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.