'Little Shop Of Horrors' review

Malvern Forum Theatre

LITTLE SHOP OF HORRORS (Malvern Theatres Young Company)

Horrific delights await audiences at Malvern Theatres this week courtesy of their Young Company's production of Little Shop Of Horrors. A joyously talented cast present Alan Menken's awesome musical, the first of hopefully many that we will get to enjoy over the coming years.

Director, Andy Reiss, showcases a wealth of young talent who tell the story of a man eating plant that mysteriously appears in Downtown Skid Row, following a sudden and unexpected, total eclipse of the sun, that results in a murderous, bloody rampage on local residents.

Douglas V. Watts is brilliant as the underdog, Seymour, who's wonderful vocals are effortlessly matched by the delightful Abbie Steele playing the downtrodden Audrey, the unknown recipient of Seymour's affections. Both suffer the cantankerous, flowershop owner, Mr Mushnik, a challenging role that Jacob Kippng attacks with gusto. Matthew Heels is suitably obnoxious as Audrey's sadistic boyfriend, Orin the dentist, and is the first to fall foul of the ferocious plant, Audrey II, to whom Liam Brown gives a superb soulful voice. Bryony-Rose Ward, Jo Edwards and Charlotte Heels give a slick, confident performance and handle the difficult harmonies with ease in their respective roles of the perky trio - Crystal, Ronette and Chiffon. A great ensemble also features some lovely comedic cameos and show off Katie Leeming's effective choreography. Hats off too to Musical Director, David Lane, for accomplishing such a pleasing sound from the cast in such a short time and to his band for bringing to life the fantastic score.

Everyone involved with this show must be congratulated on producing a thoroughly enjoyable night out. Support this inspiring company of young performers by seeing Little Shop of Horrors before it finishes on Sunday.

'Volcano' review

Malvern Festival Theatre

VOLCANO (Bill Kenwright Productions)

Believed to be based on the Bond writer, Ian Flemming’s martial transgressions, Volcano is one of Noel Coward’s lesser know plays, mostly due to the scandalous content, which censors of the time would have struggled with approving for public consumption. Nowadays, however, the issue of infidelity and broken relationships is all too frequently plastered over glossy magazine covers in a desperate attempt to increase readership and satisfy the need of some to revel in other’s trials and tribulations.

Set on the fictional Pacific island of Samolo, Simon Scullion’s set design beautifully replicates the Colonial home of Adela Shelley, subtly portrayed by the iconic Jenny Seagrove. This idyll is often frequented by playboy, ‘Guido’ Littleton, suavely played by Jason Durr, whose desperate attempts to sleep with Adela are thwarted by her at every turn. Emotions run high with the imminent arrival of Guido’s long-suffering wife, Melissa, played by Dawn Steele, who perfectly explores the vulnerability of this poor lady that exists with the tour-de-force façade. Focused on the affair of which she suspects her husband to be embroiled, she fails to notice the blossoming romance developing with Perdita Avery’s beautiful Ellen Danbury, who’s vocal performance is a wonderful homage to Coward and superbly matched by her awkward husband, Keith, played by Tim Daish. The arising conflicts are mimicked in nature with volcanic disturbance and despite the optimistic attempts of kindly neighbours, Grizelda and Robin, adoringly characterised by Finty Williams and Robin Sebastian, things come to a head as the volcano erupts.

This is a gentle play that doesn’t really get going until the second act. Roy Marsden’s direction is a joy to watch as he cleverly changes the audience’s visual perspective through simple, yet effective staging (and up-staging) and creates lovely tableaux throughout the story. Mike Robertson’s lighting and, the appropriately named, Matthew Bugg’s sound evoked the ideal ambience and backdrop. This play has some classic, cutting Coward quips and gives insight into another side of this iconic writer. Volcano runs until Saturday.

'School For Scandal' review

Malvern Festival Theatre

SCHOOL FOR SCANDAL (Royal Theatre Bath Productions)

Choosing to sit in a darkened room for a couple of hours on one of the few, truly beautiful, summer’s evenings this year is quite an ask for even the most loyal theatre goer. However, the considerable audience gathered on the Malvern Theatres terrace, in the glorious Winter Gardens, for pre-show drinks before enjoying the delectations on offer, was a clear accolade of the guaranteed quality of a Theatre Royal Bath production. Those sacrificing the sunshine were, yet again, rewarded with a wonderful evening of exquisite entertainment.

