ABIGAIL'S PARTY

Malvern Festival Theatre

(Theatre Royal Bath Productions)

Forty years ago, Abigail had a party and the nation was introduced to Beverley, a sultry, middle class, suburban housewife with a love of gin and tonic, cigarettes and Demis Roussos. Bev, aided by husband Laurence, decides to hold a soirée, inviting Abigail’s mother, Sue, and the new neighbours Ange and Tony. With cheese and pineapple on sticks, peanuts, crisps and even olives what could possibly go wrong? But, as the alcohol flows and the party next door gets louder, tensions rise, escalating into arguments with dire consequences.

Created by award winning writer and director, Mike Leigh, Abigail’s Party is one of his many distressingly real dramas. The last time this play was at Malvern Theatres, he was in the audience and had just won an Oscar for Topsy Turvy. I had the honour of chatting with him in the interval. He was humble, unassuming and one of the nicest people I’ve ever had the pleasure to meet.

Janet Bird’s inspired set design is the first morsel of brilliance. On entering the theatre you find yourself in the street, outside Bev and Laurence’s house, with its huge front window proudly framing the epitome of 1970’s chic, while our hostess titivates. Ginny Schiller’s casting is perfect and gives this production its own identity while remaining loyal to the iconic screenplay. Amanda Abbington firmly establishes her character, Bev, in the opening sequence as she dances to Donna Summer’s Love To Love You Baby and is brilliant throughout as the narcissist of the piece. Ben Caplan is excellent as her over worked, brow beaten husband, Laurence, expertly switching personas as he struggles to suppress his frustrations. Charlotte Mills oozes energy and optimism, as Ange, superbly compensating for her less than enthusiastic husband, Tony, played by the moody, but handsome, Ciarán Owens. Finally, Rose Keegan is wonderfully funny as the distracted, slightly awkward, Sue.

Sarah Esdaile, directs an engaging piece of theatre which ensures the continued success of this tragic comedy. This new production of Abigail’s Party is uncomfortably hilarious and an absolute must see! It runs at Malvern until Saturday.

5 stars

GHOST THE MUSICAL

(Bill Kenwright Productions)

Malvern Festival Theatre

Andy Moss & Carolyn Maitland

The new touring production of Ghost the Musical opened to a sell out at Malvern Theatres this week. Not one ‘celebrity’ in the cast and yet the auditorium was full. This is testament to the huge impact this iconic movie, starring Patrick Swayze, Demi Moore and Whoppi Goldberg, had on the great British public nearly 27 years ago. Fans of the film will not be disappointed.

This scaled down version of the West End hit works really well as a touring show, with most of the iconic scenes remaining and the special effects perfectly adapted for the demands of different venues. Bob Tomson directs the action through Mark Bailey’s excellent stage design that moves from place to place with fluidity and ease, never halting or interrupting the flow of narrative. This is a loud musical and, as with many musicals, the sound on opening night could have been better. The volume was so high at times it was distortive. The second act, however, was much better and I don’t have any doubt that this will be resolved by the second night. Having said this, the vocals were stunning and Tim Whiting’s band is superb.

The lead character, Sam, is currently being played by the understudy Sam Ferriday, who is normally in the other lead male role of Carl. Ferriday is brilliant and very likeable. It is difficult to imagine him in the part of the baddie, who is now convincingly played by Ethan Bradshaw. One can only imagine just how difficult it must be to understudy opposite the part you usually play, let alone sing a different part in songs you usually sing. An impressive and unenviable accomplishment by Ferriday. The incredibly talented Carolyn Maitland is divine as Molly. Her performance throughout is heartbreaking and utterly captivating. Jacqui Dubois is hilarious as Oda Mae Brown and completely owns the part afforded her. A diverse ensemble play a variety of characters with notable performances from Garry Lee Netley as the Subway Ghost and James Earl Adair, who delivers the most beautiful rendition of You Gotta Let It Go as the Hospital Ghost.

The weakest element of the show is the choreography, which appears basic, unimaginative and repetitive. It is attempting to be contemporary in style but lacks content and doesn’t challenge the cast of apparently capable dancers. Dave Stewart’s and Glen Ballard’s music and lyrics aren’t a standard musical theatre format and the songs don’t stick in your head. Even though the score is easily forgettable, the story is one that really tugs on the heartstrings and the cast give a performance worthy of the standing ovations.

Ghost runs at Malvern Festival Theatre until Saturday before continuing on tour. If you are fortunate enough to have tickets, you’re in for a treat!

4 stars

NELL GWYNN

Malvern Festival Theatre

(English Touring Theatre)

Mossie Smith & Laura Pitt-Pulford

English Touring Theatre have a solid reputation for quality productions and their latest creation is no exception. Winner of the Olivier award for best comedy last year, Nell Gwynn, is a bawdy romp about an orange seller and how she captured the heart of the King of England.

