Ghosted!

BLITHE SPIRIT

The Attic Theatre, Stratford upon Avon, Wednesday 24^th May 2023

Noel Coward’s classic comedy gets a spirited revival in this new production at Stratford’s cosy Attic Theatre.  Adam Clarke and Sue Kent’s set design uses the intimacy of the space to put us right in the living room with the characters.  Up close and personal with the cast, we feel part of the action.

Novelist Charles and his second wife Ruth are hosting a séance, as research for his next book.  Inadvertently, the ritual conjures the spirit of his late first wife, which would put a strain on any relationship!

Director Jonas Cemm has his fine ensemble rattle through Coward’s epigrammatic dialogue at a rate of knots, which heightens the comic atmosphere.  John-Robert Partridge is note perfect as the novelist-cum-pompous-arse Charles, while Rosie Coles is elegance personified as the long-suffering Ruth.  There is excellent support from Robert Moore as the sceptical Doctor Bradman and Matilda Bott as his excitable wife.  Den Woods’s medium Madam Arcarti keeps to the right side of caricature, bringing a touch of plausibility to the part, and Florence Sherratt makes the most of her largely silent role as Edith the accelerated maid.  Katherine De Halpert is delectable as the pale and playful, ethereal Elvira.

It’s enormous fun, played with exquisite timing from all concerned.  The supernatural facets of the story are bolstered by atmospheric sound and lighting design, by Elliott Wallis and Kat Murray respectively.  Production values are high (which is no less than what we’ve come to expect from Tread The Boards Theatre Company), with the period and the other-worldly being evoked so effectively.

The subject matter and the dialogue may seem flippant or frivolous, but Coward has plenty to intimate about human relationships. For some, ‘til death do us part’ doesn’t apply.  Perhaps there are some relationships we never get over.

☆ ☆ ☆ ☆ ☆

Making a comeback: Katherine De Halpert as Elvira (Pic: Andrew Maguire Photography)

Man-made Man

FRANKENSTEIN

The Attic Theatre, Stratford upon Avon, Saturday 15^th October, 2022

Back in 1818, young Mary Shelley invented the science fiction genre with her gothic novel that deals with those little things like creation, life and death.  By creating life and thereby usurping God, Victor Frankenstein then shirks his responsibilities as a creator.  His creation, unguided, has to find his own way in the world.  Thus, the Creature represents the human condition, floundering while God insists on being an absentee father.

This new adaptation by Catherine Prout hits all the right plot points, even with a scaled-down cast of characters.  The rather verbose dialogue is true to the style of the Shelley original and does a lot of heavy lifting when it comes to conveying a sense of the period.

Dan Grooms is an impassioned if youthful Victor, adept at showing signs of high distress both physically and emotionally.  I wonder if his pre-recorded narration would be better done live as he potters around in his laboratory.

He is more than matched by his Creature, in a towering performance from Alastair Oakley, who is imposing and innocent, ferocious and frightening, while also being pitiful.  It’s a remarkable portrayal.

This central pair is supported by a versatile ensemble.  The mighty Robert Moore is charming as Victor’s BFF Henry, and brings a touch of humour as farmer Felix; Matilda Bott is devastating as the wrongly-accused Justine; Phil Leach brings gravitas as Victor’s dad, and warmth as blind De Lacey; Joshua Chandos impresses as Captain Waldman to whom Victor unfolds his tale; while Lily Bennett does a bang-up job of making too-good-to-be-true Elizabeth sympathetic rather than soppy.

Adrian Daniel’s set has something of a steampunk aesthetic, all ropes and chains, dials and switches.  Lit by Kat Murray, it becomes a versatile and atmospheric setting for the play’s many locations.

As ever, director John-Robert Partridge makes the most of the Attic’s intimate space.  Characters roam around in blackout, menacing the front row.  Sudden screams and loud noises keep us on edge, as the gruesome tale weaves its fascinating spell.  Even the scene changes are eerily done.  It all flows smoothly and creepily – apart from some teething troubles with a recalcitrant table top that threaten to hold up the action!  With today’s matinee being only the second performance of the run, I’m sure these minor problems will soon be ironed out.

Production values are high – special shout out to Sue Kent’s make-up work on the Creature – proving that with the right treatment, the familiar fable still has the power to intrigue, provoke and shock.

Like Victor’s Creature, this spellbinding show is extremely well put together.

☆ ☆ ☆ ☆

Dan Grooms as Victor Frankenstein (Photo: Charlie Budd)