Hines as doddering volunteer Edna.  Chris Musson (appearing as guitarist Barry) brings original music, along with Chris Callaghan’s Eddie, as volunteers running song-writing sessions to give the homeless a voice.

As the volunteers, we have Stacey Warner as Anna, Barry Purchase-Rathbone as Greg, and Karen Welsh as Diane – whose elegant exterior masks a tale of injustice and loss that put her on the streets for a time.  The play shows that there are ways out of homelessness, and not all of them are tragic!

In terms of drama, I would like to see more direct conflict, perhaps involving the kind of authority figures whose policies exacerbate the problem.  Certainly, these people need to be in the audience of a show like this.  Director Greg Cole handles the slice-of-life tone, with scenes coming over as credible and authentic, although there are some staging issues.  In-the-round is more intimate, yes, and democratic, which is fitting, but cast members need to ‘share their backs’ so everyone gets a fair look at them!

By and large, the production is an awareness-raising, thought-provoking, conscience-pricking success, depicting the precariousness of life in society today and emphasising the humanity we all share with the homeless.

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The Princess and the Proon

SNOW WHITE

Stratford Play House, Stratford upon Avon, Friday 21st December, 2018

 

For their first pantomime since taking over the venue, Proon Productions present the fairy-tale favourite, combining a small cast of professionals with a cast of small amateurs: children from the Drama Club, taking on the roles of Snow White’s seven companions.

Steve Kray’s script reunites adult members of the audience with some very old, groan-worthy jokes.   Of course, for children, there are no old jokes; the delivery here is well-paced and the performance style is definitely old-school to match.  Small-scale this may be, but the energy of the performers keeps the panto spirit alive.

In the title role, Phoebe Cresswell is a sweet princess, high-pitched like Betty Boop or Disney’s version; her singing voice is less shrill, it’s very pleasant indeed.  As Snow White’s love interest, Prince Boris, the thigh-slapping Ellen Hastings certainly looks the part; she could do with more conviction in her princely swagger.  Joanna Gay’s cackling evil Queen is a major draw, stalking around melodramatically.  She is a fine singer too, although in some of the solo numbers, cast members can look a bit stranded on stage, with no backing dancers or special lighting to heighten the moment.  In perfect contrast with Gay’s histrionics, a pre-recorded Rebecca Hallworth appears as the even-tempered Magic Mirror, dispassionately doling out the truth.  There is even an appearance by company mascot, Mr Proon, himself.  Imagine Mr Blobby with class.

Steve Kray, not only writing and directing, appears as Silly Billy, whose downbeat Brummie intonations augment the comedic energy of the character.  Silly Billy is at his finest (daftest) working in tandem with Ellis Creez’s dame, ‘Nursie’ – a characterisation worthy of the admission fee alone!  Creez has immaculate comic timing and it’s as though he has travelled in time from a music hall.  He delivers quite lengthy patter with archness and charm and just the right amount of sauce.  There are times when his magnificent sculpted wigs cast his face in shadow; it’s a pity to lose those expressions!

The commitment from the youngsters is a delight to behold, each one of them doing their utmost to add to the fun.  They’re a strong team but I am particularly impressed by Alfie Lee as Watt and Sophia Lucas as Him.  Well-trained and enthusiastic, these dwarves could do a few comedy beards to help differentiate them.

There is much to enjoy here, it just needs a bit of tightening.  A more consistent use of musical cues, for example, like a few crashing chords to herald the entrance of the villain every time she comes on, would help sustain the atmosphere, rather than having the Queen arrive in cold silence.  And the baking scene makes absolutely no mess whatsoever – a missed opportunity for a bit of slapstick!

There is something for everyone, with the likeability of the performers and the corniness of the jokes carrying us through the familiar fairy-tale.  The show needs and deserves a large and responsive audience, that crucial pantomime ingredient that binds everything together.

Running until December 31st, with matinee and evening shows, Snow White is a refreshing alternative to CGI-laden blockbuster movies, tired Christmas telly, and violent videogames.  Book a family treat now on 01789 333990 or www.stratfordplay.co.uk

snow white proon