Tag Archives: celebrity

Shadowlands Chichester Festival Theatre: review

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Photo-Manuel-Harlan

Revered author of The Chronicles of Narnia, C.S Lewis (Jack) was also a leading Oxford professor. Setting out his stall right at the start of William Nicholson’s award-winning play, from the lecture podium he offers the theory that only through suffering can we comprehend God’s love absolutely.

Sharing a companionable domestic set-up with brother Warnie, where ‘down time’ consists of philosophical enquiry over a pint in the local with other scholars, it is a sedate and gentle existence.

Enter American writer Joy Gresham. Forthright, brash and with a young son in tow, when it becomes apparent that she needs British citizenship in order to remain in England Jack offers her a ‘technical’ registry office marriage. Soon after, Joy is diagnosed with cancer. Only then, fear and shock forcing his emotional intelligence to catch up with his academic prowess, does he realise that he truly loves her. Insisting on a ‘for real’ bedside wedding ceremony, Joy’s terminal diagnosis also reopens the painful wound of losing his mother to cancer as a boy.

Hugh Bonneville and Liz White inhabit the characters with such conviction that I doubt that I was alone in dabbing my eyes. Equally, the humour is delivered with panache and precision timing.

A terrific supporting cast includes Timothy Watson as Professor Riley, Andrew Havill as Warnie and Emilio Doorgasingh as Rev. Harrington. The role of nine-year-old Douglas Gresham is shared between two boys and on press night Eddie Martin acquitted himself with honours.

Peter McKintosh’s set is both beautiful and clever. Facilitating seamlessly fluid scene changes – vignettes of stylish choreography in their own right – glimpses of Narnia are dreamy and wistful.

Photo-Manuel-Harlan

Nicholson’s play may be nigh on thirty years old but Rachel Kavanaugh’s elegant revival hits home because the universal truth surrounding love and loss does not date: Tis better to have loved and lost than never to have loved at all.

In his exquisite book A Grief Observed C.S Lewis might have been countering Tennyson’s affirmation with a reminder that the poet’s romantic theory still demands a steep price: “The death of a beloved is an amputation.”

A stunning start to the Festival season.

At Chichester Festival Theatre until 25 May.

Tickets: 01243 781312 www.cft.org.uk

Review: Gary Wilmot’s sweet success in Bognor Regis

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Sweet Lorraine, The Alexandra Theatre, Bognor

New writing is the lifeblood of theatre, so for a small seaside venue like the Regis Centre to be exploring new work is exciting in itself. To beef that up by kicking off with a play by one of the nation’s most popular performers is quite some coup; even if it is difficult reconcile cheeky chappie Gary Wilmot with such a dark and tense piece. But all credit to Wilmot, who is also at the directorial helm. Sweet Lorraine is a triumph. Furthermore, it deserves a wider audience.

A compelling tale of a talented young musician with a secret, the writing is elegant, authentic and intelligent. The plot, part thriller and part grim cautionary tale, is rooted in an astute study of human nature and poses a disturbing question: just how far would you go to wright a terrible wrong that had been done to someone you love and whose life had been subsequently blighted?

Beautifully paced, the story plays out to a shocking conclusion. Gripping the attention, never for a moment allowing it to wander, evocative music and Iain Jordan’s moody lighting are key components in creating atmospheric edge-of-the-seat unease.

Aided by excellent performances from Harry Burton as Harry Burns and Martha Dancy as the eponymous Lorraine, great support is provided by Ben Fox as Phil and Katy Osborne as Emma.

Gary Wilmot has been hiding his scripting light under the proverbial bushel for too long. Here’s hoping that he continues to write and that Sweet Lorraine will play on elsewhere.

As for the Regis Centre and its Alexandra Theatre, may this gem of a seaside venue continue to champion new work.

Review: The Midnight Gang, Chichester Festival Theatre

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The Midnight Gang, Chichester Festival Theatre
Until 3 November. Box Office: 01243 781312 www.cft.org.uk

Never knowingly understated, David Walliams took his seat to loud applause from the audience on press night. By the curtain call, when he praised the cast and creative team behind the adaptation of his book, the cheers practically took the roof off. Quite right too. His story didn’t just jump from page to stage, it took flight – literally.

Set in Lord Funt Hospital, Matron rules the children’s ward with a rod of iron. A rod of iron dipped in cement and covered in titanium. Looking like Doris Day but without a glimmer of sunshine in her soul, her young patients know the risk they are running in escaping her clutches to indulge in secret midnight antics.

Aided and abetted by the hospital’s porter, superbly played by Dickon Gough (was it just my imagination or were there shades of Walliams in there?), the poorly children live out their wildest fantasies, reminding us that when something we yearn for is out of reach, dreams can be the next best thing.

