PETER PAN

Malvern Festival Theatre

(UK Productions)

UK Productions makes a welcome return to Malvern this yuletide with their wonderful adaptation of the children’s classic, Peter Pan. I tend to gauge the success of a pantomime on the engagement of the younger members of the audience and based on the response of those attending opening night, the show was an undeniable, huge hit. They were captivated throughout, following the superb storytelling and joining in, with gusto, whenever required.

Director, Scott Ritchie, proves his metal again following his last visit to Malvern Festival Theatre with his equally excellent Cinderella. He has a definite skill in choosing the perfect cast for his shows. Jessica Punch is perfectly boyish as the eponymous character, Pan, clearly revealing in the challenge presented by the fiendish Captain Hook, played with aplomb by Mark Moraghan. Rosie Needham is striking in both looks and attitude as the pesky fairy, Tinker Bell, and Anna Lawrence presents a refreshingly empowered Wendy. Her brothers, John and Michael, are brilliantly played by Rhys Harris Clarke and Oliver Simmons, respectively. CBeebies star, Andrew Agnew, impresses with his pop vocals for his two numbers, Bills and Uptown Funk, and is clearly as at home on stage as he is on television. A rare quality these days. Laura Harrison plays a feisty Tiger Lilly and Hannah-Jane Fox is as delightful as Mrs Darling as she is entertaining as the saucy mermaid, Persil.

The pirate crew, made up of Andrew Rothwell, Jacob Theisinger and Chris Gage, bound around the stage with impressive energy and perform the most amazing tumbling act in the second half, with the help of a surprisingly agile, Smee. Alastair Bull’s choreography is slickly delivered by dancers of the Cecilia Hall Dance Centre, past and present, including Amelia Arnold and Isla Thompson who are currently training in London at Laine Theatre Arts and Millennium College. Lastly, lads from a variety of performing arts groups in Worcestershire do a grand job as the Lost Boys.

Andrew Ryan’s script is as funny as it is topical and moves at quite a pace. The music is inspired from the hilarious pre-show announcement with Smee and Adele to the great selection of songs throughout pretty much makes up the Now That’s What I Call Music 2015, with a couple of musical theatre numbers thrown in for good measure. The vocals from everyone are very impressive. In fact, Tinker Bell’s rendition of ‘Fight Song’ is one of the best moments in pantomime ever for me. Credit goes to Musical Director, Dean McDermott who is accompanied on keyboards by the talented Mark Cooper and Nicholas Atkins.

The only thing that lets this awesome production down is the scenery, which has seen much better days and is in desperate need of repair or replacement. The Darling children’s bedroom looks as if it would qualify for DIY SOS. Congratulations have to go to the stage crew and technicians who do the most incredible job and clearly have their work cut out for them during the run.

This is a truly magical pantomime and perfect entertainment for the entire family. Get your tickets quick though as it’s selling out fast!

THE SMALLEST SHOW ON EARTH

Malvern Festival Theatre

(Mercury Theatre Colchester, Brian Eastman and Christabel Albery)

Hayden Oakley & Laura Pitt-Pulford

The Smallest Show On Earth, a 1957 British movie starring Peter Sellers and Margaret Rutherford, has been wonderfully adapted for stage by Thom Southerland, Paul Alexander and an incredibly talented creative team and troupe of equally gifted performers. This new musical, with songs by Irving Berlin, is utterly charming and perhaps should be renamed The Sweetest Show On Earth.

The story follows a young scriptwriter and his new wife, struggling to make a success of things in London. They believe their fortunes have taken a turn for the better when they become the unexpected inheritors of a cinema in Sloughborough, only to discover it is on the verge of collapse both architecturally and economically. They decide to nurture The Bijou Kinema back to its former glory with the help of the devoted staff, despite the attempts of their rivals, at The Grand, to ruin them.

Southerland, who also directed the show, has gathered together a superb team of people to make his vision a reality. As well as his costumes, David Woodhead’s set is incredible and so beautifully lit by Howard Hudson’s lighting design. Lee Proud’s choreographer is cheerful, vibrant and brings a fresh dimension to Berlin’s songs with the help of Mark Cumberland’s brilliant orchestrations and Mark Aspinall and his amazing orchestra. Southerland has a real love of creating cinematic atmosphere in his productions and fans of his revival of Mack and Mabel and his more recent Grand Hotel, both at the Southwark Playhouse, will not be disappointed.

The fourteen strong cast are excellent. The stunning Laura Pitt-Pulford is phenomenal and perfectly paired with the adorable Hayden Oakley, as the newly-weds. Both are amazing actors with the most delicious voices and you cannot help but love them both and wish for their 'happily ever after'. Liz Goddard is as lovely as she is funny in the role of the matriarchal Mrs Fazackalee, with Sam O’Rourke giving an endearing performance as her poor, suffering son. Christina Bennington has powerful vocals as the Sloughborough Songbird after replacing the rather theatrically flamboyant solicitor, energetically played by Matthew Crowe.

The only disappointment of the evening was the unbelievably small turnout for this amazing production. It didn’t seem to matter though because the audience loved it and fully showed their appreciation throughout. This musical is nostalgic, romantic, funny, delightful and deserving of much accolade. Go and see The Smallest Show On Earth. It will lift your spirits and warm your soul on a dark, cold night.

