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Duet for One by Tom KempinskiDirector: Matthew LloydReviewer: Ann BawtreeThe man in row G had something when on reading his programme he said to his companion “This doesn’t look much like a barrel of laughs”.It has been said that no-one considering music as a career should do so if they can possibly imagine themselves being happy doing anything else. Perhaps they should also read Karl Lutchmayer’s doom laden introduction to the play, though bearing in mind that his is fortunately not the only opinion. After all, do not most of us, as he writes, continually walk “a tightrope between supreme self-confidence and a nagging fear that exposition as a fake is just around the corner”? The beautifully detailed set by Lez Brotherton at first resembles a typical Victorian psychiatrist’s consulting room. Its restful green walls, and the couch on which no-one actually lies are illuminated by Jason Taylor’s sunlight pouring through the Venetian blinds, which are occasionally lifted as more light is shed on the story. Books line the walls floor to ceiling but the give-away beady red eye of the elaborate hi-fi system draws attention to the hundreds of CDs and tapes on the shelves bringing us firmly up to date. Plants flourish on the windowsills inside and out. A large and spiky cactus on a side table stage left confronts a peace lily on the doctor’s desk, foreshadowing the unfolding tale. We are in Harley Street. Psychological dramas by their nature rely upon the disclosure of unpleasant secrets and the starting point of this story is sad enough. A woman is denied the fulfilment of her life’s work by progressive illness. The play could equally well have been written about a dancer, an athlete, Beethoven. In fact it applies to any one of us who, if we live [...]

Hot FlushBook: Julie BensonMusic & Lyrics: Olly Ashmore Director: Alan CohenChoreography: Roger HannahReviewer: Ian CainThe last few years have seen a plethora of theatre productions aimed at a predominantly female audience. There’s been ‘The Vagina Monologues’, ‘Mum’s The Word’, ‘Grumpy Old Women’, ‘Calendar Girls’ and ‘The Naked Truth’ to name only a few. Now, though, this uplifting celebration of womanhood extends itself to include the menopause in the form of ‘Menopause: The Musical’, ‘Women On The Verge Of HRT’ and ‘Hot Flush!’Darlington Civic Theatre was filled to capacity last night as the latter, ‘Hot Flush!’, began a week-long stint at the venue. Needless to say, the majority of the audience comprised middle-aged women who were intent on enjoying an evening to remember!The musical invites us to meet Myra, Sylvia, Helen and Jessica – four ordinary women who are each going through the menopause. They meet every Tuesday evening in a local bar to offer each other moral support, cry on one another’s shoulders, gossip and malign the men in their lives. Collectively, they refer to themselves as ‘The Hot Flush Club.’A stellar cast is led by the irrepressible and multi-talented Lesley Joseph as Myra, a successful barrister, whose husband, Howard, has left her for ‘some big busted blonde bimbo.’ Miss Joseph’s portrayal of heavy drinking, heavy smoking Myra has the audience cackling with delight as she dispenses with any inhibitions and gives the role all she’s got.Hilary O’Neil plays Sylvia, an American woman, who having become bored with her husband Joe, embarks upon a lustful affair with Myra’s eighteen year-old son, Damian.Anne Smith is Helen, a widow who struggles to cope with her lonely existence since her husband died and her daughter, Kathryn, left home to go to university. Ruth Keeling completes the female line-up as Jessica, the fat, frumpy [...]

We Will Rock YouMusic/Lyrics: QueenBook: Ben EltonDirector: Ben EltonChoreography: Arlene PhilipsReviewer: Phillipa JenkinsManchester’s Palace Theatre was last night transformed as I have never before seen it. Outside lay the red carpet and waiting paparazzi, inside the foyer was awash with a whole host of eagerly excited patrons; families, Queen fans, celebrities. The auditorium was buzzing with anticipation and huge glitter balls hung from the ceiling, alongside enormous newly constructed rigging that ran across the front of the stage. This long-awaited rock musical had finally arrived.Set in the future, the narrative tells of a society wherein ‘real’ music and all instruments are banned, and everyone is forced to resign themselves to the ‘Computer Recorded Anodyne Pop’ (I’ll leave the reader to construct the acronym…) distributed by huge corporations. An interesting concept, and one that obviously attempts to comment on the current status of the music industry, however it was a little slow to start and could perhaps have been told a little more coherently. Saying this, it didn’t impair my enjoyment of the show in any way. With a whole host of Queen hits, the story acts as a catalyst for these monster rock anthems, and you simply can’t fail to be swept along in the tide of enthusiasm and music, relishing the chance to clap along wherever possible.Put simply, there were no let-down performances in this show. The role of Khashoggi was taken by Jonathan Wilkes, whose performance I feel was somewhat sadly overshadowed by the fact he brought Robbie Williams along to sit in the audience; I doubt any of the screaming girls were focusing much on the show as a result. He took on the role confidently and competently; now a musical theatre stalwart; and it was clear he was relishing the opportunity to play a ‘baddie’. A [...]

