Cutting Edge Drama
Tis a Pitty Shee’s a Whore
by John Ford
Richmond Shakespeare Society at the Mary Wallace Theatre, Twickenham until 26th April
Review by Ralph Stanhope
Jacobean Theatre does not feature over-much in amateur theatre, so it is refreshing to see Richmond Shakespeare Society’s latest production of John Ford’s masterpiece at the Mary Wallace Theatre, and the result is an evening of absolute power and magnificence.
Written around 1626 (when it was first performed), Ford presented a dark drama about sexual passion leading to despair, incest and revenge , but with the poignancy of love, although not as we believe it today. It is not for the faint-hearted and this production hurls itself at us right from the opening. Indeed when the curtain rises, we join a conversation between Giovanni and the Friar when we immediately discover the physical relationship between brother Giovanni and sister Annabella which rises to supreme tragedy, reaches its apogee in the final denouement.
Read more…Brotherly Love?
Tis a Pitty Shee’s a Whore
by John Ford
Richmond Shakespeare Society at the Mary Wallace Theatre, Twickenham until 26th April
Review by Gill Martin
The question: “Shall then, for that I am her brother born, /My joys be ever banished from her bed?”
The answer to Giovanni’s conundrum screams unequivocally YES.
But that would leave John Ford’s Jacobean play ‘Tis a Pitty Shee’s A Whore unwritten and we would never be drawn into the dark and tragic story of Giovanni’s forbidden love for Annabella, a blood-soaked tale of incest and treachery.
Read more…If I Could Turn Back Time
Now! That’s What I Call a Musical
by Pippa Evans
Royo and Universal Productions at the New Wimbledon Theatre until 12th April, then on tour
Review by Thea Diamond
Anyone who grew up in the Eighties will remember the launch of the now ubiquitous compilation album which has reliably carried on and on, meaning that over forty years later we are now at album number 120, although presumably, no longer available on vinyl and cassette. Based on Pippa Evans’ book, this new musical marks this anniversary with direction and choreography by household name Craig Revel Horwood.
Set in Birmingham on two timelines, we are transported back and forth between 1989 when our two main protagonists are leaving school and dreaming of their futures, and in 2009 at the school reunion when we catch up on the highs and lows of the last twenty years.
Read more…Cut to the Chase
The Comedy of Errors
by William Shakespeare
YAT at the Coward Studio, Hampton Hill Theatre until 12th April
Review by Steve Mackrell
Here’s a whirlwind of a production, full of youthful vigour and vitality which ensures Shakespeare’s masterpiece of mistaken identity is both brash and raucous for modern audiences. Larger than life, and full of comic invention, this is a mesmerising and engrossing production of The Comedy of Errors by YAT (Youth Action Theatre) in the studio at Hampton Hill Theatre.
One of Shakespeare’s earlier plays, from 1594, this is simply a farcical play without any of the profundity of his later plays. It’s an implausible tale of two sets of identical twins separated at birth in a shipwreck. Eventually they are inadvertently reunited when the long-lost father of one pair faces execution. Identities are mistaken, events are swapped and anarchy reigns in what is a delightfully silly play.
Read more…Do WE Not Bleed?
The Merchant of Venice 1936
by William Shakespeare, adapted by Brigid Larmour and Tracy-Ann Oberman
Trafalgar Theatre Productions, the Royal Shakespeare Company et al at Richmond Theatre until 12th April, then on tour
Review by Gill Martin
With the world in the grip of race hate, anti-Semitism and economic convulsions, the setting of The Merchant of Venice in the mean East London streets of Oswald Moseley’s marching fascist Black Shirts 1936 is horribly timely.
Shakespeare’s classic erupts onto the stage after two West End sell-outs to hold audiences at Richmond Theatre gasping for breath with its power.
This is theatre at its best. Challenging. Gripping. Thought provoking. And with acting of the highest calibre.
