'The Ladykillers' review

Malvern Festival Theatre

THE LADYKILLERS (Fiery Angel Productions)

Paul Bown

As Malvern Festival Theatre’s autumn showcase of fantastic productions comes to a close, it seemed a tall order to match last week’s sell-out performance of The Mousetrap and yet they did better than match it, they smashed it, saving the best until last! The Ladykillers is magnificent, hilarious, stunning, wonderful… simply awesome!!!!

Clive Mantle

A strikingly, awe-inspiring set, the genius of Michael Taylor, full of surprises right to the final curtain, provides the perfect environment for the shenanigans of an ill-fated collection of crooks as they concoct a scheme to undertake a grand robbery. Disguised as musicians, they end up unavoidably embroiled in the life of their delightful landlady with unexpected, deadly consequences.

Shaun Williamson

The gifted Graham Linehan must be congratulated on taking this Ealing comedy classic and scripting such a superb stage show. An incredible cast of great theatrical talent perfectly bring director, Sean Foley’s creative vision to life. His staging and impressive physical comedy is beautifully executed with shocking hilarity.

Michele Dotrice

The actors ooze with talent from every pore and all equally revel in their respective roles, with Michele Dotrice as the doddery, old landlady, Mrs Wilberforce, Paul Bown’s Professor Marcus, the brains of the bunch, Clive Mantle as curious Major Courtney, William Troughton’s pill-popping Harry Robinson, Chris McCalphy as the not-so-clever, One-Round and Shaun Williamson’s moody ganster, Louise Harvey. Marcus Taylor and Beverley Walding present a couple of delightful cameos ably supported by aspiring actors from the local community who made up a giggling, gaggle of geriatrics.

The Ladykillers is gob-smackingly brilliant and one you must absolutely go and see!

'The Mousetrap' review

Malvern Theatre Review

THE MOUSETRAP (Sir Stephen Waley-Cohen & Adam Spiegel)

Agatha Christie's The Mousetrap Tour

After a record-breaking run in the West End, The Mousetrap is celebrating its monumental 60 years on stage by undertaking it’s first ever tour of the UK. Penned by the mistress of murder mystery, Agatha Christie, the show is playing to packed theatres all over the country. An opening night sell out is a phenomenon usually reserved for Andrew Lloyd Webber shows and Blood Brothers but the full house at Malvern Festival Theatre is a reflection of the popularity and intrigue of this timeless classic.

Ian Watt-Smith perfectly directs a brilliant cast of eight characters who, due to extreme winter weather, find themselves cut off in the isolated Monkswell Manor, while reports of the murder of a woman in London circulate the country. The hunt for her killer leads to the country house and the discovery that the killing spree may not be over, but whodunit?

Bruno Langley and Jemma Walker charmingly play the inheritors of the manor, who naively decide to open it as a guesthouse. Steven France is superb as their first arrival, in the guise of Christopher Wren, whose childish enthusiasm quickly irritates most in his company, particularly the pernickety Mrs Boyle, superbly characterised by Jan Waters. Graham Seed is wonderfully aloof as Major Metcalf and Clare Wilkie is excellent as the strikingly self-assured Miss Casewell. Karl Howman and Thomas Howes revel in their respective roles of Mr Paravicini and Detective Sergeant Trotter, the unexpected guests that make up the fated eight.

A beautifully functional set, delightful period costume, atmospheric lighting and sound complete the sparkle on this diamond anniversary production. What makes this different to the other Agatha Christie plays is the quality of script, story and characters. The first act moves the story along at a pace, leaving a trail of clues that tempt us to unravel the mystery of each individual as we play detective to uncover the deadly scheme and unmask the murderer before all is revealed on stage.

'Driving Miss Daisy' reveiw

Malvern Festival Theatre

DRIVING MISS DAISY (Julian Stoneman Associates Limited)

Gwen Taylor as Miss Daisy

The 2012 award winning production of Driving Miss Daisy comes direct from Broadway and the West End to Malvern Festival Theatre this week, absolutely justifying its critical acclaim and rave reviews.

This incredibly heart-warming play affectionately explores the relationship that develops between an elderly, Jewish widow and an aging, black chauffeur, who was hired by her son, despite her objections, after she wrote off her new car, taking out a couple of buildings in the course of the unfortunate event. The story, set in the Southern American state of Georgia, unfolds over two decades from 1948 to 1973, during the height of the Civil Rights Movement.

