Tag Archives: Frost Magazine

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: Flowers For Mrs Harris at Chichester Festival Theatre

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Photo: Johan Persson

Until 29 September

Box Office: 01243 781312

cft.org.uk

You might not go home humming the tunes, but what Flowers for Mrs Harris lacks in catchy songs is more than made up for in warmth and charm.

An elegant retelling of one of Paul Gallico’s much-loved series of books, there’s not a great deal of colour to in Ada’s life. Set in the post-war 1940s, a gossip over a cuppa with her friend and fellow charlady Violet Butterfield and a bottle of milk stout once a week is about as bright as things get.

‘Doing’ for he clients by day, always giving them added value in kindness, wisdom and good old fashioned common sense, by night she conjures up the company of her late husband at the kitchen table of their rented Battersea home. Falling in love with a Christian Dior gown while cleaning for a well-to-do lady (“a dress to make you feel”), she vows to work for as long as it takes to save for such a frock of her own. Helped by Violet, the next two years are filled with purposeful drudgery. Sustained by the mental image of her fairy tale dress, she toils day and night, cleaning, mending and reassuring.

It is a story that could easily become saccharine-sweet and mawkish, but director Daniel Evans (who directed the production as his swansong at Sheffield’s Crucible Theatre – and where it won three UK Theatre Awards – before taking up the reigns at Chichester), gets the balance absolutely right.

The characters may be larger than life, but they are rooted firmly in truth, imbuing the narrative with credibility and humour. If the first half drags its feet somewhat then the second flies, which is apt given that post-interval is when we see Ada taking the second step toward her dream and reaching France.

 

Photo: Johan Persson

Clare Burt reprises her role as Mrs Harris. It is easy to see why she won ‘Best Performance in a Musical’ on her previous outing. With a perfect blend of dignity, empathy, wit and sweetness, she shines like a basking sunflower.

The cast cleverly doubles for the action on both sides of the channel. Accomplished performances throughout, Gary Wilmot is especially memorable and versatile in a number of guises and Claire Machin is a hoot as both Violet and her French counterpart.

An elegantly told and beautifully staged story of hope, aspiration and simple kindness, Flowers for Mrs Harris will lift your spirits and leave you feeling blooming marvellous.

 

Review: Copenhagen, Minerva Theatre, Chichester

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Box Office: 01243 781312 www.cft.org.uk
Until 22 September

Photo credit: Conrad Blakemore

What was the purpose of the visit made by German Werner Heisenberg (Charles Edwards) to his friend Danish physicist Niels Bohr (Paul Jesson) as the Second World War raged? The answer is by no means swift in coming, but it is a compelling journey. Which is just as well; this is not a play that allows for wandering concentration.

The ghosts of Heisenberg, Bohr and his wife Margrethe return to the night of Heisenberg’s visit in 1941 to scrutinise the intent and rationale behind the house call. Eminently bright and highly respected, the younger man’s nation has occupied his elder’s country, thus thorough examination of several theories is necessary.

With a shared passion for scientific certainty the coals are raked over with forensic-like attention to detail, stirring human nature into technical hypotheses. Tempered by Margrethe’s perceptiveness and calm, blistering disagreement between the two men is revealing, but while such convulsions are fascinating it is the historical element that gives the play ominous depth: the creation of the atom bomb and its monstrous impact.

Director Michael Blakemore succeeds in maintaining a fluidity that is almost balletic. With a small cast and a stark set the focus on the trio is as intense as the play itself, but they impress throughout.

Patricia Hodge as Margrethe is breathtakingly good; elegant, circumspect and sharp. Charles Edwards as Heisenberg and Paul Jesson as Bohr are equally excellent, both absolutely convincing as boffins who, despite their scientific and mathematical prowess, are nevertheless vulnerable to human frailty.

Michael Frayn’s play is as much about morals as it is the quest for knowledge and you are likely to come away as many questions as answers. Oddly, this is strangely satisfying.

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: Present Laughter, Chichester Festival Theatre

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Present Laughter
By Noël Coward

Chichester Festival Theatre
Tickets: 01243 781312 www.cft.org.uk

Photo credit: Johan Persson

Actor Garry Essendine’s clique is a tightly-knitted motley crew. From the wife he has never got around to divorcing to his feisty PA, also in the mix is a brace of  philandering producers, an eccentric hobbling housekeeper and a valet with a penchant for strippers. Enter a love-struck ingenue, a bored wife hell-bent on seduction and an intense young writer and the stage is set for chaos.

Incapable of so much as breathing without turning it into a full-on performance, Garry is played by Rufus Hound. An exhausting role that makes light and shade a tall order, all credit to Hound for stamina and for (mostly) achieving the gear changes.