5 stars

THE FULL MONTY

Malvern Festival Theatre

(Sheffield Theatres Production)

Oscar winning writer, Simon Beaufoy’s stage adaptation of his 1997 blockbuster British film, The Full Monty, opened to a packed out theatre at Malvern last night. A predominantly female audience buzzed with excitement and anticipation, proving without doubt that sex sells. It always has and probably always will and it is a concept in no way exclusive to the male of the species.

This play is much more than just a bunch of unemployed ex steel workers taking their clothes off to earn money. It is a story about struggle and hardship and the, often unexpected, consequences of enforced change, good and bad. It explores the dichotomy of vulnerability and strength of the human spirit in challenging times. This is Beaufoy’s first venture into playwriting and although it is a terrifically entertaining show, it seems to lack heart. The characters are great and the storyline clear but it is still presented in a screen format, consisting of a multitude of relatively short scenes, which can make it difficult to truly connect and care about each character. In fact, many of the actors get very little opportunity to really establish themselves. This certainly doesn’t seem to effect the audience’s enjoyment of it though.

The large cast is made up of fifteen performers, many of whom appear very little and double up as stage crew for the many scene changes. The plot mostly revolves around Gaz, played by Gary Lucy, who is certainly very pleasing on the eye and has a great energy. Unfortunately, his grasp of a Northern accent isn’t so good and can make it difficult to hear the dialogue at times, particularly at the beginning. This production is also his maiden voyage onto the stage and perhaps placing a novice theatre performer in the lead role of a play by a novice play writer wasn’t the best idea. Having said this, Lucy commits fully to the role and gives his all. Andrew Dunn is superb as Gerald, the gnome loving, white-collar worker who reluctantly becomes the group’s choreographer while hiding his redundancy from his wife. Martin Miller gives a star performance as the overweight stripper with self-esteem issues, Dave, his stagecraft shining through and Rachel Finnegan is very convincing as Mandy. Louis Emerick, Rupert Hill and Bobby Schofield are great as the rest of the troupe and twelve year old, Fraser Kelly, is absolutely fantastic as Gaz’s son, Nathan. Finally, the set, designed by Robert Jones, is phenomenal and works brilliantly to accommodate the action and various settings.

The Full Monty does exactly what it says on the tin. The audience loved it. It’s true to the film, with the same wonderful soundtrack, and doesn’t disappoint those expecting to be titillated. The show is practically sold out for the week run at Malvern Festival Theatre and it was a joy to see a new audience demographic attending live theatre in droves. Long may it continue!

KING CHARLES III

Malvern Festival Theatre

(Sonia Friedman Productions, Stuart Thompson Productions, Tulchin Bartner Productions, Charles Diamond and the Almeida Theatre in association with Birmingham Repertory Theatre and by Arrangement with Lee Dean)

Robert Powell, Ben Righton & Jennifer Bryden

Writer, Mike Bartlett, recently wowed the nation with the most watched drama series this year, Dr Foster. Over 8 million people tuned in to follow the exploits of the woman scorned. Malvern Festival Theatre’s last encounter with this gifted playwright was the stunning Earthquakes in London and this new tour of King Charles III is equally enthralling. Following a successful run in the West End, this visionary work has won several awards, including an Olivier for Best New Play and last month saw it preview on Broadway. The play gives a glimpse of a possible future, just seven years away, in the weeks following the queen’s death and Charles’ long awaited ascension to the throne. It explores the political and social impact of freethinking within the monarchy, freedom of the press and the right to privacy, with the demands and difficulties of familial duty and expectations.

Robert Powell heads the cast as the future King and is impressive in the enormity of the role. It will be unreasonable to highlight any particular performance though as every single member of the sixteen strong cast are superb in the telling of this very plausible story. The play runs for nearly three hours including interval and is a wonderful homage to Shakespeare’s history plays. Written in iambic pentameter, with soliloquies and comedy to relive the tension, it gives the audience an utterly unique experience of exactly what it must have been like to have witnessed the bard’s work at the time of writing. Directors, Rupert Goold and Whitney Mosery, do an impeccable job with the staging of this epic piece and Tom Scutt’s stunning recreation of the Almeida Theatre is inspired and a beautiful canvas for Jon Clark’s atmospheric lighting design.

King Charles III is remarkable, groundbreaking theatre. It is the most unusual feeling watching a live performance about such familiar people in a future event that isn’t far off and entirely possible. It’s a truly unique experience and unquestionably one worth experiencing.

5 stars

BAD JEWS

Malvern Festival Theatre

(Theatre Royal Bath Productions, Kenny Wax Limited, Simon Friend)

A bijoux Manhattan apartment, with a view of the Hudson River (from the bathroom), becomes the figurative Coliseum for a gladiatorial dispute between two Jewish cousins over the ownership of a treasured family heirloom. Described as a comedy, this contemporary story by Joshua Harmon frantically explores issues about modern culture, society, religion and family in an incredibly emotive fashion. Passions run so high that the action becomes farcical in an almost Faulty Towers style.

Daphna is fanatically religious and as the only practicing Jew believes, without question, she should have her grandfather’s Chai medallion, which he managed to hold onto during his years in the concentration camps during the Holocaust. Liam, her wealthy cousin and atheist, however, already has possession of the heirloom and intended to give it to his girlfriend, Melody, when he proposed, just as his grandfather did to their grandmother. Liam’s brother, Jonah, does his utmost to not be drawn into the dispute but, unfortunately, with little success.