Read more…Bold Dance of Grief and Revelry
WAKE
by Jennifer Jennings and Phillip McMahon
Thisispopbaby at the Peacock Theatre, Holborn until 5th April, then at Factory International’s Aviva Studios, Manchester until 21st April
Review by Susan Furnell
WAKE hits the Peacock Theatre with raw Irish energy where mourning and celebration clash, and unseen people are seen and unvoiced emotions are released. A black woman poet opens the show, and on the stage below her, is a funeral scene — mourners gathered with umbrellas, a man singing he’s stretched out on a grave — while a singer’s wail sets the tone. This isn’t your typical wake; it’s a vibrant explosion of life that unfolds under sharp lighting and large sun which slowly changes magnificent colours from sunset to sunrise to mark the march of time of the all-night wake.
Read more…Screwed Up
Just Between Ourselves
by Alan Ayckbourn
London Classic Theatre at the Theatre Royal, Windsor until 5th April, then on tour until 12th July
Review by Gill Martin
Dennis’s Mini car has had a breakdown, his wife Vera is about to. He is totally unaware of his wife’s state of mind. Dennis fettles and fiddles, Vera fluffs and frets, and his live-in mother Marjorie fusses and finds fault.
Dennis’s neighbour Neil is equally blithely indifferent to his wife’s feelings. Could he buy the Mini as a surprise pressie? But Pam, his wife has enough problems without a clapped-our car. While Neil haggles, Pam niggles. But birthday “celebrations” are imminent.
Read more…Otherworldly
Turandot
by Giacomo Puccini, libretto by Giuseppe Adami and Renato Simoni
Instant Opera at Normansfield Theatre, Teddington until 30th March
Review by Brent Muirhouse
Perhaps to make distinct this version of Turandot, an opera performed seemingly since the year dot, Instant Opera’s production at the Normansfield Theatre sought to capture these themes within a striking dystopian future, set in 2184 in the Asimovian-sounding ‘Eastern Hemisphere Central Sector 52/08 – 93/54’. This premise initially grabbed the audience as a promise of a bold re-imagining that, while not fundamentally altering the traditional narrative, added a distinct visual texture to the performance. Indeed, if the audience wasn’t drawn in by this, they almost certainly were when taking their seats as half the theatre was filled with a forty-strong orchestra, under the adept direction of Alice Farnham, and a cast of a similar size.
Read more…Them As Pinched It, Done Her In
My Fair Lady
by Alan Jay Lerner and Frederick Loewe
Questors Productions at the Judi Dench Playhouse, Ealing, until 5th April
Review by Andrew Lawston
“All I want is a room somewhere,” Eliza Doolittle famously sings at the start of Lerner and Loewe’s My Fair Lady, but this is no reflection on the resources, creativity and energy poured into this production in the Judi Dench Playhouse at Questors, as a full cast and ensemble whirl through almost three hours of set and costume changes, accompanied by a full live band.
With a production as well-known and beloved as My Fair Lady, there is nowhere for performers to hide, and more than a few audience members this evening could be seen singing along quietly with the most familiar musical numbers. But Michelle Spencer’s lavish production sees a confident cast take on the show with great energy and gusto.
Read more…You Will Be Found
Dear Evan Hansen
music and lyrics by Benj Pasek and Justin Paul, book by Steven Levenson
Nottingham Playhouse Productions at the New Wimbledon Theatre until 29th March, then on tour until 5th July
Review by Thea Diamond
Trigger alert: themes of mental health, bullying, drug use and suicide.
Having previous Broadway and West End runs, and being the recipient of multiple awards, this musical will not disappoint. Pasek and Paul, the award winning duet behind the Greatest Showman, provide the lyrics and music and have produced yet more stand out anthems, making many of their songs staples of modern musical theatre. Under Adam Penford’s direction, this new production started it’s tour in Nottingham in September, and will visit multiple UK and Ireland theatres before cumulating in Edinburgh in July. The 2 hours 40-minutes fly by, as each and every actor gives a fantastic performance, completely becoming their character and portraying extremely believable and engrossing characterisations.
Read more…
Mark Aspen 