Brilliantly written by Jessica Swale and superbly directed by Christopher Luscombe, the show features an impressive cast of players who exude charisma and energy, all delightful in their roles. George Jennings is endearing as the slightly awkward Ned Spigget who, at the start of the play, presents the prologue while being heckled by the audience and defended by our heroine. Equally likeable is Nicholas Bishop with his interpretation of the troubled playwright, John Dryden, while Mossie Smith and Esh Alladi provide bucket loads of laughs as the dresser, Nancy, and actor, Edward Kynaston, respectively. Ben Righton is perfect as King Charles II, presenting a gentle giant of a character with a convincingly deep affection for his unlikely mistress. In the title role is the wonderfully captivating Laura Pitt-Pulford, who never ceases to amaze with the apparent ease at which she embodies characters to charm and entertain. She plays Nell with such authenticity and vigour, sweeping you up in her story so that you really, truly care. Her ability to engage through performance is remarkable and this part affords her an incredible opportunity to showcase her seemingly endless talents.

This is an extravagant show and Hugh Durrant's opulent set, beautifully lit by Nick Richings design, allows the action to effortlessly glide from scene to scene, without interruption to the narrative. The copious amount of fabric used in each and every costume is something to behold and creating this marvellous array must have been an unenviable task for Martin de Cerjat and his team. Enhancing the historic feel to this masterpiece is a brilliant four piece band led by musical director, Emily Baines.

Nell Gwynn is a joy to behold and not to be missed! It runs at Malvern Theatres until Saturday.

5 stars

GASLIGHT

(Ambassador Theatre Group & Smith & Brant Theatricals in association with Tulchin Bartner Productions and Moya Productions)

Malvern Festival Theatre

Keith Allen as Rough & Kara Tointon as Bella

Great direction in a theatrical production is highly underrated these days and the art form suffers greatly from either an absence of it or lack of expertise. The same can be said for great writing. The new revival of Gaslight, currently on tour and playing to packed houses, delightfully has both great direction and great writing.

Penned in the mid 1930s by Patrick Hamilton, the story explores the mental abuse of a woman by her husband, a psychological practice now known as 'gaslighting' because of the this very play. Although it is set in 1871, the subject matter is as relevant now as then and would not be out of place on a prime time television thriller.

Director, Anthony Banks, stages a captivating production that never loses momentum, despite the huge amount of dialogue. The action on stage is almost choreographed. The characters partner up in a dance of power, as the baton of control is passed around from person to person. David Woodhead's set presents a perspective that challenges the mind and creates the most amazing acoustics that permit the actors to work without microphones, adding to the authenticity of the setting. It's a joy to watch a show where the voices come from the performing space, rather than a speaker in the auditorium, and you can here every single word.

It's a pleasure to see Kara Tointon back at Malvern. She gives an exhausting performance as the tortured wife, Bella, with an historically accurate, melodramatic edge. Rupert Young is unnervingly brilliant as her husband and abuser, Jack, as he keeps switching from protector to persecutor and back again, asserting dominance over his prey. Keith Allen is very likeable as Bella's rescuer, the retired crime fighter, Rough, who is aided and abetted by the resourceful housekeeper, Elizabeth, perfectly portrayed by Helen Anderson. Charlotte Blackledge is excellent as the feisty maid, Nancy, with ideas well above her station and a singleminded determination that unexpectedly makes her possibly the most powerful character of all. Grace Osborn and Adam Lilley make brief appearances and have the unenviable task of understudying two characters each. The pace and energy of the entire cast is engaging and exciting.

Technically, the lighting isn't consistent and some of the lighting states are distracting rather than enhancing and the use of underscoring in some of the scenes is completely unnecessary and draws focus away from the acting, at times. The costumes, however, are stunning.

Gaslight is testament to the importance of superb directing, writing and casting. It runs at Malvern Theatres until Saturday and is definitely worth seeing.

4 stars

SLEEPING BEAUTY

Malvern Festival Theatre

(UK Productions)

UK productions have done it again with a wonderfully refreshing script and superb casting. Sleeping Beauty at Malvern Theatres is laugh out loud funny!

Chris Pizzey, best known as Basil Brush's sidekick Mr Stephen, is not only brilliant as the comedic Silly Billy but also as director of this rib tickler of a show. Excellent storytelling has been interspersed with hilarious comedy routines and an eclectic mix of songs, old and new, perfectly accompanied by Christopher Duffy and his band. Alastair Bull returns as choreographer, fully utilising the local, young talent of Cecilia Hall Dance Centre while showcasing the professional dancers.

Rebecca Wheatley, of Casualty fame, flies in to open the show as a very likeable Good Fairy bestowing magical gifts on baby Rose. The celebrations are interrupted when the evil Carabosse turns up to lay a curse on the tiny princess. She will die on her 18th birthday, when she pricks her finger on a spinning wheel. Due to illness, Gillian Wright was unable to play the part of the evil fairy, so executive director, Anthony Williams, stepped into the role and gave a truly magnificent performance, saving the day!

