Posh - Review

Pleasance Theatre, London

****

Written by Laura Wade

Directed by Cressida Carre

The cast of Posh

If you need convincing that women can be just as derogatory, obtuse and vulgar as certain men can sometimes be, get your bottom down to the Pleasance Theatre in Islington and check out Posh, the phenomenal play by Laura Wade, now with an all female cast who display such misogyny like it’s the most natural thing in our messed up world.

Guy (the eloquent Amani Zardoe) and Jeremy (Sarah Thom on fine aristocratic form) set the pompous scene as Godson and Godfather respectively, chatting away in the House of Lords about a dinner party that needs a little more oomph (complete with hip thrust) to propel Guy to presidential status of their university dining club known as The Riot Club. .

Current Riot Club president is James (Gabby Wong), the moral compass of the group even if he can down a bottle of wine. Then there is Verity Kirk’s quirky Ed, perhaps the most endearing of this group of twits. Kirk has the most incredible comic timing and displays an innocence that belies Ed’s drinking aptitude. It was a wonder that the rest of the group didn’t laugh at his inability to not say the first thing that pops into his wee head. Molly Hanson plays Toby, perhaps the only chap to give Ed the time of day outside the Riot Club dinner and who can not only not hold his liquor but does so in spectacular (and spooky) fashion.

The show is full of commanding performances from the ten leads, though sometimes one needs to spend more time with a character, if only to make their later outbursts more transparent.

All ten men think it right that they can act in this ridiculous and ridiculing manner, displaying the arrogance of that thought right upon the surface. Like the great politicians of… a while ago now, their personalities are only ever what’s expected, right down to Alistair’s incredible outburst concerning hating the poor and decrying the system which is perfect for his spiteful companions. His is the most heightened caricature here, played with relish by Serena Jennings, who Sarah Mills dresses in red chinos, no socks, and a blazer for the final scene back in Jeremy’s chamber.

Daring director Cressida Carre  takes her cast and gives them all the prominence their characters sorely desire, making excellent use of Sara Perks’ rotating stage and endless bottles of wine, quite a feat to orchestrate.

Posh is a fabulous show full of characters you’ll love to hate and a chance to laugh at Oxford’s (ahem) finest before they take over the country. For this, so Wade illustrates, is the way of it.

Runs until 22nd April

Reviewed by Heather Deacon

Photo credit: Darren Bell

The Grand Tour - Review

Finborough Theatre, London

****

Music and lyrics by Jerry Herman

Book by Michael Stewart and Mark Bramble

Directed by Thom Southerland

Nic Kyle and Alastair Brookshaw

Thom Southerland's production of Jerry Herman’s The Grand Tour may tell a bittersweet fable, but the show defines all that is good in fringe theatre today. Whilst Broadway success may have eluded its 1979 premier, a staging in the 50 seater Finborough offers the rare privilege of seeing this eclectic work make its maiden voyage across the Atlantic.

The pedigree of Herman, Bramble and Stewart was already established when they collaborated on this tale of tragic whimsy, set against a backdrop of France's encroaching Nazi occupation. Jacobowsky, a Jew who has already fled his native Poland and subsequently Austria and Czechoslovakia must flee Paris. So too must Colonel Stjerbinsky of the exiled Polish Army. Like the Nazis, Stjerbinksy hates Jews but the Germans are after both men and so out of necessity an unlikely allegiance is formed. Throw in a beautiful French woman Marianne, to whom not only is the Colonel betrothed but who can also recognise the human decency of Jacobowsky and the tale evolves into the most tragi-comic of Road movies, as the Holocaust’s tragedy looms.

Alastair Brookshaw’s Jacobowsky is a stunning performance that leads the show. Avoiding caricature, Brookshaw (an actor whose choral career has seen him more accustomed to Westminster’s Abbey rather than Syngaogue and who now, following his outstanding Leo Frank in Tarento’s 2011 Parade confirms his Jewish credentials) nails Jacobowsky’s desperate vulnerability in a performance that combines hilarious chutzpah with profound pathos. Onstage almost throughout, Brookshaw’s opening number I’ll Be Here Tomorrow, sung as he walks, stumbling, across the outstretched arms of the company, evokes the frailty and the tragedy of the time perfectly.

Nic Kyle is the Colonel. His is a tough act, playing the bad-guy/straight-guy to Jacobowsky’s antics, yet the kiwi Kyle skilfully manages his character’s transition as he learns to love his Jewish travelling companion. Completing the trio is Zoe Doano’s Marianne. Doano’s singing matched by her perfect poise and presence that convinces without once becoming sugary, evidences her West End experience.

As well as producing, Danielle Tarento casts the show and her eye for talent is, as ever, spot on. Blair Robertson’s murderous SS Captain defines a villainy that is cliché free, whilst Vincent Pirillo’s Jewish father whose grief as the Nazis destroy his daughter’s wedding (in a scene that is one of several gloriously choreographed routines from Cressida Carre) is a beautifully sung turn that also avoids melodrama.

