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