Spring AwakeningBased on the play by Frank Wedekind Book & Lyrics: Steven SaterMusic: Duncan SheikDirector: Michael MayerChroeography: Bill T JonesReviewer: Honour BayesThere’s definitely something in the air at the Novello Theatre since the arrival of Spring Awakening, the pop/punk/thrash musical which has been taking the Lyric Hammersmith by storm. Crackling with edgy sex appeal and blistering new music this really is the indie rock star of the current West End scene, slicing through the old establishment with a microphone in one hand and a 10 page essay on human reproduction in the other. Spring Awakening is based on the groundbreaking and controversial 19th century German play by Frank Wedekind of the same name, which criticised the sexually-oppressive culture and ripe parental repression of the time and presents a vivid dramatisation of the erotic fantasies that this oppression inevitably bred. The musical has stayed as true as it can to this exploration of passionate teenage lusts, wounds and wants whilst also giving it a squarely postmodern identity; the rock/pop score speaking loud and clear to the ever growing ‘Skins’ generation of uber cool teens. By encasing this tragic story of teen suicide, abortion and sexual abuse in an alt-rock environment it is true that it has lost some of the darkness that is so all encompassing in Wedekind’s original, but what it brings to the text is a modern means of self expression which perfectly captures today’s frustrated youth. Who hasn’t wanted to grab a microphone and punch out some angsty punk-rock after an argument with their parents, partner or boss? Indeed, although pop music speaks most obviously to teenagers, its well worn and much used archetypes strike chords in us all.And so although this is clearly by its very nature an adolescent musical, it is also an incredibly good one, [...]

The Bible: The Complete Word of God (Abridged)Written by Adam Long, Reed Martin & Austin Tichenor Director: Matt RippyReviewer: Marie KennyI’ve never read the Bible, I have no intention of reading it, but I do love stories. I especially like stories with a moral and according to the Reduced Shakespeare Company, the Bible is ‘The greatest story ever accepted as fact’. Playing to a sold out audience at the brand new Floral Pavillion, last night I finally got to see the Reduced Shakespeare Company, something I’ve been meaning to do for a long time.‘The Bible: The Complete Word of God (abridged)’ sees three performers reduce the Bible down to less than two hours. The show has been touring the UK since January this year, but was created in 1997 and even ran for two years in the West End. Back in 1997 it was considered controversial, but it takes a lot more to shock audiences these days. In all honestly, for even the most hardcore God loving population, there’s very little to find offensive in this tongue-in-cheek comedy.From Adam and Eve in fig leaves, the Old Testament is swiftly covered through high energy sketches in the first act and then the New Testament equally swiftly in the second act. The show is filled with non-stop humour, character changes, singing and even a bit of dancing too. They’ve given it a modern spin with references to Deal or No Deal and the potential risks involved in going on a night out with Steven Gerrard.With Noah’s Ark quickly brushed aside in the first act, William Meredith brings it back in the second act with his replica ark which is ‘accidentally’ destroyed by Simon Cole. Called up in pairs members of the audience are given an animal and an action for the song [...]