The Finborough’s stage is tiny yet Phil Lindley’s ingenious scenery, comprising panels that open to reveal differing backdrops sets the locations wonderfully. The act one closing number, One Extraordinary Thing, set in a circus big top complete with high wire routine is a particular delight. Max Pappenheim’s well crafted sound design adds authenticity, whilst Joanna Cichonska’s filleting of the orchestral score to an arrangement for just two pianos maintains the charm of Herman’s melodies whilst never drowning the un-mic’d actors. Southerland has got the balance of song and setting just right – every lyric is crystal clear.

Reflecting the fate of France’s Jews, The Grand Tour offers no happy ending. The narrative may be fiction, but the backdrop is the most painful truth and in this expertly assembled troupe, Danielle Tarento offers up yet another slice of theatrical genius.

Runs until 21st February 2015

Before The Night Is Through

Landor Theatre, London

****

Book and lyrics by Olivia Thompson

Music by Christopher Whitehead

Directed by Rob McWhir

Kieran Brown points an accusatory finger

Before The Night Is Through has the potential to be a fine piece of British musical theatre. Part Downton Abbey on acid, part Punchdrunk's The Drowned Man, Olivia Thompson has fashioned a murder mystery set in the mansion of a 1930s film star, Honey Quenelle. The first half in particular shows immense promise, motives and macguffins abound with the strength of this production lying in the stellar talent of its cast. All ten performers flap with utter aplomb, whilst special tribute to Thompson herself who stepped in to fill the breach at the last minute after a cast member became indisposed.

The show is more caricature than character, with Katie Brennan's Mabel, a maid-servant clearly inspired by Baldrick and Ian Mowat's penniless aristocrat Stubby, particularly well crafted comic creations. Amelia Adams Pearce is every inch the refined Honey, defining the elegance of the era, whilst Kieran Brown's dashing detective has a cracking number A Very Touching Story, that shows the actor at his best. Jenny Gayner's flapper Farmonica is an outrageously manic creation of perfect balance and sublime comic timing, who at times suggested a 21st century Bette Davis. Gayner’s performance was only enhanced by an unplanned jewellery malfunction giving rise to a stunning pearl necklace spillage, truly something not often seen on London's fringe.

Rob McWhir again extracts the best from a talented bunch and most of Cressida Carre's choreography works too, though the torchlit dances lost their gimmick second time around. The creative star of the show however is Chris Whitehead (who also musically directs on piano) whose well created compositions were an accurate take on the era. There was a hint of ragtime and charleston to some of his melodies as well as a fabulous waltz whilst the vocal harmonies that ranged from two to eight part are exquisite. As it stands though, the show is very much a work in progress and Thompson needs to take a scalpel to her second act. It's a complicated plot that unfolds, at times too complicated and a twenty minute trim wouldn't go amiss.

But bravo to Katy Lipson for mounting the From Page To Stage season. This is precisely the sort of well crafted work that is to be encouraged and a revised, honed version of Before The Night Is Through could yet have a commercial future.

Runs until 23rd February

Titanic

Southwark Playhouse, London

****

Music and lyrics by Maury Yeston

Book by Peter Stone

Directed by Thom Southerland

Philip Rham

Earlier this year, the Southwark Playhouse slipped its moorings at London Bridge and headed south to Elephant and Castle. Now, in her first London production of 2013, Danielle Tarento cracks a bottle of champagne across the theatre’s bows with her production of Maury Yeston’s Tony winning show Titanic taking up an August residency at the venue.

This producer's form remains impeccable. Selecting trusted talent Thom Southerland to envision the work and with Cressida Carre’s choreography, David Woodhead’s inspired design all railings, upper decks and rope and the lighting wizardry of Howard Hudson, the essence of The White Star Line’s doomed flagship is beautifully evoked.

Yeston premiered his work on Broadway in 1997, just a few months before James Cameron’s movie was to ensure that the whole world knew what happened on that fateful night in April 1912. Whilst Yeston's show opened before the movie, watching his musical in 2013 we find that it teaches us nothing new. We already know that many of the ship's officers were noble, that the owner was ruthless, that some men were heroic and that passengers in 3rd class and steerage were treated appallingly. Yeston's melodies (mostly unfortunately forgettable) don't age well and not for the first time his lyrics are found to be lacking in substance. An epic story demands a deep and epic treatment. Yeston's analysis runs aground in very shallow waters.

