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)

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)