Ailsa Joy’s character, Daphna is obnoxious, overbearing and immensely dislikeable and we can only hope that she is proving her metal as an awesome performer and nothing like this girl in real life. Equally infuriating and annoying is her cousin Liam, perfectly played by Daniel Boyd, whose rant half way through the show is applause worthy. Jos Slovick is incredibly focused and brings a wonderful stillness and admirable restraint to the part of Jonah and Antonia Kinlay is superb as Melody, the surprising voice of wisdom during in the heat of battle. All of the performances are faultless and the subject matter thought provoking.

For me, this wasn’t a comedy but more a drama, a reflection of life, which has moments of comedy. The subject matter and humour is very American. The playwright presented a style of play typical of many American dramatists, where the focus is on people and emotions more than plot. It is extremely refreshing to have the opportunity to see contemporary writing and I am a huge fan of the modern trend of one act plays. This Theatre Royal Bath production delivers on quality, as always, and gives plenty to think about on the way home. It runs at Malvern Festival Theatre until Saturday.

AVENUE Q

Malvern Festival Theatre

(Sell a Door Theatre Company & Richard Darbourne Ltd)

After success on Broadway and in the West End, the Tony Award winning musical, Avenue Q finally makes it to Malvern! Co-creator of The Book of Mormon, Robert Lopez and Jeff Marx create the most authentically original and relevant musical theatre songs ever. “It Sucks To Be Me”, “Everyone’s A Little Bit Racist”, “If You Were Gay” and “The Internet Is For Porn” gives you a pretty good idea of the show content and even though the majority of characters are puppets, this is certainly not aimed at children.

Avenue Q is so wonderfully refreshing and draws a completely new audience to live theatre. It tells of, college graduate, Princeton who moves into the only affordable area in New York, as he embarks on the onerous task of finding his purpose in life. With the help of his new neighbours, he experiences the trials and tribulations of starting out on his own. Richard Lowe does an excellent job with the aforementioned character and also as the closet homosexual, Rod, who lives with his flatmate, Nicky, in true Bert and Ernie style. Nicky is superbly animated by Stephen Arden who is also responsible for the porn fixated, Trekkie Monster and a Bad Idea Bear and in typical Avenue Q fashion, instead of a right hand man, he assisted by a left armed woman in the form of the ever so talented Jessica Parker. Sarah Harlington creates the perfectly vulnerable yet feisty, Kate Monster, with incredible vocals that gently tug at the heartstrings. The ‘human’ characters are played by Arina II, as the struggling therapist, Christmas Eve, with Richard Morse as her unemployed fiancé, Brian and, for this performance, the part of child star, Gary Coleman, was played by Cleopatra Joseph.

Special mention has to be made of the incredible band, headed by Dean McDermott. The set is very similar to the West End version and works really well. Most enjoyable though are the casts’ fantastic puppetry skills, developed under the watchful eye of puppet coach, Nigel Plaskitt. So much humour is portrayed, and empathy for the characters achieved, through the wonderful execution of these skills.

I recommend that everyone go to see Avenue Q. It is so relevant to our time and a true reflection of human nature and the difficulties we all encounter, often on a daily basis. It is very funny, charming, heartfelt and hopeful. It runs at Malvern Festival Theatre until Saturday.

4 stars 

HAIRSPRAY

Malvern Festival Theatre

(Produced by Mark Goucher and Laurence Myers, Tom O’Connell for QNQ, Just for Laughs Theatricals, Gale King Productions and Curve theatre, Leicester)

The effervescent musical, Hairspray, explodes on stage at Malvern Theatres for the first time this week. Bringing a whole new audience demographic to the venue, this latest incarnation of the show delivers awesome vocals, vibrant choreography and a feel good factor that would soften the hardest of hearts. Set in Baltimore in 1962 at a time of monumental political and social change, it is a giddy tale of one teenagers belief for a brighter future and the lengths she'll go to achieve her dreams.

The first accolade has to go to the ridiculously talented band, headed by Musical Director, Ben Atkinson. The accompaniment is so tight that it’s hard to believe it’s live. Equally slick is, local lad, Drew McOnie’s fresh choreography. The wonderful ensemble immaculately and enthusiastically executes his deliciously smooth moves, somehow defying exhaustion. Paul Kerryson, with the help of Grindrod Associates, cast a superb array of skilled performers who, on the whole, are perfect in their parts.

The creator of Pixar says that for a story to work you have to make the audience care about the characters and this is where this production truly succeeds. Freya Sutton, in the lead role of Tracy Turnblad, is so endearing and authentic in her fight for rights and justice. Add to this her peppy vocals, a smile that beams and her cheeky dance moves and you cannot help but adore her. Ashley Gilmour is charming as her unlikely love interest Link Larkin who goes through an emotional transformation almost as dramatic as Monique Young’s physical one in her role as Tracy’s best friend, Penny Pingleton. It is a big ask for her to match Dex Lee's outstanding performance as Seeweed but they are a perfect pairing. The chiselled Jon Tsouras is ideal as TV star, Corny Collins, as is Lauren Stroud as Tracey's nemesis, Amber Von Tussel. Although possibly miscast in the role of Amber's mother, Claire Sweeney still proves her metal as an accomplished singer. Tony Maudsley and Peter Duncan are absolutely delightful as Tracy's devoted parents, Edna and Wilba, and utterly convincing in the portrayal of their everlasting love for each other. Finally, Brenda Edwards is stunning as Motormouth Maybelle and gives the most incredible, awe inspiring rendition of I Know Where I've Been, culminating in a breathing finish when joined by the rest of the cast. Phenomenal!

