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)

The Man-She of Inisherin – sorry, Illyria!

TWELFTH NIGHT

The Attic Theatre, Stratford upon Avon, Sunday 2^nd April 2023

When Viola washes up from a shipwreck, she believes her twin brother to have perished and so she dons male clothing and finds work running errands for the local duke.  Director John Robert Partridge gives his Illyria and Oirish setting, bejabbers, a world of greenery and pub furniture.  For the most part, it works very well, with the vocal cadences suiting the text.  Some cast members handle the accent and the verse better than others but on the whole this is a clear and accessible version of Shakespeare’s most bittersweet rom-com.

Partridge casts himself in the role of Sir Toby Belch, resplendent in an emerald green suit and ruddy face.  Belch’s drunken excesses never seem forced or false; it must have been great fun researching for the role.  Partridge also surrounds himself with a fine ensemble of character actors, among them Freya Cooper’s feisty and heartfelt Viola, Sarah Feltham’s brassy Maria, and Ciara Lane’s wildly passionate Olivia (or should that be O’Livia?).  While Olivia indulges in prolonged mourning for her late brother, her would-be suitor Orsino indulges in soppiness –  Joshua Chandos is in good form as the lovestruck duke, and shares a lovely scene and a portion of chips with the disguised Viola when their bonding goes beyond mateship.  Dominic Selvey is opportunistically bisexual as Viola’s brother Sebastian. Selvey makes the character likable and not merely selfish, and you get the idea that he would stay with Antonio (Wilson McDowell) if Olivia doesn’t hand herself to him on a plate.  Come to think of it, there’s a lot of repressed bisexuality going on in this play.  Perhaps old Will was going through a phase.

Lucas Albion’s Feste, presented here as a busker, is charming and funny with a twinkle in his eye, his guitar-playing adding emotional depth to comic scenes.  Edward Manning’s Malvolio is wonderfully pompous and beautifully well-spoken.  We enjoy seeing his comeuppance but we also feel for him, such is the power of Manning’s portrayal and the genius of Shakespeare’s writing.

Yes, it’s a fine cast indeed but for me, man of the match is Daniel Grooms, who treats us to a superbly comic characterisation of upper class twit Sir Andrew Aguecheek.  No detail escapes him, and there is splendid physical comedy to accompany the portrayal.  An absolute delight.  Special mention, too, of the versatile Sean MacGregor as Fabian the bartender and other roles, an object lesson in how to have great stage presence no matter the size of the part.

The comedy is well-handled: the raucous late-night drinking, the cowardly confrontation, and the sheer silliness of the box-tree scene where Toby et al spy on Malvolio in the garden is marvellously realised.  And the climactic reunion of the twins delivers the emotional kick in the feels I expect.  There are a few details I’d quibble with but on the whole this is a marvellous production, hilarious and touching in all the right places.

Great craic.

☆ ☆ ☆ ☆

Cheers! Sir Toby and Sir Andrew (John-Robert Partridge and Daniel Grooms) Phoro: 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)

Bloody Great

MACBETH

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

Sound as a Hound

THE HOUND OF THE BASKERVILLES

The Attic Theatre, Stratford upon Avon, Saturday 30^th October, 2021

This is my second production of Arthur Conan Doyle’s most famous story in two weeks.  From what I understand, there’s at least a third one doing the rounds.  There’s definitely something in the air, given the current popularity of this tale.  And what’s not to like?  An intriguing mystery, Holmes and Watson in great form, and the prospect of a supernatural beast!  Bring it on.

Heading the cast as the world’s most famous consulting detective is Robert Moore, who is quite possibly the best-looking Holmes I’ve ever seen.  Moore’s Holmes is a little imperious and condescending, but there’s humour there too, and the portrayal is nuanced so at times you can see the cogs working, and at others know when Holmes is withholding something.  This Holmes brims with pent-up energy, mental and physical and there’s never any indication of him not being in charge.

Adapter-director John-Robert Partridge appears as Doctor Watson — this case elevates Watson from the role of mere sidekick to the great man; he is permitted to investigate on his own.  Partridge’s Watson is no fool.  Somewhat lugubrious and implacable, he has a rich speaking voice and an understated authority, as though he is Holmes’s star pupil rather than just a sounding board for Holmes’s thoughts.

This excellent pairing is supported by a fine quartet of actors in all the other parts.  Ben Armitage’s Sir Henry Baskerville is laidback and easy-going, a fine contrast to the clipped tones and reserved demeanour of the detective duo.  Armitage’s Henry breezes through the action until the potential consequences dawn on him and he becomes sober and stunned.

Andrew Woolley’s Barrymore the butler is imposing and sinister —more so than his naturist Stapleton, a man prone to terrifying outbursts.  I think something more could be done to emphasise his position as a naturist; an undersized butterfly net alone doesn’t cut it.  Kate Gee Finch doubles as an underused, long-suffering Mrs Hudson, and as the tightly wound Beryl Stapleton in an effectively emotional performance.  Sarah Feltham proves invaluable as a tearful Mrs Barrymore, a guarded Laura Lyons, and a coolly professional Doctor Mortimer.

