The Importance of Being Earnest - Review

Jack Studio Theatre, London


****


Written by Oscar Wilde
Directed by Sarah Redmond

Daniel Hall

As one of Oscar Wilde’s most famous plays, one wonders if its aged humour and possibly outdated social values will stand the test of time. Thankfully in Sarah Redmond’s capable hands the story thrives.

The production is driven by the leading performances of Daniel Hall and Riley Jones as Algernon Moncrieff and John Worthing respectively, with the pair bringing an infectious cheek and charming energy to the piece, portraying the mischievous socialites with ease.

Hall’s Algernon is instantly warmed to, his strong melodic voice giving elegance to the writing and an electricity to his onstage energy. Similarly Jones’ John charms, as the actor shows an intelligence and understanding of the material and its cadence that perfectly emulates an 1800’s gentleman.

As Lady Bracknell, Harriet Earle occasionally struggled, perhaps, early on in her career, lacking the Dowager gravitas that Bracknell demands. Earle must however be commended for her decision not to concede to the norm and overplay the “Handbag” line, delivering the iconic words with a gloriously dry incredulity.

Redmond directs the piece in a somewhat abstract form, with set and scenery made up of cartoon-esque black and white set pieces, giant calling cards and cut out animals. There’s a hint of the absurd to her interpretation, but nonetheless this innovative take on a classic play makes for a thoroughly enjoyable two hours.

Runs until 2nd December

Reviewed by Charlotte Darcy

Photo credit: Daniel Everitt-Lock

City Of Angels

Stratford Circus, London

****

Music by Cy Coleman
Lyrics by David Zippel
Book by Larry Gelbart
Directed by Sarah Redmond

Alex Gilchrist, Tom Self & Charlotte Allchorne

There is clearly an appetite in London right now for Hollywood in the 1940's. As The Drowned Man takes its last gasps over in Paddington and the Donmar is already sold out for its star-studded City Of Angels in the Autumn, those canny folk at Trinity Laban recognised that the Coleman, Zippel and Gelbart's Tony-winning nod to Tinseltown would prove excellent fare for their 3rd year Musical Theatre students. Stratford Circus made for an engaging venue in which visionary director Sarah Redmond was able to put her graduates through their paces.

As the time and genre demands, the show was heavy on the noir. Billed as a musical comedy the plot weaves in front of and behind the camera as struggling writer Stine, battles it out with his Corona typewriter and a typically megalomaniac director/producer, channelling his frustrations through the scripted twists and turns that befall fictional private-eye Stone. 

The mature themes of adultery, revenge, oversized egos and murder were at times challenging to such a youthful cast and the production was generally at its best with ensemble numbers or duetted songs. David-Jon Ballinger was every inch the movie mogul Buddy, whilst particularly impressive were Alex Gilchrist and Tom Self as Stine and Stone. Both men respectively nailed their parts with the closing numbers to each half of the show, You're Nothing Without Me and I'm Nothing Without You each song a celebration of two strident voices. Amongst the ladies Cathy Joseph and Bethany Wilson's double act of What You Don't Know About Women proved a spine-tingling, perfectly weighted duet. Redmond also coaxed nuggets of delight in a raft of cameo performances that were sprinkled throughout her ensemble. 

A stirring aspect of the production was the 20+ piece band, drawn from Trinity Laban students under Tony Castro's direction. The predominantly brassy sound was beautifully easy on the ear, adding a depth to the show's orchestration rarely encountered in student productions. 

A brave choice of show for sure, but with their take on City Of Angels, Trinity Laban's class of '14 spread their wings impressively.

Our House

Stratford Circus, London


****

Music & lyrics by Madness

Book by Tim Firth

Directed by Sarah Redmond

Our House, the juke box musical based upon the Madness catalogue is given a sparkling re-visit by the second year Musical Theatre students of Trinity Laban. Set in and around London's Camden Town, the story follows Joe Casey a likeable cheeky chancer of a lad, who is caught breaking into a house with his girlfriend. As the police arrive, Joe's character splits into two: spiv Joe who chances it and runs away, contrasted with honest Joe who is arrested, serves a stretch in a Young Offenders institution and who then battles against disapproval and stigma as he tries to do "the right things" in his lfe. It's a classic morality tale of wrong versus right set against a backdrop of strong north London family values, lifelong friendships and corrupt multi-million pound property deals.

