Tag Archives: Theatre

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!

A Day in the life of Adam Burgan, Arts & Entertainment Manager at The Octagon Theatre

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Adam Burgan, Arts & Entertainment Manager at The Octagon Theatre in Yeovil.

One of the joys of managing a busy regional theatre is that there is no such thing as a ‘normal day’. While some tasks and duties remain the same you never really know what opportunities, challenges and, at times, rather surreal moments will come your way. At the moment we are in ‘pantoland’ with a spectacular pantomime production of ‘Jack and the Beanstalk’. The show runs for 49 performances (our biggest ever run) with two performances a day so the theatre is a hive of activity with large school groups in the day and then family audiences in the evening.

A Day in the life of Adam Burgan, Arts & Entertainment Manager at The Octagon Theatre

Over the next few weeks over 25,000 people will ‘climb the beanstalk’ with Jack on a magical adventure and my job is focussed on ensuring that everyone has a happy time at the theatre and to lead and support my team in delivering their roles effectively in order to achieve this. Theatre is a ‘leisure choice’ and though I would consider it essential to living a happy and fulfilled life it is important to recognise the various barriers that people feel may be in their way. It is our job to try and make patrons entire experience of visiting the theatre the best it can be, from the moment they pick-up a brochure, to booking a ticket, making their way to the theatre to the time they step through the door and until they leave. I feel that a large part of my day is spent speaking to staff and trying to ‘keep the team happy’ something that isn’t always possible but we know the key to success is communication and trying to keep the team focussed and working together to achieve a common goal – making our customers happy. Using the word customer I also mean the artists who perform at our theatre – it is important for us to ensure they are happy and have everything they need to give the best possible performance.

jackandthebeanstalk

Much of my day will be spent speaking to agents and producers and local companies looking to bring their performances to the theatre. Programming is one of my favourite parts of my job and the most satisfying. Booking in an artist I know will prove popular (especially if I’ve been trying to book them for a while) is very rewarding. A number of meetings normally looking at future events and projects will always be on the agenda and one of the things we have grown very successful at is building partnerships with organisations we have a shared agenda with and who can help us to achieve our goals.

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Throw in some budget monitoring, a walk around the building to check on our maintenance, checking figures for last night’s show and a look ahead at sales figures for the shows on sale and a trawl through the endless amount of emails and phone calls and the day quickly fills up. ‘Theatreland’ certainly isn’t a ‘9-5’ job and nor should it be. Evenings are often filled with the choir I teach at the theatre on a Monday night, popping in to see some of the performance (even if I can’t stay for the whole show) or supporting local events – I judged ‘Strictly Come Langport’ last weekend! There is never a dull day at the theatre and though it is long hours, and as with every job, there are ‘ups and downs’ I still consider myself very lucky to work in a place that brings joy and happiness to thousands of people every week. I have the pleasure of working with a very talented and dedicated team of people who share my passion for theatre and I try to remind myself that there really are dream jobs and I am one of the lucky ones who found mine.

 

 

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.

Review: Grimm Tales, Chichester

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Grimm Tales – For Young and Old
Adapted by Philip Wilson
Chichester Festival Youth Theatre at the Cass Sculpture Foundation, Goodwood
Until 19 August

Photo credit: Johan Persson

If you go down to the woods today… Just when it seems impossible for Chichester Festival Youth Theatre (CFYT) to achieve any greater heights they come along and smash it of the park. The sculpture park, in this instance.

The Cass Sculpture Foundation is the perfect setting for Grimm Tales. Woodland paths, tree-lined hollows and sheltered clearings provide a series of glorious natural stages. Greeted by a raggle-taggle band of minstrels beckoning us into the woods, the music throughout is evocative, catchy and haunting. All members of the Youth Theatre, these young troubadours are exceptional and add greatly to both the charm and continuity of the production.

Starting with Little Red Riding Hood and followed at different locations by Hansel and Gretel, Hans My Hedgehog, The Goose Girl at the Spring, The Three Snake Leaves, Rapunzel and The Juniper Tree, these yarns are grim indeed. Adultery, murder, child abduction, cannibalism – Mr Disney may have prettied some of them up for the big screen, but in their original form these fairy tales offer no trace of saccharine sparkle or Bibbidi-Bobbidi-Boo. Marvellously dark, but not without humour, Philip Wilson’s adaptations are magical, mysterious and utterly spellbinding.

Under the skilful direction of Dale Rooks the acting is uniformly superb. Remaining totally in character even when leading the audience from location to location, even those in minor roles demonstrate the discipline and focus of seasoned professionals. It would be grossly unfair (and almost impossible) to single out any one performance.

Testament to the excitement and enrichment of the experience, the smiles of the cast at the curtain call are wider than that of Grandma’s wolf. With satellite groups across the county, West Sussex children are so lucky to have CFYT available to them. Especially at a time when funding cuts threaten to hack drama and the arts down to almost nothing in some schools.

Ably supported by members of the Technical Youth Theatre, as darkness fell there wasn’t a star in the sky to outshine this supremely talented company.

Tickets: 01243 781312 www.cft.org.uk
There is no parking at the sculpture park, but a highly efficient system of park-and ride coach transport is in operation from Chichester College.