Despite what many believe, this moving tale was originally written by Alfred Uhry for the stage, premiering off Broadway, before being made into an Oscar winning film, starring Jessica Tandy and Morgan Freeman. Since then it has enjoyed much theatrical success with numerous stars adopting the lead roles, soon to include Angela Landsbury and James Earl Jones in a production in Australia next year.

Don Warrington as Hoke

The immensely talented Gwen Taylor is outstanding in the eponymous role of Miss Daisy, perfectly articulating her Southern drawl and physically transforming, with absolute believability, as the character ages from her early seventies to mid nineties. Don Warrington, another national treasure, is utterly authentic as the driver, Hoke, creating a perfect partnership with whom to share the journey. Ian Porter brilliantly brings the final piece of this ensemble together in the guise of Boolie, Miss Daisy’s frustrated son. The rapport on stage, between these three actors, is a joy to experience.

David Esbjornson, who directed the play’s West End and Broadway debut, uses a simple set and cleverly enhances this production by integrating lovely underscoring with emotive lighting and projections to create a positively enchanting atmosphere for the telling of a tenderly moving tale.

This is possibly the best production to have played at Malvern this year and is definitely worth seeing. Without an interval, it is one and a half hours of uninterrupted indulgence. Driving Miss Daisy runs until Saturday.

'Haunting Julia' review

Malvern Festival Theatre

HAUNTING JULIA (Hall & Childs Ltd)

McFadden, Preston & O'Callaghan

It’s a joy to go to the theatre and see a lesser performed Alan Ayckbourn play, rather than the more popular, slightly outdated, revivals usually on offer and this week, Haunting Julia, is a real gem. Although it isn’t as frightening as The Woman In Black, it certainly has enough scares to qualify it as a thrilling ghost story.

Andrew Hall eloquently directs a superb cast of three who effortlessly deliver Ayckbourn’s dialogue heavy script with immense focus, while maintaining an impressive level of tension throughout proceedings. Duncan Preston, most famous for his work with Victoria Wood, is simply excellent in the role of Joe Lukin, the grieving father of his daughter, Julia, a musical genius who tragically died twelve years ago, at the age of nineteen. Soon after turning the site of her demise into a museum dedicated to her life, Joe begins to become aware of some unusual happenings, that he shares with his daughter’s ex-lover, Andy, perfectly played by the devilishly handsome, Joe McFadden, who’s delectable Scottish accent becomes the perpetual voice of reason. The arrival of a well-wishing psychic, quirkily characterised by Richard O’Callaghan, soon brings about a series of confessions and unnerving events that uncover the reason behind Julia’s death.

This is a wonderfully written and brilliantly performed piece of theatre that utilises the ghostly theme extremely well, while providing the perfect mix of comedy and drama. Trick or treat? Haunting Julie is a spookily perfect Halloween treat and runs until Saturday at Malvern Festival Theatre! Go and see it!

'The Handyman' review

Malvern Festival Theatre

THE HANDYMAN (Guildford's Yvonne Arnaud Theatre)

Timothy West as Romka

Acclaimed writer, Ronald Harwood, explores the unlikely but emotive subject of war crimes and genocide in his play The Handyman, which is enjoying a revival at Malvern Festival Theatre this week. No stranger to this delicate subject, Harwood, who won an Oscar for his screenplay, The Pianist, presents an excellent platform for morale debate with this story of an elderly, Ukranian-born, handyman living very simply among the affluence of the Home Counties, who is unexpectedly accused of horrendous war crimes. The handyman, Romka, pleads his innocence, with the support of his surrogate family who employ him and a female lawyer with a tenuous Jewish connection. As the evidence against him mounts, the protests of his actual innocence come in to question.

Timothy West stars as the accused handyman, Roman Kozachenko, giving the quality of performance you would expect from such a theatrical great. Caroline Langrishe and Adrian Lukis are perfectly detestable as the affluent, Mr and Mrs Field, who laughingly compare their middle class troubles to the atrocities of the holocaust, while often begrudging the inconvenience being caused them. Carolyn Backhouse wonderfully intimidates the Fields as the striking lawyer, Marian Stone, but is gently supportive of the accused during the interrogation by the stereotypical detectives, convincingly played by James Simmons and Anthony Houghton. The infamous Steven Berkoff evens makes an appearance, albeit on screen, as does the brilliant Vanessa Redgrave, who gives a stunning performance.