An all-star cast, including Maggie Steed and Ian McNeice, presents Sheriden’s classic, School For Scandal, an 18^th century farcical exploration of the scandalous debauchery among the elitists of the time. Although the start of the play is incredibly wordy and overloaded with information on a multitude of individuals, some of whom we meet and many whom we don’t, it is eloquently delivered by Stuart Ellis and Serena Evans in the respective roles of Snake and Lady Sneerwell. The verbal confusion continues with additional tales from fellow gossipmongers, including the flamboyantly outrageous Crabtree and Sir Benjamin Backbite, perfectly portrayed by David Killick and Grant Gillespie. Edward Bennett is outstanding as Joseph Surface, delivering a magnificent vocal and physical performance throughout, beautifully matched by Susannah Fielding’s tour-de-force, Lady Teazle. It was a pleasure to see Nigel Harman again, after his award winning performance as Lord Farquaad in the West End’s Shrek – The Musical and John Conroy must be commended on his attention to detail with period movement in his role as Rowley. This is a real ensemble piece and the double casting utilises this talented cast to it’s fullest.

Despite some dubious ‘up’ staging decisions made by director Jamie Lloyd, which seems to be a tragically current directing fashion, he must be congratulated on some superb creative genius with the comical ‘screen’ scene and most magnificent ‘portrait auction’. Literally breathtaking! Soutra Gilmour’s set was suitably adaptable and proved a stark backdrop for the colourful characters adorning it. Everyone involved with this production must be congratulated.

This play is undoubtedly the forerunner to “Real Housewives” and “The Only Way Is Essex” proving that little has changed in the last three hundred years. School For Scandal runs until Saturday.

'The Lady In The Van' review

Malvern Festival Theatre

THE LADY IN THE VAN (Hull Truck Theatre & Richard Jordan Productions)

Teaming up the immense writing talents of Alan Bennett with the epic theatrical skills of Hull Truck Theatre, two of Britain’s biggest creative contributors to the arts for the last half a century, was a stroke of pure genius. This autobiographical tale introduces us to an eccentric character that, literally, pulls up in Alan Bennett’s life one day to become an unavoidable part of his existence for the next fifteen years. This mysterious lady has a deeply profound effect on him and his psyche, both of whom recount these events for us, in their typical Bennett fashion.

Casting Nichola McAuliffe in the eponymous role of the lady in the van was a second stroke of genius. Her performance is exceptional! She gives a masterclass in character acting that puts her up there with two other untouchable theatrical performances, one by Dame Maggie Smith in Bed Amoung The Lentils and the other by Jane Lapotaire in Henry Eighth. Sean McKenzie and Paul Kemp brilliantly match McAuliffe’s performance as the two Alan Bennetts and delightfully capture his nuances and affectations with reassuring truth and believability. The remainder of the cast are perfect in their roles as they drop in and out of this fascinating story and undeniably help make this the superb show it is.

Sarah Esdaile has truly shown her metal here as a wonderfully encouraging director to achieve such incredible performances and help generate a future stage classic. Ben Stones set is utterly enchanting and the final “ascension” is the third stroke of genius. Inspired!

The Lady In The Van is theatre gold or, more appropriately, crushed mimosa… possibly! This is one definitely to see. If you liked The History Boys, you’ll love this! It runs at Malvern Festival Theatre until Saturday. Go and see it!

'Ladies In Lavender' Review

Malvern Festival Theatre

LADIES IN LAVENDER (Daniel Schumann and Lee Dean with Charles Diamond and Royal & Derngate Productions)

An all-new stage production of the charming film, Ladies in Lavender, is enchanting audiences at Malvern Festival Theatre this week. Sisters, Ursula and Janet, find the regularity of their Cornish idyll is interrupted when a mysterious, young foreigner is washed up on the beach one morning in 1937. This serendipitous event reignites dying embers of love for more than one of the village’s residents, changing their lives forever.