Measure for Measure by William ShakespeareDirector: Jamie GloverMusic: Simon AllenReviewer: Lilla GrindlayMeasure for Measure is one of Shakespeare’s most perplexing plays. A comedy that often seems more like a tragedy, it is set in a Vienna teeming with corruption and lust. The play opens with the Duke of Vienna embarking on a mysterious journey, leaving his Puritanical Deputy Angelo in charge. Angelo wastes no time in enforcing the laws against immorality that the Duke has let slip. The jails are soon full of drunks and prostitutes – and amongst the prisoners is a gentleman, Claudio, condemned to death just for getting his fiancée, Juliet, pregnant. Claudio’s virtuous sister Isabella pleads with Angelo to save her brother’s life, leading to an unexpected turn of events. She inflames Angelo’s lust, and he becomes obsessed with sleeping with her. Meanwhile, we soon discover that the Duke’s journey is a ruse: he instead remains in the city disguised as a friar, watching to see whether Angelo will become corrupted by new-found power. Jamie Glover’s production transferred the play from Shakespeare’s times to the world of Dickens, complete with frock coats, top hats and hooped skirts. A seediness and hypocrisy often lurks beneath the outward respectability of Victorian society, so the interpretation suited the themes of the play perfectly. The set, designed by Andrew D Edwards, was a superbly dark and seedy affair, dry ice and a dampened wall reflecting the sordid underbelly of a Victorian city. Chris Davey’s atmospheric lighting fitted the play’s mood well, but felt a little too dim at times. As the play progresses, Angelo’s hypocritical and despotic acts increase, as he resorts to more and more desperate measures to possess Isabella. Jason Merrells – a well-known name from television – tapped chillingly into the sense of tortured villainy that underpins [...]

Great Expectations by Charles DickensDirector: Tim BakerReviewer: Marie KennyWhat a difference a day makes. One day you could be contemplating a life of poverty. The next day, someone mysterious could come along with a bag full of cash and want to turn your life around. Now, wouldn’t that be nice?Charles Dickens’ ‘Great Expectations’ is a classic ‘rags to riches’ story, with some unrequited love thrown in there too. Adapted to the stage by Tim Baker, the novel is condensed into a two hour production which is easy to follow, quite an achievement for such a big story. Along with composer Dyfan Jones, Baker’s intention was to add a new layer to the story through music and song. Musical director and pianist, Greg Palmer is a permanent fixture to the side of the stage and plays some lovely pieces. However, whether they all actually fit is another matter.Set against a backdrop of dark clouds and candles along the front of the stage, the staging is very simple and yet atmospheric for 19th century England. Along the back there are eight seats for the actors to watch the performance from and step into the action when required to do so. This ensures a smooth flow to the piece and creates an interesting vision, with excellent costume design by Mark Bailey. When brought together onstage there are some truly beautiful musical ensemble pieces from the cast. Pip, played by Steven Meo, narrates the piece and also plays his part in a series of flashback scenes, from a childhood encounter with escaped convict Magwitch to his continuing love as an adult for Estella. He is transformed from a blacksmith’s apprentice into a London gentleman, which has it’s own problems. Yet, I didn’t really care about them or his plight. Perhaps this was due to [...]

Brief Encounter by Noel CowardAdaptor/Director: Emma Rice Musical Director: Pete JudgeReviewer: Iris Beaumont Stepping into the auditorium you were sent back to the 1930’s almost instantaneously as you are greeted by musicians and singers wandering up and down the aisles singing classic 1930’s Noel Coward numbers, and puts you right into the ambiance needed to recreate the classic black and white film live on stage.I went to the theatre expecting a stage adaptation of the film, but director Emma Rice has gone back to the original Noel Coward play which tells the tale of three lovelorn couples, the first being Stanley the Bath Bun seller and the not so bright cafe assistant Beryl and were played out beautifully by Beverly Rudd and Christopher Price. Annette McLaughlin and Joseph Alessi brought to live the second of the couples and the steamy love affair between Myrtle (the cafe owner) who sees herself above everyone else and wouldn’t be seen to admit the affair with Albert was ever taking place. Then we have our third couple played by Hannah Yelland and Milo Twomey who play the couple the film focuses on (Laura and Alec.)Emma Rice has created a brilliant night of theatre that cleverly fuses live action with film and blends them so seamlessly that the flow together with seer pace and excitement bringing Laughter one moment pathos the next, that there were clear indications of tissues being used to wipe tears from eyes amongst the audience.Neil Murray must be given high praise for the ingenuity of his set design , that helps excel the narrative from one place to another with ease and, along-side his costume designs again brought a touch of 1930’s class to the proceedings.This is a production that you can clearly see that everyone involved are having the time [...]