Eighteen years on and it is the day Princess Rose's birthday. The delightful Amy Thompson returns to Malvern to bring new life into the princess role and is perfectly paired with David Barrett as the dashing, Prince Philip. Their rendition of Queen's Somebody To Love is stunning. Barrett's vocal similarity to Freddy Mercury is astonishing. Mark Llewelyn Evans is great as her very Welsh father, King Colin, and also wows the audience with his impressive set of pipes! The most inspired casting is Quinn Patrick as Nanny Glucose. He is, without question, one of the funniest dame I have ever seen and brings the role right up to date. Pizzey and Patrick are simply the most entertaining double act as Nanny and Billy and will have you in stitches! The humour throughout the production is a superb mix of pantomime classics and new jokes with plenty of current and satirical references, something for all of the family to enjoy.

Despite the set looking a little tired, Ben Merrick's lighting design transforms the space into a magical, fairytale land with Elizabeth Dennis' beautifully luxurious costumes adding sparkle. The only thing that could possibly make this panto any better is reducing the running time by about fifteen minutes but I'm sure this will happen naturally during the run.

The pantomimes at Malvern Festival Theatre seem to get better and better every year and this year is an absolute triumph. Sleeping Beauty is fresh, funny and full of heart. Make sure you go and see this festive treat. It runs until 8th January.

5 stars

RENT (20th Anniversary UK Tour)

Malvern Festival Theatre

(Robert Mackintosh and Idili Theatricals Ltd)

La Vie Boheme

The 20^th Anniversary UK tour of Jonathan Larson’s rock opera, Rent, is an unequivocal triumph. Director, Brue Guthrie, has honourably paid homage to the original Broadway production while making it fresh, raw and enticing for a whole new generation.

Inspired by Puccini’s opera La Bohème, the story focuses on a group of bohemian artists who struggle to maintain their friendships and their non-conformist ideals in New York's East Village, in the mid nineties. Anna Fleischle’s stage design captures the very essence of street life with her brilliant recreation of the now famous corner of East 11th Street and Avenue B, delightfully utilising every inch of performance space.

Seasons Of Love

The entire cast are superb, leads and ensemble, and it would be unfair to single out any particular performance. There are wonderfully notable moments from every single actor. Rent is a tough sing and vocals excelled across the board with a talented, five-piece band providing awesome accompaniment.

Getting Lee Proud on the creative team was a stroke of genius and yet again he enhances another production with his exhausting choreography, totally transforming numbers such as La Vie Boheme and Christmas Bells. The Tango Maureen is perfection and Layton William’s dance in Today 4 U defies gravity. There’s certainly plenty to keep dance captain, Katie Bradley, busy!

Today 4 U

This production of Rent is magnificent, a theatrical event that will leave you feeling emotionally violated in the best way possible. It is also proof that you can get new, younger audiences into theatres if only the right stuff is produced. An unusually busy press night and standing ovation from the whole theatre are testament to Larson’s legacy, Guthrie’s vision and the epic efforts of cast, crew, creatives and entire production team. Go and see this show. Book your tickets now!

5 stars

DEAD SHEEP

Malvern Festival Theatre

(Dead Sheep Limited & Cahoots Theatre Company)

Steve Nallon as Thatcher and Paul Bradley as Howe

Occasionally great new writing is wonderfully directed and brilliantly performed, restoring ones faith in live theatre. So is the case with Dead Sheep, the intriguing story of how Britain’s first female Prime Minister, Margaret Thatcher, fatally underestimated her mild mannered, Foreign Secretary, Geoffrey Howe. Although not the most entertaining topic for a play perhaps, Jonathan Maitland has penned an ingenious, satirical look at events that seemingly led to the political demise of the Iron Lady.

Paul Bradley is utterly charming as the socially awkward Howe, egged on by his ambitious wife, Elspeth, deftly played by Carol Royle.  The references to The Scottish Play worked perfectly in the portrayal of this relationship. Steve Nallon, who famously presented the voice of Maggie Thatcher in Spitting Image for so many years, is unnervingly convincing as the former PM, throwing looks that elicited audible winces from the auditorium. The remaining characters are skilfully played by Graham Seed, John Wark and Christopher Villiers, who also collectively narrate the action throughout. Villiers’ physicalisation of characters at Prime Minister’s question time is extremely entertaining and note worthy, as is the telephone scene. Simply brilliant!

Director, Ian Talbot, really shows his metal with the staging of this piece, capitalising on the skills afforded him by the actors. The physical humour is welcomingly abundant and adds worthy value to the script and storytelling. Morgan Large has designed a perfectly simplistic set that effortlessly transforms from location to location without interrupting the action, excellently enhanced by David Howe’s lighting design.

This is a great production and well worth seeing.  It is on at Malvern Festival Theatre until Saturday.

4 stars