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An English Tragedy by Ronald HarwoodWatford Palace Theatre 15th Feb – 8th March Directed by Di TrevisReviewed by Kevin O’BrienIt’s quite something to see a world premiere, the more so when the playwright is Ronald Harwood. If Harwood’s cv only mentioned ‘Author of The Dresser’ & ‘Screenwriter of The Pianist’ it would be impressive enough. As well as his Oscar for The Pianist and two other Academy Award nominations, he also won a 2007 BAFTA for The Diving Bell and the Butterfly. Harwood’s latest work visits some familiar themes with An English Tragedy – namely anti-semitism and World War II.An English Tragedy deals with the true story of English fascist John Amery. Amery was a poor man’s Lord Haw-Haw, whose profound anti-semitism and deep contempt for Communism combined with his Harrow / Oxford background to make him a useful, if inconsequential, tool for the Third Reich. Amery recorded ten Nazi propaganda speeches, seven of which were broadcast on German radio. While Amery never approached Haw-Haw’s notoriety, his efforts were nevertheless sufficient for him to be charged with high treason, which forms the backdrop for the play. The central twist attempts to explain John’s motivation – namely that his distinguished father Leo was in fact a Jew himself, but had always concealed the fact in order to promote his political career in the 1930’s – including, according to the script, an afternoon spent with Hitler himself at the Fuhrer’s country retreat.So, quite some story. And a discernible buzz in the auditorium. The iconic stage design painted a very literal picture for the evening. A huge blood-red Swastika dominated a black backdrop, with a ‘shadowed’ version of the Third Reich symbol forming the heavily raked stage upon which the action was played out.The opening saw Amery’s parents seated, transfixed to one of [...]

The Rat Pack Live from Las Vegas – TouringMonday 18th FebruaryNew Wimbledon Theatre.Reviewed by David SaundersI must say I arrived at the Theatre in Wimbledon a little biased and ready for a good night out. I am a huge fan of this era of music and in turn of the three artists being paid tribute tonight. I already have the DVD recording of this show and have been to see Stephen Triffitt once before in his own Sinatra Tribute show. The basic premise is that we are at the Sands Hotel in Las Vegas witnessing one of the mythical ‘Summit’ shows that Sinatra, Dean Martin and Sammy Davis Jr played in the evenings in Vegas while filming the original ‘Ocean’s Eleven’ film in the early sixties. The set designed by Sean Cavanaugh is an arrangement of backlit and projected shapes this in conjunction with the stepped ‘Big Band’ style stage layout mirrors the easy elegance of the show itself. The minimal lighting design by Mark Wheatley is solid and serves to merely add the required glitz to what is a sparkling show doing what all good lighting should setting the right mood for the performers to ‘step on’ to.The direction and choreography by Mitch Sebastian lends the piece an air of ease as the performers ‘swing’ their way around the multi layered staging never seeming to really have to work hard this is due to the flowing direction and choreography that while not flaming hot was slick and sexy enough to get the point across.Now to the performers. The excellent Stephen Triffitt once again reprising his role as ‘Old Blue Eyes’ has the audience in the palm of his hand from the get go. He effortlessly channels Sinatra and gives a performance brimming with charm and elegance that would make [...]

Lucia di Lammermoor – by DonizettiEnglish National Opera at London Coliseum 16th February 2008 (8 performances)Reviewed by Mark ValenciaHard on the heels of the Royal Opera’s triumphant staging of La Fille du Régiment, ENO has mounted what is, astonishingly, their first ever production of Donizetti’s masterpiece. In so doing they have assembled a first rate cast under former company musical director Paul Daniel and controversial stage director David Alden.The big attraction in any production of Lucia is the casting of the doomed lovers, Edgardo and Lucia, even though they only share one scene in the entire opera. It would be hard to imagine a finer pairing than Barry Banks and the American coloratura soprano Anna Christy. Miss Christy, who had been suffering from bronchitis before the first night, has a youthfulness and vulnerability that are ideally suited to the role, and her tonal beauty and musicianship are impeccable. The after-effects of illness may have left her voice the odd decibel short – and there was a palpable tension before the high notes in her extended mad scene – but this remains a formidable reading of the role. For all that Alden’s pitiless direction pulls her about, requiring her to sing prone, upside down or contorted like plasticine, Christy’s vocal control remains supreme.The opera is cast from strength throughout, and on opening night even bass-baritone Paul Whelan, singing from the side while an indisposed Clive Bayley mimed his fine portrayal of Raimondo, could hardly be bettered. Mark Stone’s cruel Enrico is beautifully characterised while Banks’s Edgardo, ludicrously bekilted like one of Mel Gibson’s Braveheart warriors, sings quite radiantly.As so often with today’s ENO, the singers find themselves pitted against a director’s Big Concept. David Alden’s brand of lumbering expressionism won’t be to everyone’s taste; he doesn’t do subtle. His basic premise [...]