The children are fabulous. We saw Cody Molko as Tom, Jasmine Sakyiama as Amber, Rafi Essex as George, Felix Warren as Robin and Cerys Hill as Sally, but I gather that their opposite numbers (Tumo Reetsang, Albi Stisted, Cooper Snow, Fibian McKenzie and Anjali Shah) are every bit as talented.

Jenny Dale is a glorious gorgon as Matron. With the bedside manner of Nurse Ratched, her swooning over Tom’s headmaster (Tim Mahendran) during The Punishment Will be Severe is one of many highlights.

With lovely performances also from Lucy Vandi, Matthew Cavendish and Marilyn Cutts, lots of doubling up means that the cast appears bigger than the reality. Collectively they manage quick changes – of costume and character – with impressive and seamless speed.

Simon Higlet’s ingenious set is a joy, full of surprises and magical elements. Music by Joe Stilgoe provides agreeable accompaniment, but it is words rather than music that are his greater accomplishment. Astute, witty and dexterous, notably in So Many Questions which sees a beleaguered doctor trying to fill out an admission form, his sparkling lyrics are marvellous.

Tender, funny and thrilling, Bryony Lavery’s adaptation retains all the heart and humour of Williams’ book and sprinkles precisely the right amount of theatrical magic into the story.

Director Dale Rooks is to be congratulated. A stunning show for all the family, The Midnight Gang is an absolute tonic. I urge you to get dosed up.

From a child’s perspective – Lily B (14) says:

The Midnight Gang is an action-packed story with memorable characters. Comedic, cheering and cleverly staged, especially with the flight of a naked grandma, Matron was my favourite. Child-hating, chocolate loving and power crazed, she was the perfect love-to-hate character. A great show for children and their families, I especially liked the messages to let your imagination run free and to be kind to each other. Definitely five stars!

Review: Me and My Girl, Chichester Festival Theatre

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Me and My Girl
Chichester Festival Theatre (until 25 August)
Tickets: 01243 781312; cft.org.uk

Credit: Johan Persson

Chichester Festival Theatre director Daniel Evans (also at the helm of the show) earned groans of disappointment in response to his on-stage announcement that Matt Lucas was under Doctor’s orders to rest his voice and would not be appearing. But all was not lost, he quickly reassured us. With just two hours’ rehearsal the understudy had gamely agreed to step into the role.
Ryan Pidgen can surely now step into any role he pleases. In a totally self-assured, flawless performance, had we not known that Lucas was the intended leading man then we would have been none the wiser. On note, in step and word perfect, not for a nanosecond were we even remotely short-changed.
Playing the South London cheeky chappie Bill Snibson who suddenly needs to ‘posh up’ in order to take up his birth right as the unlikely heir of Hareford, Pidgen was not merely competent. Giving Bill warmth, exuberance and sweetness, he bounced around the stage like an adorable scamp of a puppy and, as the kids say, performed like a boss.
The plot may be lightweight, but elsewhere performances are also rock-solid. Clive Rowe as Sir John twinkles in tweed, later revealing a shy and long-nurtured love for Caroline Quentin’s splendidly redoubtable Duchess. A feisty old matriarch with a good heart, by golly she can’t half hoof, too!
Alex Young as Bill’s ‘girl’ Sally is in sweetly soaring voice and balances cockney chirpiness with a touching vulnerability.
When it comes to musical numbers it is fair to say that the majority (give or take The Lambeth Walk and The Sun Has Got His Hat On) are not especially memorable, but the dazzling choreography (nice work, Alistair David) and superb singing (and you, Gareth Valentine, Doug Besterman and Mark Cumberland) make the very best of the raw material.
Lez Brotherston’s stunning set manages to be both traditional and fairy tale – Downton meets Hogwarts, interspersed with the London skyline and beautifully lit by Tim Mitchell.
The night, however, belonged to the heroic Mr Pidgen. As an understudy who endured several ‘thrust-into-the-limelight’ moments (albeit without anything like such professionalism and sheer talent) I absolutely salute you, sir.
The perfect shot-in-the-arm antidote to all things Brexit and Trump, Me and My Girl teems with Pearly kings and queens and exudes triple espresso energy. An unashamedly frothy and feel-good extravaganza, cor blimey you’ll miss out if you don’t nab a Wilson Pickett!

