Filumena - Review

Theatre Royal, Windsor

***

Written by Eduardo de Filippo

English version by Keith Waterhouse & Willis Hall

Directed by Sean Mathias

Felicity Kendal and Matthew Kelly

Felicity Kendal and Matthew Kelly star in Eduardo de Filippo’s classic Neapolitan folly Filumena, delivering the 1970s translation penned by those stalwarts of modern English literature, Keith Waterhouse and Willis Hall.

There are moments of comedy gold in the play's first half, particularly early on, as we learn of Kelly’s cantankerous, philandering Don Domenico being outwitted by his bride Filumena Marturano (Kendal) on the day of their marriage, a union which itself is a formalisation of their hitherto 35-year cohabitation.

Theirs is an unlikely romance. Filumena in her youth was a prostitute and the Don one of her clients, and from there blossomed a prickly love. Kelly and Kendal sparkle in their roles, with an electricity in their sparring that is frequently hilarious.

But Filumena (the play) cannot just rest on Kendal’s seductive, knowing wiles and Kelly’s frequent states of exasperation, brilliantly delivered though they may be. The story’s narrative offers a glimpse into the foibles and strata of 1940s Naples, but what once may have been an enchanting farce now seems dated and wordy. This review will not spoil any of the plot’s reveals, but especially in the second act, the comedy fast evaporates with the story condensing into a yarn that it is difficult to care about.

One imagines that de Filippo's original may well, like a fine chianti or prosciutto, have been steeped in l'italianità, the very essence of Italian culture, that will have added a richness to the tale that would have been recognised and adored by the cognoscenti.  Waterhouse and Hall’s translation however, for all its wit, strips away the beautiful Italian linguistics and the English that they replace it with quite simply lacks a romantic charm.  

The supporting cast – and all credit to producer Bill Kenwright Limited for employing such a large company – are for the most part a talented bunch with standout work from Julie Legrand as the faithful retainer Rosalia, and Jodie Steele as the Don’s latest young squeeze, Diana. 

At Windsor for another week and then touring, Filumena offers an evening of gentle entertainment.

Runs until 19th October and then on tour.

Photo credit: Jack Merriman

Whistle down the Wind - Review

Union Theatre, London

****

Based on the novel by Mary Hayley Bell
And the screenplay by Willis Hall and Keith Waterhouse
And the film by Richard Attenborough and Bryan Forbes
Adapted by Russell Labey and Richard Taylor
Music and lyrics by Richard Taylor

Whistle Down The Wind is a moving tale of trust and belief. When young Cathy discovers an injured man in her father’s barn who cries out in pain, 'Jesus Christ!', she takes his exclamation literally. As her siblings and peers come to believe that Christ is truly living in the barn, so too does the cynicism of their parents grow – and amidst questions of faith, immortality and humility, the musical builds to a troubling stand off between parents and children. It’s a powerful story, presented in the Union’s intriguing confines with an economic elegance and sensitivity.

Most of the musical plays out through the eyes of Cathy,  played by Grace Osborn and her siblings Charles (Alex James Ellison)  and Nan (Imelda Warren-Green). It’s a massive responsibility for the three performers to shoulder but they bear it well. Their connection and bond is enchanting to watch, whilst their child-like characters convince completely. If their singing occasionally lacks energy and volume, their acting shines.  

Sasha Regan’s direction is well honed, coaxing tears from her actors and building to an ending that is genuinely frightening. The all-adult cast perform the child roles effectively with the Nativity scene, led by a weary teacher played hilariously by Danielle Morris, proving a stand out moment.

The Union's simplistic and bare space was the perfect setting for this humble story, with subtle changes in set and costume being cleverly executed, a wooden thatched divide contributing much to ambience and setting were very cleverly done. David Griffiths band delivered the (much underrated) score beautifully.

There is much that is touching and surprisingly witty in Whistle Down The Wind. Bravo for a simple story, told with passion and which proves to be another fine example of the quality to be found in London’s fringe.

Runs until 21st February 2015