Hairspray runs at Malvern until Saturday and then continues on a UK tour. An unquestionable must see production!

5 stars

FLARE PATH

Malvern Festival Theatre

(The Original Theatre Company & Birdsong Productions)

Olivia Hallinan & Leon Ockenden

 Often, it isn’t until you experience something that you haven’t experienced for a long time that you realise what’s been missing. The superb level of characterisation in The Original Theatre Company’s latest offering, Flare Path, bucks the trend for casting actors in roles similar to themselves. Casting Director, Anne Vosser, and Director, Justin Audibert, have done an excellent job in selecting a stellar cast of truly talented performers, capable of developing a depth of character, emotionally and physically, that is lacking in many productions these days.

Flare Path is based on the playwright, Terrence Rattigan’s real life experience as a tail gunner during World War II. Set in 1942, it tells the story of actress, Patricia, whose loyalties to her RAF pilot husband, Teddy, are challenged by the unexpected arrival of her lover, Hollywood screen idol, Peter Kyle. At a time of such uncertainty, when life and death were constant bedfellows, the desire to make the most of every minute fuelled passions and left reason out in the cold.

Alastair Whatley & Olivia Hallinan

Leon Ockenden is perfectly self-absorbed and shallow as the movie star, while Alastair Whatley is magnificently heroic as the considerate yet vulnerable Flight Lieutenant. Olivia Hallinan delivers a masterclass in characterisation with her phenomenal portrayal of the love torn, Patricia Warren. Her homage to the silver screen goddesses of the late 30s is immaculate and captivating. Philip Franks is adorable as Squadron Leader Swanson and Stephanie Jacob is simply hilarious as the matter-of-fact boarding house owner, Mrs Oakes. Siobhan O’Kelly gives a wonderfully understated performance as the Countess whose constant resolve to remain forever hopeful and positive in adversity is heartbreaking. Adam Best is charming as the Polish Officer, James Cooney is great as the peppy bartender and Simon Darwen and Shvorne Marks are extremely likeable as the down-to-earth cockney couple. Final credit goes to William Reay and Holly Smith as the supporting cast. Final accolades have to go to Voice and Dialect Coach, Tim Charrington for his incredible contribution.

This is an emotionally evocative play that gives a real insight into a time we hope to never see repeated. This production is a triumph and well worth seeing. It runs at Malvern festival Theatre until Saturday before carrying on tour.

5 stars

TO BUILD A WOODEN O

Malvern Forum Theatre

(Malvern Bard in association with Malvern Theatres)

I am a big fan of Nick Wilkes' writing and particularly enjoy the diversity of his subject matter. As writer in residence at Malvern Theatres, he has a wonderful opportunity to develop his skills, which he his exploring to its fullest. His new work is an historical drama and virgin territory for Wilkes. To Build A Wooden O is the fascinating story of William Shakespeare and The Chamberlain's Men and the events leading to the construction of the acclaimed Globe Theatre.

Overall, this is a good production but it's not without its issues. An unexpectedly large cast brings a tremendous amount of vibrancy to the stage from entering the auditorium to the dynamic curtain call. Performance ability, however, varies across the cast and the multitude of voices, some of whom were struggling with their lines, on opening night, made it difficult to understand what was going on at times. A combination of poor diction and dialogue heavy scenes added to the auditory struggle. The blanket use of a West Country accent for both Midlanders and Londoners, apart from one Northerner, doesn't help separate the characters and adds to the confusion. The more intimate scenes are a welcome relief to the general cacophony.

The forum space is perfect for the staging and the 'black box' allows for the focus to be on the beautifully costumed performers. Ben Merrick's lighting design is stunning and creates the perfect atmosphere for the show. Emma Butcher is reassuringly calm as she reminisces on the escapades of her younger self, superbly played by the captivating Alicia Bennett. Rob Temple comes into his own in the role of Prologue and Murray Andrews proves his metal as an actor yet again. Special mention has to be made of Paul Ralph's brilliantly animated performance, which is a masterclass in silent comedy.

The second act is a very different beast to the first act. Its structure is so contrasting it feels like a different show all together. There are missed opportunities here and presenting an abridged version of Henry V is unnecessary when other, more interesting, elements of the story are quickly brushed over, such as the money lending and Bill's brother's untimely demise. Wilkes is particularly good at writing dialogue that explores relationships and the vulnerability of individuals and, to me, this is where the better story lay in this tale. The scenes involving the Shakespeare family members were the most intriguing by far and I would have liked to see more of this with the other action merely providing the setting.

The topic is extremely interesting and this talented playwright can successfully add historical writing to his repertoire. It is perhaps time for a fresh directorial eye and an acting troupe of equable talents to showcase the true potential of Nick Wilkes' work. To Build A Wooden O runs until Saturday at Malvern's Forum Theatre and is definitely worth experiencing.