Review: Fabulous Fiddler

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Review
Fiddler on the Roof (until 2 September)
Chichester Festival Theatre
Box Office: 01243 781312 www.cft.org.uk


Photo credit: Johan Persson

Heart, humour and world-class performances are just some of the elements that make Daniel Evans’s big summer musical an absolute belter. Add to that terrific musicians, Alistair David’s thrilling choreography and Lez Brotherston’s cleverly conceived set, which makes the very best use of Chichester’s unique stage, and you have a show that has all the hallmarks of a West End transfer.

The story of Tevye, a poor dairyman with five daughters, it is 1905 and in Russia an uneasy sense of impending change is in the air. But on a poor shtetl Tevye is more immediately concerned with finding husbands for the three eldest of his girls. Alas, despite his best efforts to keep with tradition, it seems that they are determined to follow their hearts rather than their heads, or indeed the advice of Matchmaker Yente (gloriously played by Liza Sadovy).

Omid Djalili is superb as Tevye. Radiating warmth sufficient to melt a Moscow frost in January, he convinces absolutely as the ordinary family man who is not without his shortcomings. In his regular exchanges with God (Dajalili’s stand-up career is much in evidence here), and later as he sings the touching Do You Love Me? to his wife, he reveals a touching vulnerability.

Tracy-Ann Oberman as his wife Golde is equally impressive. A feisty lioness who knows her old man better than he knows himself, it is an inspired pairing.

The singing overall is outstanding. From sweet and soaring to joyous and rousing, Tradition, the opening number, is nothing short of an emotional musical wallop to the gut.

A stupendous ensemble effort, this is a revival that feels both fresh and relevant. Delivering the theatrical triple of laughter (the dream scene is as clever as it is riotous), tears, and food for thought, it is the latter of the whole shebang that is the production’s ultimate strength.

A sharp reminder of how political and social unrest continues to throw lives into disarray, the final moments are heartbreakingly poignant.

5 Reasons You Should Avoid Celebrity

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Do you dream of becoming rich and famous? You might want to stop at “rich” and leave fame alone. Being a sought-after celeb might look glamorous and exciting — who doesn’t want to be adored by millions? — but the truth is that fame can be a lonely, confusing, and even frightening condition.

Paparazzi

reasons to avoid celebrity

Image via Flickr by Gribiche

How would your day have been different today if a team of photographers had been waiting outside your house when you woke up this morning, hoping to grab an unflattering or compromising photo of you? They’re ready to swarm you if you try to go for a walk, or run to the store for milk, or if you’re just tired of being cooped up inside. Want to go out for a few cocktails? They’re standing ready to capture and publish anything you do, so be careful. And this isn’t just happening occasionally; this is your new daily reality now and it never ends.

Rumor Mills

Now imagine that your old flame, or your new beau, calls and asks you out to lunch. Those photographers are waiting to sell photos of your lunch date to a tabloid. If you become famous, everything you do (and a lot of things you don’t do) will be written about, discussed, repeated, analyzed, and picked to death by the press and your fans. Are you ready to have your dirty laundry aired in public every day? That’s the celebrity’s reality.

A Target for Hackers

Do you worry about identity theft and cyber crime? If you become famous, your data becomes a highly lucrative target for hackers. While these criminals might want your bank account numbers, they are even more interested in your private messages, intimate photos, and other personal business. Your most private moments become valuable when you are famous, and they are always under siege.

Superfan… or Stalker?

Many celebrities have had scary run-ins with fans, and a few have even been murdered. Miley Cyrus’s stalker tried to enter her house with scissors and told police that he was married to the singer. A woman claiming to be God once showed up at Justin Timberlake’s house, claiming they were destined to rule together. Madonna’s superfan stalker jumped a fence at her home and said he was going to either marry her or slit her throat. He went to jail and later to a mental hospital, but Madonna had to fear for her life again when he escaped the hospital and was missing for a while.

Trust No One

Would you like to be surrounded by friends who might just be using you to get close to fame and fortune? So-called friends of famous people often sell stories to gossip magazines or lead scandals to the press. Celebs often don’t know who to trust and have a lot of trouble maintaining friendships and relationships.

Public life seems glittery and alluring, but the truth is fame has a dark side, too. Isolation, mistrust, fear, and complete lack of privacy are a high price to pay for celebrity status.

 

 

Review: Forty Years on at Chichester Festival Theatre

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ARSONatChichesterFestivalTheatre.PhotoJohanPersson_02652

Photos: Johan Persson

Taking up his post as Artistic Director new Head Boy Daniel Evans opens his first Chichester Season with Alan Bennett’s early play, which is set in 1968 at Albion House, a fading public school.

Some fifty local schoolboys join the cast and are outstanding, opening the production with a roof-raising rendition of Praise My Soul the King of Heaven.