The cast meld with easy fluidity and the physical comedy is especially well choreographed and executed.Tracy-Ann Oberman as the long-suffering assistant Monica is excellent – a one-woman masterclass in comic timing – and Katherine Kingsley as not-quite-ex-wife Liz is also superb. Exuding elegance and as sharp as a whip, she stage manages proceedings with an air of being thoroughly entertained by the  ensuing drama and nonsense.

But while there are plenty of examples of Coward’s wit and his brilliance for turning a phrase, the humour is too often laboured and repetitive – self-indulgent, even. There is a lack of sophistication and Sean Foley’s production would benefit from dialing down the panto slapstick in favour of greater subtlety.

That said, for undemanding entertainment and sheer glamour (Alice Power’s gorgeous set is a scene-stealer in its own right) Present Laughter slips down as easily as an iced G&T, complete with the bonus of a musical finale.

Until 12 May

Vicky Edwards

Chichester’s triple threat… Review: The Norman Conquests

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The Norman Conquests
Chichester Festival Theatre
Until 28 October
Box office: 01243 781312
www.cft.org.uk

Photo by Manuel Harlan

Three interconnecting plays, Alan Ayckbourn’s cleverly conceived trilogy gets the red carpet treatment in this excellent revival. While seeing all three provides the complete story, Ayckbourn wrote each play as a standalone, so you don’t lose out if you’re only in town for an evening. But there are several dates when the marathon triple bill can be seen and, if you possibly can, take your seat for the longer haul.

Fabulously staged (a first for Chichester is the addition of on-stage seating, thus creating a full in-the-round experience); the setting is a rambling country house and garden in Sussex where Annie (Jemima Rooper) lives and looks after her ailing mother. Desperate for some much-needed fun (in the absence of local nice-but-dim vet Tom putting the moves on her), she plans a dirty weekend away with her incorrigible brother-in-law, Norman (Trystan Gravelle). The arrival of her brother Reg (Jonathan Broadbent) and sister-in-law Sarah (Sarah Hadland), followed by eldest sister – Norman’s wife – Ruth (Hattie Ladbury) puts paid to Annie’s plans. The collective convergence also unleashes fall-outs, flirtations and some enthusiastic hurling of home truths.

Taking place over the course of a weekend, in the first play, ‘Table Manners,’ the action takes place in the dining room. In ‘Living Together’ we relocate to the sitting room to see what has been going on in the meantime. Finally we catch up on the outdoors action (and oh boy there’s plenty of it!) in the concluding ‘Round and Round the Garden.’

Making her Chichester debut, Blanche McIntyre directs. Written and set in 1973 (superb design and detail from Simon Higlett), while the period is evident, McIntyre injects a sense of newness; vintage Ayckbourn with a contemporary twist.

Without exception the performances are polished. Delivering beautifully played comedy while highlighting the foibles and struggles of their individual characters, there is a pleasing synchronisation between the actors that aids the flow of the entire trilogy.

Very funny, neatly done and with moments of sharp poignancy, this is a hugely satisfying three-course theatrical feast.

Review: The Stepmother

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The Stepmother
Minerva, Chichester Festival Theatre
Until September 9

www.cft.org.uk
01243 781312

Photo credit: Catherine Ashmore

The words ‘seldom performed’ in a marketing blurb can trigger alarm bells. In many cases there’s a damn good reason why directors don’t dust down certain plays. In this instance, however, it’s an absolute mystery why it has taken so long to revive Githa Sowerby’s beautifully observed drama, in the experienced hands here of former artistic director of the National Theatre Richard Eyre.

Written in 1924, money, equality – or the lack of – and career are core themes. The setting is the home of widower Eustace Gaydon (Will Keen). A financial chancer lacking in integrity, kindness and sincerity, when he discovers that shy young Lois Relph (Ophelia Lovibond) is set to inherit his sister’s estate he promptly marries her, thus providing a stepmother for his two young daughters and shoring himself up financially. Ten years on and the shy young woman he married has become a successful society dressmaker, but Eustace’s dodgy deals have turned on him.

Keen is superb as Eustace. Shifty, sly, domineering and full of self-justification, he is irredeemably unpleasant.

Lovibond also convinces as the young girl who, as she morphs into a confident businesswoman, gradually comes to realise just what a ghastly situation she has signed up to.

A strong supporting cast includes Eve Ponsonby as stepdaughter Monica. Desperate to marry but constantly blocked by her father’s refusal to make good with an allowance, her youthful passion and increasing desperation are beautifully portrayed.

Historically fascinating, this stylish production deserves a life beyond Chichester.