TALKING HEADS

Malvern Festival Theatre

(Theatre Royal Bath Productions)

Alan Bennett's wonderful series of monologues, Talking Heads, popularised by the television adaptation starring icons such as Thora Hird, Patricia Routledge and Julie Walters, is enjoying a revival by the Theatre Royal Bath. Three of the most well known pieces, make up this new touring production. Siobhan Redmond is The Lady of Letters, followed by Karl Theobald in A Chip In The Sugar and Stephanie Cole concluding proceedings with A Cream Cracker Under The Settee.

Francis O'Connor's set design is mesmerising with its exaggerated perspective and cloud scattered sky covering the walls and ceiling. Each story was given its own perfectly simple setting, creating an ideal window into the character's lives. Although the setting was very effective, the scene changes in the final monologue broke the atmosphere, which was unfortunate. Of course, the length of these changes may have been down to the challenges of a touring venue or first night difficulties. Despite this, Stephanie Cole gives an endearing performance as the independent Doris who, in her twilight years, is determined to stay on her own home and not to end up in Stamford House, with tragic consequences. Karl Theobald is convincing as, Graham, the seemingly reluctant carer of his elderly mother who struggles with battling his own demons. The accolade of the night, however, goes to Siobhan Redmond, who is brilliant in her role of Miss Ruddock, whose literary pursuits land her in deep water and unexpected self realisation. Her performance is engaging and interpretation of her character's journey authentic.

The themes of these monologues are as relevant now as when they were penned, three decades ago. The underlying issue explored in each is loneliness, an epidemic in the UK and the cause of more health problems nowadays than obesity. Bennett is superb at celebrating the joys of humanity while simultaneously exposing vulnerability and fragility.

Talking Heads is a must for anyone who has never experienced them and a very entertaining remainder for those who have seen them before. This production runs at Malvern Theatres until Saturday before moving on to the Theatre Royal, Nottingham. 

4 stars 

STICK MAN

Malvern Festival Theatre

(Scamp Theatre & Watford Palace Theatre Productions)

Scamp Theatre bound onto the Festival Theatre stage at Malvern with their enchanting adaptation of the children’s classic, Stick Man, with a wonderfully vibrant mix of quirky storytelling, puppets, music, song and dance.

Sally Cookson, directs an imaginative and lively presentation of Julia Donaldson’s hugely popular and heart breaking tale of Stick Man, who gets separated from his Stick Lady Love and their Children 3 one day, while out for a jog. Oliver Grant, Rachel Winters and Alex Tosh are superb as they take the audience on a journey over land and sea, through the seasons to its satisfying finale.

This production excites the senses and is totally engaging for all ages. Every aspect was delightful, in particular, Elanor Higgins’ magical lighting design. Stick Man continues on tour until 2^nd August and details can be found at www.scamptheatre.com.

IT'S A WONDERFUL LIFE

Malvern Festival Theatre

(James Sebright, Climar Productions and The Bridge Street Productions)

Malvern Theatre premieres the new tour of It's A Wonderful Life this week, following its successful West End run. Frank Capra's classic Christmas screenplay, cleverly adapted for stage by Tony Palmero, doesn't seem too out of place as we experience an unusually cold summer. Guy Retallack beautifully directs this heart warming story of a kind, ambitious man who reaches the point where he believes everyone would have been better off if he'd never existed and, with a little divine intervention, gets to experience such a world. Presented as a live radio drama, the year is 1949 and the musical underscoring, wonderfully articulated accents and authentic infomercials perfectly encapsulate the era and gently lull the audience into a bygone age.

A cast of six present all of the residents of Bedford Falls, the epitome of small town America. Oliver Stoney is brilliant as the protagonist, George Bailey, whose hopes are snatched from him at every conceivable turn. His vocal tones are luxurious and dreamy and endear you to his plight. Equal vocal prowess is delivered by radio host, David Benson, and Lynsey Beauchamp as they skip through their multitude of characters. Augustine Seymour is just darling as Mary Bailey and Richard Albrecht is extremely likeable as Angle 2nd Class, Clarence, and George's unfortunate Uncle Billy. Special mention goes to Benjamin Chamberlain, whose vocal gymnastics are simply delicious, in all of his many guises, throughout the performance. The live sound effects on stage add a great dimension to proceedings as does Richard Williamson's atmospheric lighting design.

This is an utterly charming and delightful production and refreshingly shorter than many plays, running at just under two hours including interval. Indulge and spoil yourself and go and see this evening of inspired entertainment. The UK tour runs until 21st June and then resumes on 7th October until 6th December, with only one or two nights in each venue. Merry Christmas!

5 stars

THE WOMAN IN BLACK

Malvern Festival Theatre

(PW Productions)
 

Malcolm James as Arthur Kipps & Matt Connor as The Actor

Susan Hill’s supernatural thriller makes a welcome return to Malvern Theatres this week. Brilliantly adapted for the stage by the late, Stephen Mallatratt, The Woman In Black is touring again while it continues to enjoy over quarter of a century in the West End.

In an attempt to exorcise the night terrors that plague his sleep, ageing lawyer, Arthur Kipps, hires an actor to help him tell his story of the unsettling events that took place when, in his younger days, he was sent up north to attend the funeral of Mrs Alice Drablow and to put her affairs in order. A frosty reception from the locals leaves him bemused until he experiences a series of unnatural events that unravel a past tragedy with fatal repercussions.