The Mikado by Gilbert & SullivanENO @ The Coliseum: 2nd Feb – 4th Mar (9 Perf)Originally Directed by Jonathan MillerRevival Direction by David RitchConducted by Wyn DavisReviewed by Laura Evelyn The dazzling contrast of the brilliant white and cream set against the darkness of the auditorium kicked off Jonathan Miller’s glorious 2008 adaptation of Gilbert and Sullivan’s classic ‘The Mikado’ in a most spectacular way. The set, designed Stefanos Lazaridis, was a perfect backdrop to the action as it unfolded. It formed a richly textured background without being overwhelming. Particularly effective details included some dramatic shadows, an elaborate expressionist-style parquet floor and a working fountain. The interesting use of proportion; for example a giant cocktail glass and a man climbing a ladder to reach a mantle piece, added to the eccentric nature of the opera. Sue Blane is to be congratulated on her fabulous costumes. Whilst almost entirely monochrome, the costumes, which included school uniforms, bridesmaid dresses and morning suits, were entirely in keeping with the period and the attention to detail was exquisite. Touches of colour, such as red and yellow button holes were a clever contrast, adding yet another dimension. Katisha’s evening dresses were wondrous and the pairing of an elegant silk dress with nylon pop socks during her best high kicking efforts, had the audience in stitches. The dancing maids and bellhops were very talented and had been expertly choreographed by Stephen Speed. There were lots of exuberant high leg kicks mixed with Charleston dance moves and tap dancing. At several points, most of the cast were dancing and the effect was magnificent. Richard Suart stole the show with his wonderfully comic portrayal of Koko. His lapses into cockney patter were …

Rafta Rafta by Ayub Kahn-DinnBirmingham Rep: 31st Jan – 16th FebDirected by: Nicholas HytnerReviewed by Helen Chapman Ayub Khan-Din’s clever adaptation of Bill Naughton’s All in Good Time follows the commotion of two down to earth Indian families in 1960s Bolton after they are brought together by the wedding of their respective son and daughter, However wedded bliss was not all that it was hoped to be as it emerged that after six weeks, the happy couple had not consummated their marriage. In itself this caused awkward tension between Vina Patel and Atul Dutt, but they also had to contend with the “concern” of their interfering family deciding what needed to be done, making for many hilarious moments as both sets of parents tried to sensitively discuss the issue. The beauty of this play lies in the portrayal of each relationship and the exploration of past loves, hurts and expectations. It was Eeshwar Dutt, the bridegroom’s father, who stole the show for me. A vivid and energetic performance (by a very competent understudy) revealed a complex character, well known and respected in the community for bringing his family from nothing to a stable and happy home, yet inside that same home, he is unmasked as a proud tyrant, revelling in the downfalls of his family. Feelings of rejection and disappointment remain between father and son, and are handled in an honest yet light hearted way. Meera Syal delivers a fantastic performance as Mrs Dutt as she combines motherly love with strength of character as she helps to bring father and son together, not sparing some heated yet comedy arguments often in the company of Vina’s parents who themselves are covering up a not so straight forward marriage. …

Madame Butterfly by Puccini ENO @ The Coliseum Jan 31st -7th March (9 perfs) Directed by Anthony Minghella Conducted by David ParryReviewed By Kimberley Knudson Any production returning for a second revival brings with it a promise of something extraordinary. Anthony Minghella’s interpretation of Puccini’s tale of doomed love set in Japan, brought back by Associate Director/Choreographer Carolyn Choa, gives us precisely that in a production at times quite breathtaking in style. The spartan set, with its polished floor and huge mirror above, echo the black lacquered box within which Cio-Cio-San keeps her few possessions. As the mirror rises at the opening of the performance the stage is bathed in a deep blood red, slowly a silhouette of a young Japanese bride emerges, and around her four masked dancers begin to wind crimson silk. All of this before a note is even played. If you came expecting cinematic style opulence from Minghella you will not be disappointed. Whilst the set is minimalist in appearance, the use of screens emulating the bamboo ones used in Japanese houses, the pink cherry blossom falling gently on the lovers at the end of Act 1 and the curtain of petals falling slowly from the roof all add to the stunning visuals. Minghella also brings more invention in the use of Bunraku puppetry, the puppets being manipulated by black clad figures. Whilst this device works in the thought/dream sequence during the intermezzo in Act 2 using a puppet for Cio-Cio-San, we are left without the usual focus for our emotions namely Sorrow, Cio-Cio-San’s son. The puppeteers manipulate the figure with consummate skill making all the movements incredibly lifelike, however the slightly macabre, skull like head of the puppet detracts from the image and renders any …