So hurrah for Tarento and her team. Philip Rham quite literally is Captain Smith. His bearded poise and weary acceptance of Ismay, the owner’s, persistent demands for reckless speed through a treacherous ice field, is worth the price of admission alone. Rham’s patrician Captain exemplifies both the steel and responsibility of his command yet also the elegant and dignified courtesy of the time. Simon Green’s despicable Ismay is another fine performance, even if he has been written as little more than a pantomime villain. Where Smith is a finely fleshed out man of handsome character, Green's Ismay can at times be imagined stroking an evil moustache as his lust for speed and profit over safety condemns the journey, such is the cliche of his character. Greg Castoglioni is Andrews the ships architect, one of several portentous players who caution Smith against reckless speed. His is a measured portrayal of a man placed in desperate circumstances.

The passenger list has some first class gems. Celia Graham maintains her reputation for excellence as Alice Beane a desperate social climber, whilst below decks Victoria Serra as a shamed pregnant Irish lass off to make a new life in the New World puts in a stylish turn along with Shane McDaid as the charming young lad who falls for her. Veterans Judith Street and Dudley Rogers provide a rare moment of authentic poignancy as elderly millionaires who reject the lifeboats, electing for an icy death in each others arms and James Hume as their champagne pouring steward also puts in a convincing and subtly understated performance of profound tragedy.

The design is brilliant in its suggestion of the ship's famous lines. Tarento avoids expensive gimmickry, relying instead on a pure simplicity of image and the audience's fertile imagination, pre-fuelled thanks to our familiarity with the Cameron oscar-winner. When her Titantic finally and famously rears up, with horizontal decking horrifically becoming the sheerest of deathly cliff faces, the effect is a perfect combination of desperately beautiful stagecraft and Southerland's classy direction.

Like a classic albeit tragically true fairy tale, we know Titanic's story before we take our seats. Tarento's take on history is nothing less than respectful and humbling and she tells it with production values that continue to re-define excellence in London's off-West End.


Runs until 31 August 2013

A Winter's Tale - Review

Landor Theatre, London

****

Book by Nick Stimson

Music & lyrics by Howard Goodall

Developed & directed by Andrew Keates

 

This review was first published in The Public Reviews

In his programme notes, Howard Goodall says that A Winters Tale is a play that he has long wanted to adapt and it shows. Goodall’s quintessentially English sound resonates throughout the production and the care that he has lavished on composing this work is evident.

Converting a classic into a musical, though, is fraught with peril. Shakespeare’s tale, described variously as a comedy and also as a romance, paints a famous picture not only of misplaced jealousy, deception and anger, but also of hope, forgiveness and love and, with divine intervention, a remarkably happy ending. It’s a story that should lend itself perfectly to a musical theatre treatment. However , whilst Shakespeare’s original lasted in excess of three hours Goodall’s shorter oeuvre has filleted it to the bone, retaining the skeleton of the plot but, particularly in the second act, stretching the book’s credibility almost to breaking point – a risky approach with any fairy tale.

Andrew Keates has nonetheless attracted a cast and creative team of the highest standard to deliver this professional world premiere. Pete Gallagher’s Leontes is imperious in his majesty and his character’s arc, from jealous aggression to broken grieving guilt, is moving and convincing. Helen Power as Ekaterina is a creation of loving honesty and integrity, yet also singing and acting with a purity and beauty that lends a believability to Leontes’ raging jealousy. Alastair Brookshaw as Polixenes, Leontes’ suspected rival, has a more fragile style of fidelity that contrasts well with Gallagher’s initially aggressive machismo.

Fra Fee is a cracking Florizel, whilst Abigail Matthews enchants as Perdita. Her character’s youthful loving innocence had more than a whiff of May Tallentire from Goodall’s The Hired Man, whilst her song The Same Sun Shines, evoked harmonies from that same show’s number No Choir of Angels. Helena Blackman brings an elegant excellence to Paulina, making her a worthy foil to the king’s bombast and bluster and Christopher Blade’s Camillo gives life to a minor part that remains critical to the story. Ciaran Joyce’s comic Rob brings perfectly timed ridicule in the song Sheep and Denis Delahunt’s elderly shepherd Melik is a delightfully wise buffoon.

For a story set in Sicily and central Europe, Goodall eschews Italian influence as well as Bohemian rhapsody . While the story roams across continental borders and oceans, this cast speaks with brogues of broadest Cockney, Irish and Welsh making for A Winter’s Tale that represents a thoroughly modern continent, no matter the medieval costume style.

George Dyer’s four-piece band are perfect, Howard Hudson has again lit the Landor’s space with cunning creativity, and Martin Thomas’ design, particularly the oppressive walls that open and close to denote the different countries, is ingenious. Cressida Carré’s act one choreography again shows what miracles of movement can be delivered in the Landor’s Tardis-like performance space, though at times the act two numbers, particularly at the shearing contest, are less polished.

Like good wine, this show will improve over its run. It’s impressive on the eye, symphonic on the ear and proves that Goodall remains one of Britain’s leading composers.

Runs until 1 December