Robin Herford directs a stagecraft masterclass, transforming a relatively bare stage with a bit of furniture into a variety of locations, including the sinister Eel Marsh House and treacherous Nine Lives Causeway, superbly enhanced by the lighting and sound skills of Kevin Sleep and Gareth Owen, respectively.

Malcolm James is perfect as Kipps who, with support and encouragement from his theatrical muse, explores a catalogue of engaging characters vital in the telling of his tale. The monumental role of The Actor is slickly portrayed by Matt Connor, whose focus is faultless, as he confronts the demon that dwells in the darkness. Ailidh Ogilvie is wonderfully unnerving as the infamous Woman in Black and successfully haunts the proceeding.

The play has quite a following, whether down to the recent movie or it being a popular school trip or simply it’s reputation as a scary experience. Whatever the reason, it is a joy to see a packed auditorium mid-week and so many younger theatregoers thoroughly enjoying live performance.

Although the more modern Festival Theatre lacks the atmosphere of London’s creepy Fortune Theatre, the home of this spine-chilling story, mostly due to the brightness of the Fire Exit signs, this is still a thoroughly entertaining night out, with plenty of frights, and is well worth seeing even if only for the impressive art of creative storytelling so beautifully demonstrated.

5 stars

THE IMPORTANCE OF BEING EARNEST

Malvern Festival Theatre

(Stanhope Productions Limited and Nica Burns)

Acclaimed director, Adrian Noble, has succeeded in revitalising Oscar Wilde’s greatest play for a whole new generation, with his inspired casting and direction. This new revival is eloquent and hilarious in equal measure. The physicality of characters and script is ingenious, engaging and energised on a level not seen before. Noble has manage to add so much more content to the already superbly witty dialogue, for which Wilde was famous, making this play look as if it has just been penned and as fresh and current as any new writing appearing at The Royal Court.

It would be very easy to follow in the footsteps of previous actors’ interpretation of such iconic roles afforded here, in The Importance of Being Earnest, yet each performer presents a wonderfully original creation in their respective parts. Philip Cumbus is imposing in both stature and personality as the pesky playboy, Algernon Moncrieff, who meets his romantic match in the unassuming guise of young, Cecily Cardew, brilliantly portrayed by Imogen Doel. The courting between these two unique individuals is hysterical, in all senses of the word. Similarly superb are Michael Benz as Jack Worthing and Emily Barber, as his intended, Gwendolen Fairfax, whose farcical trials and tribulations are exhausting to behold. The final adorable pairing is Richard O’Callaghan, as the bumbling Reverend, with the legendary Michele Dotrice, who gives the most delightful performance, as the nervous Miss Prism. The rest of the supporting cast add perfectly to the troupe of slick professionals, not forgetting to mention the striking presence of David Suchet in the part of Lady Augusta Bracknell. Although not the first time a man has played this intimidating matriarch, Suchet does it with incredible aplomb and panache. Commanding the stage he delights and taunts with the most telling facial expressions and smallest of physical gestures. In fact, the focus from every single cast member, throughout the entire three acts, never falters. The only other things to mention are Peter McKintosh’s charming set design and beautiful costumes.

This is the third time I’ve reviewed a production of The Importance of Being Ernest and it is by far the best. The audience, in the packed auditorium, were laughing and applauding, during the evening’s entertainment, with as much gusto as the actors delivered the story on stage. Such a positive reception is a great indicator to the producers that they have a sure fire hit on their hands prior to its run in the West End. If you can get tickets, then you must absolutely go and see this production. It is a masterclass in the art of quality theatre.

5 stars!

REBECCA

Malvern Festival Theatre

(David Pugh Limited and Theatre Royal Plymouth Productions)

Theatre Royal Plymouth's production of Daphne Du Maurier's haunting novel, Rebecca, is a triumph of artistry. It spectacularly fuses innovative design, authentic sea shanties, enchanting puppetry, exquisite costume, heartwarming comedy and sorrowful tragedy, with a cheeky Charleston or two. Writer and director, Emma Rice, has reinvented this classic story of love that struggles to bloom in the shadow of jealousy and secrets, until the ghosts of the past raise their ugly heads.

The introduction of a strong comedic element in the story is unexpected but very enjoyable and this, in a large part, is due to the inspired casting of Katy Owen who is absolutely adorable as the young servant, Robert and proves her mettle as a dramatic artist in her other role as the waif, Ben. This is a real ensemble piece with every single actor pulling their weight across all the disciplines as, not only, actor musicians but dancers, puppeteers and stage crew, none more so than the incredibly versatile, Ewan Wardrop who is credited as Jack Favell. Tristan Sturrock is a solid Maxim de Winter to his fragile new wife, brilliantly played by Imogen Sage, who achieves her true potential through the trials and tribulations affronted her. Lizzie Winkler gives an incredibly energised performance as Max's hedonistic sister, Beatrice, coupled perfectly with the imposing Andy Williams as her husband Giles, while Richard Clews is the glue that holds everything together as the butler, Frith. This rewrite, despite being refreshing in so many ways, has one major issue and that is the watering down of the iconic baddie, Mrs Danvers, played by Emily Raymond who never really gets the opportunity to revel in the role. The creepy housekeeper appears to have been overlooked, which is disappointing. Also, the second act is a very different play to the first act and, although this works on some levels due to the content, it feels disjointed.