Joe Harmston’s direction was simply effective and contained some beautifully choreographed scene changes on Sean Cavanagh’s quite beautiful set. Despite the subject matter this play contained a fair amount of humour that helped lighten what could have been a very depressing tale. Although this may not be everyone’s idea of a fun night out, it is definitely thought provoking and worth seeing.

'Rough Justice' review

Malvern Festival Theatre

ROUGH JUSTICE (Tom Kinninmont Production)

Tom Conti with Elizabeth Payne as prosecuting counsel

A gripping moral dilemma is presented in Terence Frisby’s brilliantly written, courtroom drama, Rough Justice. Tom Conti stars in the role of the accused, James Highwood, a public figure who has admitted to killing his infant son. He has decided to defend himself on a plea of manslaughter instead of murder and as the story evolves we, the jury, are encouraged to challenge the law and British legal system. The premise of this play is an excellent one but it is flawed in the fact that the audience, who are integrated into proceedings, are privy to information imparted outside of the courtroom, meaning that the ‘jury’ are not making a judgement on the facts presented to them but the actual facts of the case, which are ultimately conflicting. Therefore the post-show ‘chat’ is irrelevant and actually unnecessary. This however, doesn’t spoil the enjoyment of the production.

Conti is suitably arrogant as the TV journalist, accused of the heinous crime, and gives an epic performance, although there is no need for him to play for laughs, as he does on occasion, when the script so cleverly does that, relieving high tension with vital humour. Royce Mills is suitably pompous as the judge but his performance is unfortunately marred but his dependence on whatever is on top of his desk that prevents him from addressing anyone for any length of time, a technique that considerably diminished the climatic ending. Carol Starks gives an honest and endearing performance as the accused’s wife and David Michaels is brilliant as their, slightly awkward, legal representative, while Simon Murray, Mary Lincoln and Shaun Morton give perfect cameos as expert witnesses. The greatest accolade, however, must go to Elizabeth Payne for her stunning portrayal of the prosecuting counsel. This is an incredibly wordy play and she never errs once in her delivery, keeping the pressure on, as her role demands, throughout the entire play, giving a truly magnificent performance.

The subject matter of this production is fascinating and interestingly challenges the current legal system and the ethical and moral view on mercy killing and euthanasia. Rough Justice is an enthralling and engaging drama that is well worth seeing.

'Great Expectations' Review

Malvern Festival Theatre

GREAT EXPECTATIONS (Beckman Unicorn)

Paula Wilcox as Miss Havershim

There are so many wonderful reasons to go and see the latest reincarnation of Charles Dickens’ masterpiece, Great Expectations at Malvern Festival Theatre this week, the first being that this is a rare opportunity to see it prior to it opening in the West End later this year.

You would be forgiven for thinking that the king of gothic fantasy, Tim Burton, had had a hand in this extravagant production, but it is actually the brainchild of Graham McLaren, who also directed the proceedings. The faded grandeur of Robin Peoples’ breathtaking set superbly compliments the absolutely magnificent costumes created by Annie Gosney and Giovanni Bedin. Add to this, atmospheric lighting and sound, courtesy of Kai Fischer and Matt McKenzie, with Simon Slater’s haunting underscoring, and a magical, Dickensian circus of horrors is presented for your delectation by an excellent cast of players.

The fifteen actors that tell this tragic tale of heartbreak and loss literally slip in and out of the set, using every nook and cranny as a platform from which to expound. McLaren perfectly moves the story from desolate marshes to London town, without every leaving the crumbling walls of the poor Miss Havisham’s palatial prison. The dramatic physical and vocal portrayal of the characters is captivating and particularly well executed by Isabelle Joss and James Vaughan as the hideously appealing Mrs Joe and Wopsle, who set the bar extremely high, very early on in proceedings, with their energised performance, an energy unquestionably matched by Jack Ellis as the lawyer, Jaggers, and Nathan Guy as the eccentric Herbert Pocket. Paula Wilcox cleverly underplays Miss Havisham, giving a refreshingly naturalist characterisation, as does Taylor Jay-Davies as the protagonist, Pip. This is a real ensemble piece and the entire cast and creative team must be congratulated on this exquisite production.