The occasion is the end of term show, which also marks the retirement of the elderly headmaster. Under the directorial auspices of his reformist successor, the offering of a history revue includes some sketches that get the old duffer decidedly hot and bothered – to be overtly risqué is definitely tsk-tsk territory.

There are some joyous moments. Danny Lee Wynter’s naughty portrayal of an elderly aristocrat à la Dame Maggie as Downton’s Lady Violet is delicious, while an ace tap-dance solo is worthy of the Strictly! final. A stage invasion of lusty-voiced rugger buggers is also a gas, which for all the headmaster’s puritanical tendencies is deemed perfectly acceptable once it is revealed that the opposition has been roundly trounced.

Alan Cox as incoming headmaster Franklin, Jenny Galloway as Matron and Lucy Briers as Miss Nisbitt give accomplished performances, while the music and singing is superb, thanks to the excellence and exuberance of a terrific ‘school orchestra.’

Some of the historical inspirations do not resonate, leaving these skits teetering on the brink of tedium. But there are plenty of jolly spoofs to compensate, as well as flashes of poignancy bringing a balancing shade.

)inCFT'sproductionofFORTYYEARSON.PhotoJohanPersson_04653You can almost smell overcooked cabbage thanks to Lez Brotherston’s impressive school hall set, which comes complete with an almighty oak organ, rising from and towering over the stage.

At eighty years on himself, and having suffered a heart attack only last year, it is perhaps unsurprising that Richard Wilson is not yet tight on his lines. Reading from a script for the most part, when he struggles to find his place on the page it causes the audience collective anxiety. It’s a shame, but there is still much to enjoy here.

www.cft.org.uk Box office: 01243 781312

Vicky Edwards

Review: Ross at Chichester Festival Theatre

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ROSS by Rattigan, , Writer - Terence Rattigan, Director - Adrian Noble, Designer - William Dudley, Lighting - Paul Pyant, Chichester Festival Theatre, 2016, Credit: Johan Persson/ayiinROSSatChichesterFestivalTheatrePhotobyJohanPersson.

Joseph Fiennes leads the cast in in Terence Rattigan’s bio-drama about TE Lawrence

Photographs: Johan Persson

When it comes to writing repressed and complex characters Rattigan is something of a dab hand. The life of TE Lawrence, therefore, gives him plenty to work with.

The story is well known, not least thanks to David Lean’s epic (if not strictly accurate) movie, Lawrence of Arabia. But while the play is light on Hollywood glitz, the writing is pure class. Rattigan’s account of how Lawrence (who was routinely beaten as a child and was a repressed homosexual) rose from being a civilian in the Map Office to a celebrity who led the unconventional but effective 1916-18 Arab Revolt against the Turks is both compelling and disturbing.

The play opens in a far less exotic setting than the Middle East. Having chosen to hide himself away from public scrutiny by assuming a false name and joining the lowly ranks of the RAF, at a base in Uxbridge Aircraftman ‘Ross’ is being charged with insubordination.

Asked to explain his unauthorised absence of the previous night, his insistence that he was dining with Lord and Lady Astor, The Arch Bishop of Canterbury and Mr and Mrs George Bernard Shaw is deemed outrageous cheek. But while his superiors don’t believe him, one of his fellows does. Having assured himself of Ross’s real identity, the opportunity for blackmail is too easy to resist. Cue the beginning of Lawrence’s Arabian story, told through a malaria-induced flashback.

Designer William Dudley uses every inch of Chichester’s thrust stage to evoke the sense of desert expanse, with occasional black and white film footage aiding historical context.

There is much to admire in Adrian Noble’s polished production, but one of the greatest joys is the casting. Without a single ‘slightly less than’ contribution, the overall result is absolutely cohesive and effortlessly fluid.

Joseph Fiennes is superb. Perfectly judging Lawrence’s complexities and contradictions, every nuance is beautifully captured.

Michael Feast is terrifyingly brilliant as the Turkish Military Governor (his vile orders being audibly carried out make for uncomfortable listening and saw theatre-goers shifting awkwardly in their seats), while Paul Freeman as General Allenby and Peter Polycarpou Sheik Auda Abu Tayi also achieve gear changes between light and shade with dexterity and conviction. But it is undeniably a magnificent Team Effort.

A maverick, the conquering hero, an intellectual who was profoundly driven, what is perhaps most interesting about the Lawrence story is the essence of the man himself; someone plagued by demons who waged their own war on him. And someone who longed, more than anything, to fit in and belong.

Highly recommended and with a short run, this ticket looks likely to be as hot as desert sand. Get in quick.

Until 25 June. Box Office: 01243 781312 www.cft.org.uk