Where this production wins is the director's vision being realised by designer, Leslie Travers. He creates one of the most ingenious, adaptable and atmospheric sets I have ever had the pleasure to see. The inclusion of puppets for Max's adorable chocolate Labrador and a variety of birds is also inspired and Tim Lutkin's lighting and Simon Baker's music complete the artistic mastery.

This is a visual and auditory spectacular and a fascinating new take on an old classic. Rebecca runs at Malvern until Saturday.

4 stars

THE KING'S SPEECH

Malvern Festival Theatre

(Chichester Festival Theatre and Birmingham Repertory Theatre Productions)

Raymond Coulthard and Jason Donovan

Raymond Coulthard gives the performance of a lifetime in the Chichester Festival Theatre and Birmingham Repertory Theatre’s production of The King’s Speech. His superb portrayal of the troubled, reluctant monarch is undoubtedly worthy of an Olivier nomination. His co-star, Jason Donovan, is equally brilliant, in the role he was born to play, as the unconventional, antipodean linguist, Lionel Logue.

David Seidler’s play inspired the award winning film that brought global attention to the personal plight of a family, desperate to be ordinary but born into privileged servitude, and in particular a man thrust, unexpectedly and unwillingly, into leading his country at a time of international crisis. Poor health and a neglectful upbringing, emotionally scarred the future King leaving him with a stammer, which he knew he had to conquer, by whatever means necessary, if he was to lead his country and the commonwealth, as the Head of State. His devoted wife, Elizabeth, found the answer to their prayers in the unlikely guise of a failed actor, operating as a speech expert in a Harley Street office, paid for with his and his wife’s return tickets to Australia. This unusual pairing presents challenges for both but ultimately forges a friendship that changed history.

Director, Roxana Silbert, has done a wonderful job making this a story about people. She uses the writing to get us to really care about the characters. Her staging is slick and she makes the most of the necessary but disjointed connecting scenes. The use of the ensemble and Tom Piper’s stunning set design, from beginning to end, is simply beautiful.

Although everyone involved adds to the production, in particular Claire Lams, whose likeness to the future Queen Mother is uncanny, the highlights are the scenes between Coulthard and Dovovan. Their honest portrayal of these two men and their dreams, hopes, fears and the journey they take is awe inspiring and moved me to tears on more than one occasion.

You have to go and see this! It runs at Malvern Festival Theatre until Saturday and then continues on tour.

5 stars

A MAD WORLD MY MASTERS

Malvern Festival Theatre

(English Touring Theatre and the Royal Shakespeare Company)

Sarah Ridgeway & Ben Deery

London’s Soho, on the verge of the 20^th century’s sexual revolution, may seem an unlikely era for the ETT and RSC to set a Jacobean play. Yet, Thomas Middleton’s saucy comedy, A Mad World My Masters, finds new vibrancy in the late 1950’s, a dichotomous time of sexual frustration and liberation. Phil Porter and Sean Foley, who also directs a large ensemble cast, have edited this new version to include the usual ETT live band and, on this occasion, the divine vocals of Linda John-Pierre.

The title perfectly sums up this production with an exhaustive collection of intertwining tales and outrageous characters causing chaos and mayhem. Never ending double entendre and not-so-subtle innuendo come from all quarters, as the actors titillate the audience with wonderfully energised performances, notably Ben Deery as Mr Littledick and Sarah Ridgeway as the ‘virtuous’ whore, Truly Kidman. Clear diction is vital with this dialogue heavy script and unfortunately this isn’t consistently achieved and although the music provides a welcome break between scenes it does result in each act running at a lengthy 80 minutes each.

The production qualities are exactly what you expect from English Touring Theatre and the Royal Shakespeare Company. Alice Power’s quirky, adaptable set, is beautifully enhanced by Johanna Town’s lighting design and superbly dressed with Samantha Pickering’s costume

This isn’t for the easily offended but is an enjoyable and fresh interpretation of an old English classic, offering plenty of laughs through its physical comedy and must be an utter joy for those having to study it. A Mad World My Masters runs at Malvern Festival Theatre until Saturday before continuing on tour.

4 stars

THE BOY IN THE STRIPED PYJAMAS

Malvern Festival Theatre

(Children's Touring Partnership, Chichester Festival Theatre and Fiery Angel Ltd)

Following the hugely successful film, John Boyne’s extraordinary novel of The Boy in the Striped Pyjamas has finally been adapted for stage. From the producers who have previously presented Goodnight Mister Tom and Swallows and Amazons, the format is identical and does not disappoint. It is an emotive tale of an unlikely friendship between two innocent boys. Set during World War II, the story is seen through the eyes of Bruno, the nine-year-old son of the commandant at a concentration camp, whose forbidden friendship with a Jewish boy on the other side of the camp fence has startling and devastating consequences.

Robert Innes Hopkins set design is a stunning fusion of powerful imagery in two and three dimensions expressed with artistic projections and simplistic scenery. Coupled with the authentic costume and Malcolm Rippeth’s lighting design this production has the perfect visual impact. Director, Joe Murphy, stages the action well but is challenged by Angus Johnson’s adaptation, which would be better suited to a television adaptation. The multitude of short scenes prevents real engagement with the characters and makes it hard to connect and develop the right level of empathy. The play is clearly aimed at the younger audience but it sometimes comes across as a little patronising when it absolutely doesn’t need to be.

