THE PRIVATE EAR, THE PUBIC EYE

Malvern Festival Theatre

ORIGINAL THEATRE COMPANY & YVONNE ARNAUD THEATRE

The Private Ear and The Public Eye at Malvern Theatres this week is a revival of Peter Shaffer's 1960's play, which originally starred Dame Maggie Smith and Kenneth Williams.

This piece is effectively two one-act plays that present real time events with seemingly no obvious connection, other than two of the actors playing characters in both stories. However, Original Theatre Company identified a connection with a central character in each play whom experienced his world predominately through sound in the first play and mostly sight in the second play, therefore collectively creating an incredibly observant being. These two contrasting characters are magnificently performed by Steven Blakely, who successfully takes on this epic theatrical challenge with a level of skill and dexterity rarely seen in the profession.

A high level of professionalism is maintained by the other cast members, who revel in their parts under the wonderful direction of Alistair Whatley. It is such a joy to see a production that has been shaped by a talented visionary, such as Whatley. In The Private Ear, Rupert Hill is perfect as the playboy Ted, a charmer who's over zealous nature is merely compensating for his tragically unhappy childhood. Siobhan O'Kelly is superbly awkward as Doreen, Bob's date and then transforms into a 'hip' young lady, brimming with confidence and adventure as Belinda in The Public Eye. Here she is joined by the Jasper Britton, who gives an energised interpretation of the frustrated and somewhat pompous, Jasper.

The set by Hayley Grindle undergoes a thoroughly entertaining transformation at the opening of the second act and her costume designs are superbly reminiscent of the swinging 60s. The creative team is excellent and the actors triumph in their individual performances, securely handling a weighty text with confidence and ease. These plays will not be everyone's cup of tea but Original Theatre Company more than make up for what the stories lack, with a dazzling brilliance of talent.

ELYSIAN FIELDS

Malvern Festival Theatre

MALVERNBARD & MALVERN THEATRES

Malvern Theatres, Worcestershire

In these austere times, Malvern Theatres appears to be forging another inspired stage of evolution. Co-producing, for the first time, last week's superb production of Godber's September in the Rain and, this week, showcasing their Writer in Residence in the main house. With the development of their youth theatre over the last two years, two excellent summer school musicals and regular seasons of pre-West End productions, chief executive, Nic Lloyd continues to prove his visionary worth.

Elysian Fields, by Nick Wilkes, is a thought-provoking, often amusing and very accessible look at life and death, eloquently discussed without any pretentiousness. The quality of writing far surpasses what is expected, given the visual advertising, which lacks the professional, inspired design worthy of this production. The small audience on opening night perhaps reflected this point.

Murray Andrews, as protagonist, Stephen Fields, deftly handles an epic role showing his metal as an accomplished actor, although his performance is slightly marred by an ill fitting, tatty suit, which does not dress the character as the dialogue suggests. Pippa Meekings' interpretation of her role will be very familiar to fans of a popular, sci-fi television programme, as the seductive River and Adrian Ross-Jones, delivers an equally intriguing characterisation as Q. These two characters endeavour to assist Stephen in his quest to make sense of the predicament in which he finds himself as he interacts with the people who have impacted on his existence, many of whom are recreated by the charming Elaine Hartley, who brings a wonderfully refreshing energy to proceedings with each characterisation. Joe Warriner is aptly vulnerable as the Victorian entrepreneur, Mr Hudson and Robert Temple is perfectly disturbing as the Chief Guide. British theatre royalty, Simon Callow, also delivers a touching eulogy, beautifully demonstrating the quality of Wilkes' writing.

Jon Legg does a great job of directing a relatively static play, within Paul Ralph's suitably stark and clinical set design, while Ben Merrick's atmospheric lighting design and Andrew Davis and Neil Rose's clever sound design enhance the production.

This play is definitely worth going to see. It is fresh and contemporary writing with mainstream appeal. It supports and utilises local, professional talent and we need much more of this. Elysian Fields runs until Saturday.

FALLEN ANGELS

Malvern Festival Theatre

BILL KENWRIGHT PRODUCTIONS

In a change to the advertised production of ‘The Governess’ due to unforeseen circumstances, Malvern Theatre audiences are treated to the delightful, Noel Coward romp, Fallen Angels.

The play stars Jenny Seagrove and Sarah Crowe in the eponymous roles of two seemingly respectable ladies who whip themselves up into a frenzy, after receiving postcards from a mutual past lover, as they prepare to discard their dull, lust lacking husbands for want of exotic passion and languishing love.

Seagrove looks as elegant as ever in the role of Julia, in whose luxurious apartment the action takes place and Daniel Hill is ideal as her perplexed, put upon husband, Fred. Crowe, as Jane, comes into her own in this style of character and gives one of her best performances to date. Both ladies offer a wonderfully exhaustive, physical performance in the second act to the great enjoyment of those in the auditorium. It is always a pleasure to see Robin Sebastian on stage, better know for his superb performances as Kenneth Williams, this time presenting Jane’s dashing and level headed husband, Willy. Philip Battley is dashing as the French lover, Maurice and Gillian McCafferty fully utilises every opportunity afforded her in the brilliant guise of Sauders, the maid.

Roy Marsden directs an energetic show, with engaging characters and creates suitably farcical moments while maintaining clarity of storytelling. Paul Farnsworth’s set beautifully encapsulates the opulence and grandeur of the twenties, an era of change and hedonistic living. This tale is as relevant today as it was nearly a century ago and this is what perhaps makes this production so entertaining.