The legendary Hayley Mills and Belinda Lang are brilliant in their respective roles of the sisters, Ursula and Janet. They give equally exquisite and believable performances that make it impossible not to fall for their delightful characters. Robert Rees is perfect as Andrea, the Polish stranger, demonstrating excellent vocal dexterity with the accent and foreign language. Robert Duncan gives a wonderfully awkward performance as Dr Mead, whose puppy-dog love advances are deftly parried by the artist, Olga, stoically played by Abigail Thaw. Carol Macready positively revels in the superb role afforded her as the housekeeper, Dorcas. Ever present and quick to comment, she has the audience in the palm of her hand throughout.

Superbly directed by Robin Lefevre using a stunning set, cleverly designed by Liz Ascroft, the audience are transported to from the craggy coast to the quaint cottage in the blink of an eye with the help of Mick Hughes’ beautifully lighting, as John Leonard’s sound design evokes the peace and tranquillity of Cornwall. This is a gentle, endearing story of unrequited and lost love that provides the perfect escape for an early summer’s evening this week.

'Educating Rita' Review

Malvern Festival Theatre

EDUCATING RITA (Theatre Royal Bath & Chocolate Factory Productions)

Theatre Royal Bath and Chocolate Factory Productions bring the modern classic, Educating Rita to Malvern Theatres this week. This charming, inspirational play was brought to the mainstream in the early eighties with Michael Cane and Julie Walters starring in the movie version of this two-hander. Penned by the creative genius behind the record breaking musical Blood Brothers and the endearing Shirley Valentine, this semi-biographical play explores the divide between social class and education.

Matthew Kelly revels in the role of disillusioned lecturer, Frank, who has developed an unhealthy relationship with whiskey to help himself cope with his failed career and doomed relationships. His path to self-destruction, however, is momentarily interrupted by the arrival of the brash and witty Rita, a frustrated hairdresser with a passion for learning and desire to better herself, played by the lovely Claire Sweeney.

Tamara Harvey’s direction challenges conventional stagecraft creating, a real sense of voyeurism, leaving the audience feeling as if they are witnessing moments of a private relationship rather than watching a play. Stepping into roles made famous by two British screen icons will be difficult for any actor and although Kelly and Sweeney are secure and handle the text with ease and dexterity, there is an overall lack of variety in their performances. The emotions tend to be of a similar level, throughout the story, when many more emotional highs and lows were needed. It is apparent that these actors are lovely people but this is to their detriment, as there is a general lack of tension between them, sexual or otherwise. Casting Sweeney in a role for which she was a good decade too old doesn’t help.

Having said this, Willy Russell’s script is an absolute delight, full of humour and pathos and definitely worth experiencing. The story is truly inspirational with some brilliant one-liners.

'Barefoot In The Park' Review

MALVERN FESTIVAL THEATRE

BAREFOOT IN THE PARK (Guildford's Yvonne Arnaud Theatre)

Maureen Lipman directs and stars in Neil Simon’s brilliant, romantic comedy, Barefoot In The Park, at Malvern Festival Theatre this week. This superbly written play observes the devastating impact on relationships when romanticism crashes into reality for newlyweds, Corrie and Paul, as they move into their first, New York, apartment together.

Faye Castelow is a true star in every sense of the word. She owns the stage throughout the entire performance with her incredible vocal and physical expression as the dramatically, romantic Corrie Bratter. Her focus and energy is amazing! Lipman delivers a masterclass performance as Corrie’s mother, Mrs Banks. Her comedic physicality is hilarious while remaining subtle enough to be entirely believable. Oliver Cotton, is thoroughly enjoyable as the enigmatic Victor Velasco, who lives in the roof and Dominic Tighe is perfect as lawyer, Paul, who’s ‘stuffed shirt’ persona is tested to its limits as the story unfolds. There is a brilliant cameo performance from David Partridge as the cheery, telephone repair man and possibly the funniest, non-verbal, cameo appearance ever from Hayward Morse, as the delivery man. Pure comedy gold.

Actor/directors have a conflict of interests and it is questionable as to whether someone who stars in a show can effectively direct it as well. There is no doubt as to Lipman’s skill as a director, which was evident in the bucket loads, but there was a definite difference in the style of direction when she was in the scene, although Peter Cregeen did an excellent job as co-director. The quality of the production was clearly enhanced Olivier Award winning, Tim Goodchild provides an absolutely magnificent set that is a real feast for the eyes.

This small cast articulates the story, both physically and verbally, with slick precision and apparent ease. The entire performance is theatrical perfection and clearly rehearsed down to the finest detail. The company must be congratulated on such a stunning production!