The decision to use children, rather than adults portraying children, is questionable. Jabez Cheeseman, who played Bruno on the opening night, impressed with the immensity of dialogue that he delivered faultlessly and with such gusto, although he could have benefited from clearer diction and more emotional connection at times. Colby Mulgrew’s stage experience, however, shone through with his interpretation of the tragic Shmuel. Ed Brody as the terrifying soldier, Kurt Kotler and Marianne Oldham who, as Bruno’s mother, undergoes a disturbing transformation, give particularly notable performances, as does Eleanor Thorn as Bruno’s sister, Gretel.

Ultimately, this is an incredible story and an inspired way to explore the horrors of war in a truly captivating way. The Boy In The Striped Pyjamas runs until Saturday before continuing on tour and is definitely worth experiencing.

3 stars

HARVEY

Malvern Festival Theatre

(Don Gregory in association with Birmingham Repertory Theatre) 

‘Harvey’ makes an appearance at Malvern Festival Theatre this week. Or does he? This charming story of a man and his invisible friend, a six foot three and a half inch, white rabbit, is a jolly jaunt through the human psyche of belief and what is acceptable, and often preferable, when it comes to someone’s sanity.

James Dreyfus is brilliant and simply adorable as the endearingly gentle Elwood P Dowd who, following the death of his mother, acquired the companionship of Harvey, a pooka (a faery creature of Celtic folklore) in the form of a giant rabbit. Elwood’s insistence to introduce Harvey to everyone that he meets drives his social climbing sister, Veta, to distraction and leaves his lovelorn niece, Ethel, devoid of suitors. So dire is their situation that they decide to commit him to Chumley’s Rest, the local sanatorium. Misunderstandings twinned with misdiagnosis leads to a series of unfortunate events that leaves everybody’s psychological stability in question.

Maureen Lipman delights as the dithering sister, as does Amanda Boxer as the despondent niece. An ample cast of thirteen others make up the collection of characters to tell the tale, notably Jack Hawkings and David Bamber, as the psychologists, Dr Sanderson and Dr Chumley.

Although this is a thoroughly enjoyable play, it seems to fall a little short of it’s potential due to the seeming lack of direction and cohesion of characters. It is almost as if the actors were left to their own devices without an overseer of action. This is surprising, considering the apparent calibre of director, Lindsey Posner. The blocking was awkward in places, characterisations were underdeveloped and two dimensional at times and the use of some props, in particular the home telephone, drew too much focus with its unnerving potential for catastrophe. Having said that, the writing is wonderful, the performances engaging overall and Peter McKintosh’s set design breathtaking. A double revolve, impressively glides from beautiful, wood panelled, library to hygienically imposing sanatorium to smoke filled, Charley’s Bar; a stunning feet of artistic engineering. Effective stage tricks really help bring the eponymous character to life too.

Harvey is one of those shows that you will find yourself grinning through from beginning to end and is certainly worth experiencing.

4 stars

SATURDAY NIGHT FEVER

Malvern Festival Theatre

(Theatre Royal Bath Productions with Robert Stigwood)

Theatre Royal Bath has done it AGAIN! Their revival of Saturday Night Fever, in association with Robert Stigwood, is phenomenal. Breathtaking. Stunning!

The date is 1976 and in New York, Tony Manero, a young man from a tough Brooklyn neighbourhood with a dead-end job and an extraordinary ability to dance, has only one ambition in life - to become the disco king.  Every Saturday night, Tony dons his flares and hits the dance floor, creating a stir as he wows the crowds with his phenomenal moves and routines. When he meets Stephanie, who also dreams of a world beyond Brooklyn, and they decide to train together for a dance competition, their lives begin to change forever.

Ryan McBryde’s creative vision and direction has stripped this musical back to its gritty, pre John Travolta, roots. This coming of age story is raw and fresh and as relevant now as in the decade of disco, when it is set. The original and classic Bee Gee’s discography score has be superbly reinvented by Musical Supervisor, Paul Herbert, making it contemporary and more relevant to the storyline and modern audiences, in an Ed Sheeran, Jessie Jay and Sam Smith style, while remaining true to the original genius. Simon Kenny’s brilliant design cleverly incorporates movie projections on a simplistic and functional set to bring the stage to life as the action seamlessly glides from scene to scene. All this is topped off with Andrew Wright’s delicious choreography, which fuses classic ballroom with iconic disco that is perfectly executed by the unbelievably talented cast of actor musicians.

Danny Bayne absolutely nails the lead role of the anti-hero, Tony Manero, giving the performance of a lifetime with his honest characterisation, awesome vocals and dynamic moves! Naomi Slights is a wonderfully captivating match as his muse and love interest, Stephanie and Bethany Linsdell is equally endearing as Annette, the victim of Tony’s unrequited affections. Every single person in the cast is truly amazing, without exception, as they showcase their wealth of talent across all of the performing disciplines. CiCi Howells has to be mentioned for her powerhouse vocals, as the Club Singer, that were hauntingly woven through the protagonists journey of self realisation.

This is musical theatre at its best! Make sure you see this production. It runs at Malvern Theatres until Saturday before continuing on the UK tour.

5 STARS!