The intimate performance space of the Attic puts us right in the Baker Street apartment, with other locations suggested by dust sheets on the furniture, or through the use of lighting and sound effects.  The music and sound design by Elliott Wallis go a long way to creating an unsettling atmosphere, underscoring the action and cranking up the tension during the transitions, not least for the climactic confrontation between hound and man.  Onyx Redwood’s lighting adds to the chilling aspects of the story, with director John-Robert Partridge making superb use of complete darkness to put us on edge, as unseen figures weep, laugh, and startle us.  There’s even a kind of Woman In Black gliding around.

An atmospheric and engaging staging of a solid adaptation.  Now, with all this interest in the Hound, perhaps I should dig out the musical comedy version I wrote twenty years ago and see if anyone’s interested…

****

Robert Moore on the case as Sherlock Holmes

Small but perfectly formed

JACK AND THE BEANSTALK

The Attic Theatre, Stratford upon Avon, Saturday 14^th 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.

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.

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

 

 

 

Julie, Madly, Deeply

AFTER MISS JULIE

The Attic Theatre, Stratford upon Avon, Tuesday 19^th November, 2019

 

Aspect Theatre’s follow-up to the excellent Duet for One is this play by Patrick Marber from 2003, which is based on Strindberg’s 1888 drama.  The action is transposed to an English country house in 1945, when post-war Britain is heady from the landslide victory of the Labour Party (aka ‘the good old days’!)  Rather than join her father in London, Miss Julie stays at home to party with the servants.  She has designs in particular on John, her father’s chauffeur, who is loosely engaged to Christine, the cook.  The scene is set for a triangular battle of wills.

Katherine Parker-Jones is excellent as the eponymous Julie, giving a complex characterisation.  Here is Julie’s fragility and haughtiness, her vulnerability and pain, her self-loathing and her imperiousness – all at the mercy of her baser desires.  She is both predator and prey.

As the object of Julie’s attentions, John Lines makes chauffeur John a man torn between duty and desire, between propriety and possibility.   He is tantalised by the prospect of a new life in New York, liberated from the rigidity of the class system, all the while despising what Julie represents and yet desiring her as a woman.  This pair are messed up, I’m telling you!

By contrast, Lizzie Crow as Christine the plain-speaking cook, knows her mind and her place and has a more pragmatic approach.  Crow’s silences speak volumes – it’s a compelling performance – and when she lets rip, it is to take the moral high ground (albeit somewhat hypocritically).

Director Marc Dugmore establishes and maintains an intimately naturalistic feel – a good fit for the snug space at the Attic, and Patrick Marber’s writing touches on the symbolism that is indicative of the material’s Scandinavian origins.  The fate of a pet bird, for example, represents the deflowering of Miss Julie.

The long table that dominates Katherine Parker-Jones’s set design represents the class system: it is used properly by the servants, but Julie breaks conventions and sits on it, even serves herself up on it at one point.  There is a lot to unpack here, raising the stakes beyond that of a three-handed domestic spat.

It’s a gripping 75 minutes of top-quality drama that asks us to examine that which we perhaps cannot escape or avoid: our place in the class system and our own animalistic nature.

A splendid production that manages to be both classy and sordid at the same time!

Drama is served: Katherine Parker-Jones and John Lines

 

Two Piece

DUET FOR ONE

The Attic Theatre, Stratford upon Avon, Friday 17^th May, 2019

 

Brand-new company, Aspect Theatre is doing the rounds with their production of Tom Kempinski’s acclaimed piece about a concert violinist who consults a psychiatrist when she is stricken with multiple sclerosis and is forced to change her life in all manner of ways.  What could be timelier in Mental Health Awareness Week?  The play consists of six scenes, each a different session.  He, Dr Feldmann, is constant and unchanging; she, Stephanie Abrahams, runs the gamut from bitterness, anger, sarcasm, resentment…

It’s a showcase for both actors.  As Stephanie, Katherine Parker-Jones gives us the arrogance and the sneering sarcasm, and yet somehow manages to evince our sympathies for this rarefied creature, when the defensive facades fall away, and we are allowed to see the human being brought low by this debilitating disease.  Parker-Jones delivers lengthy monologues with truth and conviction, and while we laugh at her barbed remarks, we are ultimately moved by her predicament.  Martin Bourne gives his Feldmann a gentle cadence rather than a strong Cherman accent, and the portrayal is all the better for it.  He has to do a lot of listening-acting, maintaining professional detachment – when he finally flips his lid and puts Stephanie in her place, it may be a shock tactic on the psychiatrist’s behalf, but it’s an electrifying moment, to be sure.

The peril of this piece is that with one character confined to a wheelchair and the other taking notes behind his clipboard, proceedings can become too static.  Director Marc W Dugmore avoids this problem in the close confines of the Attic Theatre, where it feels like we are in the consulting room alongside the characters.  The intimacy means Dugmore can bring out the contrasts between the characters and between the sessions with subtlety and with broader moves, as the piece’s mood swings between comedy and tragedy.  I’m not a fan, though, of the slow fade to spotlight whenever Stephanie launches into her longer speeches; I want to see Feldmann’s impassive expression and perhaps some betrayal of a reaction.

A straightforward, high quality production of a powerful piece.  I’m looking forward to Aspect Theatre’s next show already.

Martin Bourne and Katherine Parker-Jones (Photo: David Jones)