Sion Warner effortlessly masters both the humble and the arrogant personae of Joe in a quality performance enhanced with split second costume changes that wow with technically timed perfection. Warner has a hint of Madness' lead singer Suggs in his portrayal and his singing of the two classics I Go Driving In My Car and It Must Be Love are neat tributes to both numbers.

Joe may be the lead character but it is the company around him that create his world and the lively London that Redmond sculpts from her cast is impressive. Lewis Asquith as the spirit of Joe's dead father, accompanying him on stage through much of the show, is a masterfully understated performance of a fallible but big hearted man who despite his blunders, always loved his family. Cathy Thomas who plays his widow is heartrendingly believable as she plays a 40-something mum twice the actress' age. As Sarah, Joe's love, Lucy Thomas is a perfectly voiced and well acted foil to both versions of our (anti) hero and Thomas rises well to the challenge of having to play Sarah from two different perspectives. The tightly observed comedy comes from a quartet of friends whose timing and delivery is a treat of wit and smutty innuendo. Nazerene Williams, who performs an eye-watering splits and Amy Depledge are the giggling girls, whilst Joe's half-brothers, played by Alex Gilchrist and David Grant are a cracking pair of comically awkward adolescents. The bad guys of the piece are smoothly crafted turns from Tom Self as Reecey, who grows up from school bully to hired thug (via a sharp cameo as a Las Vegas Elvis impersonator) and Mark Gollop as ruthless developer Pressman, a pantomime villain for our time.

The choreography is inspired work from Robert Foley. The ensemble numbers of Baggy Trousers, Embarrassment (with a brilliant boxing-ring interpretation from Redmond) and The Sun And The Rain are moving and exhilarating in their audacity, with credit too to Dance Captain Anna Britton and her lead of the troupe in executing Foley's visions. A nod also to the Finale, which is a feast of fancy footwork brilliantly executed by the entire company.

Chris Whitehead's band, drawn mainly from 1st and 2nd year music students provides an accomplished accompaniment. At its core, wind player Victoria Bell's saxophone work provides the most ballsy authentic Madness sound that truly takes an already wonderful show, one step beyond.

Sarah Redmond crafts a cracking musical. Her stage is bare, save for a handful of boxes and some bunting, with video projection setting scenic suggestions. Her mission is clear: this vision of London will be created entirely by performance and it's a mission that succeeds. The production reflects a very talented bunch of students that have been led by an inspirational creative team. This show deserves a wider audience and Trinity Laban's next production is eagerly awaited.


Runs from Jun 6 - 8

Monty and Mirabella

Hackney Children's Theatre, London

****

Written & directed by Sarah Redmond

Lucy Harwood and Nathan Potter

Monty and Mirabella is a delightful work of children’s theatre. In a world where so much entertainment is delivered to kids via electronic screens, to see two young actors telling a sweet kiddies tale without words simply by way of acting, mime and brightly coloured props is a treat.

The venue was packed on a Saturday morning, with children seated on a rug and parents sat behind them.  The show is performed close up to the audience, allowing moments of delighted audience participation and also ensuring that attention can be as focussed as possible upon close-up action, rather than some far-off stage.

Whimsically set in a park on a sunny blue-skied afternoon what the show lacks in plot, it makes up for in performance and educational intention. Nathan Potter and Lucy Harwood are the heroes of the show’s title. Harwood arrives, miming  the walking of and chasing after, an invisible dog and instantly the kids are gigglingly entranced. Potter’s inept klutz of a character has the kids laughing at him too, but the neatly timed and well drilled choreography combined with Sarah Redmond’s eye for movement that will engage even the youngest audience member, ensures that the 40 minute show passes all too quickly.

The show has a sensible social conscience. Along with delightfully ridiculous games of hide and seek and the occasional opportunity for the kids to shout out “he’s behind you”, it also teaches that dog-dirt should be dealt with responsibly and that using suncream is a good idea – though there are squeals of cheeky hilarity all round when Monty finds himself liberally applying aerosol squirts of silly-string rather than SPF 25.

Monty and Mirabella is a charming way to either introduce or re-inforce theatre as an art form to a young audience.  It’s a more colourful version of a moderately slapstick Hollywood silent movie and when any show has a nod to Bizet’s Carmen that hints at a flamenco with spacehoppers, what’s not to like?

Touring, check websites for details

http://sarahredmond.co.uk/monty.html
https://www.facebook.com/MontyAndMirabella