Working Perfectly

OUT OF ORDER

New Alexandra Theatre, Friday 14^th April, 2017

 

Ray Cooney directs this new production of his 1990 farce, complete with bang up-to-date topical references.  These give the play the illusion of happening right now but the structure and genre of the piece root it firmly in the past.  And this is no bad thing – we don’t sneer at those who can still crank out a perfect sonnet; likewise, the well-made farce is an art form that few can pull off.  Cooney is a master.

The set-up is Tory MP (of course) Richard Willey (tonight played by stand-in Geoff Harmer) has rented a suite at the Westminster Hotel in which to entertain the secretary of the Leader of the Opposition.  The couple’s illicit fun is interrupted before it can begin by the discovery of a dead body trapped by a faulty sash window.  Willey enlists his PPS, George Pigden (Shaun Williamson) to assist.  Add to the mix the secretary’s enraged husband, a snooty hotel manager who tends to walk in at the least opportune moments, and an opportunistic waiter and the stage is set for fast-moving action and an increasingly complicated situation.  The laughs keep coming via verbal humour, physical comedy and dramatic irony – we delight in the misunderstandings and their convoluted consequences.

The energised ensemble play the comedy to the hilt.  Susie Amy, mostly in a state of undress, plays panic to perfection.  Arthur Bostrom simmers haughtily as the manager; James Holmes relishes his role as the colluding, mercenary waiter; Jules Brown brings menace and howling vulnerability as the rampaging husband; Elizabeth Elvin amuses as Nurse Foster; Sue Holderness brings a touch of class as Willey’s wife.  The entire cast proves its skills – the pace doesn’t let down for a second – but it is Williamson who is the biggest jewel in this star-studded crown.  His pained expression and increasing confusion and exasperation are expertly portrayed.  The timing is spot on – his desperate puppetry with the corpse (David Warwick being dead good!) is a scream.

The mechanics of the plot and the performance are in perfect working order.  The funniest couple of hours I’ve spent at the theatre for a long time, the play reminds us of the lengths MPs will go to, the lies they will spin, to cover their own tracks.  It made me long for simpler times when all we had to worry about from that lot was their sleazy, personal affairs.  Now, what Willey hoped to do to Ms Worthington is what the government is doing to the whole country – and that isn’t funny.

Not Short on Fun

SNOW WHITE AND THE SEVEN DWARFS

Malvern Theatres, Thursday 19^th December, 2013

 

Once again Malvern Theatres come up with a Christmas cracker of a pantomime – it works so well because it upholds the familiar traditions of the genre.  At the helm is Chris Pizzey who not only directs (and provided additional material to Andrew Ryan’s marvellously corny script) but also appears as funnyman-in-chief, Muddles, jester to the Wicked Queen.  Pizzey has an instantly likable persona, energetic and clearly enjoying himself.

My only quibble with this Snow White is it takes a while to get going.  I’m not sure that reading out birthday messages and shoutouts to members of the audience is best placed in Muddles’s first monologue.

Olivia Birchenough is a perky Snow White with a more than decent singing voice.  Songs from the Disney animated feature are put to good use along with more up-to-date pop numbers that get the youngsters in the audience singing along.  Pantos that use ‘original’ songs miss a trick in terms of audience engagement.  Seasoned old pro Charles Burden (if I may call him that) is a splendid dame, Snow White’s nursemaid, Dolly, holding his own when it comes to banter with the audience and working like a dream with Pizzey in time-honoured panto routines.

Sue Holderness is an impressive, imperious and enjoyable villain – you almost want her evil plot to succeed!   It is her Wicked Queen who steers the silliness into darker waters.  When she offers Snow White the poisoned apple there is genuine tension in this iconic moment, even though we know what’s going to happen.  The kiddies near me were thoroughly caught up in the action.

Ben Harlow is a charming Prince Frederick, dashing in a camp and goofy kind of way, and director Pizzey gets a lot out of his strong singing voice and his comedic skills.  Pizzey also capitalises on the talents of one of the dwarfs in particular, bringing out ‘Smiler’ (Jamie John) to join the nurse, Muddles and the Prince for a raucous rendition of The 12 Days of Christmas – although I have seen rowdier.

Routines like the ghost scene are executed superbly well, proving that the traditions and tropes of the form are still effective and still have currency in the hands of skilful performers.  And above all, it’s still very, very funny.