Envy, Eldest Born of Hell
Saul
by George Frideric Handel, libretto by Charles Jennens
Richmond Opera at the Normansfield Theatre, Teddington until 20th November
Review by Heather Moulson
Originally a dramatic oratorio, this piece by Handel was presented as a fully-staged opera. A biblical story taken from the First Book of Samuel, it tells the story of Saul, the king of Israel and his relationship with newcomer David, the slayer of Goliath. There were many layers of emotions to contend with, envy, love, madness, anger. The company portrayed these human issues beautifully.
Sitting in this splendid theatre for the first time is quite an experience in itself, and the striking overture, conducted by musical director Lindsay Bramley, was full of promise. The stage revealed a colourful tableau of Israelites praising the young warrior David for saving them from the tyrant Goliath. A cast of variable ages made very strong and stirring sounds in the epinikion, their ode to victory. The set was basic but striking and there was a good use of the limited space, and the costumes were coordinated and aesthetically pleasing with blues, terracotta and white.
Read more…As the Spirit Moves You
Haunting Julia
by Alan Ayckbourn
The Questors Theatre at Questors Studio, Ealing until 26th November
Review by Vince Francis
Alan Ayckbourn has rightly established himself as one of the country’s leading playwrights, although this is simply one aspect of a long and rich career, whose work generally takes a sideways and acerbic look at various aspects of, typically, middle-class suburban life. Originally written in 1994 and representing the first part of the 2008 season “Things That Go Bump”, Haunting Julia is a departure from this model in that it is a ‘straight’ piece throughout. That’s not to say it’s humourless, far from it. There is plenty of wit and some nice gags in the script and these help to provide some light and shade in what otherwise might become a fairly heavy topic.
The topic in question is death. The death in question is Julia Lukin, a young, gifted musician and composer who has passed away in circumstances that become clearer as the play unfolds, and the effects of her death on key characters in her life. Ayckbourn explores both the various stages of the grieving process and beliefs about death, the afterlife, spirit world and invites the audience to keep an open mind. Never a bad thing.
Read more…Spinning Thrills
La Clique
Underbelly at the Spiegeltent, Leicester Square until 7th January
Review by David Stephens
Advertised as ‘a night of laughs, gasps and can’t believe your eyes moments’, La Clique, now in its fifteenth year and a regular on London’s Christmas entertainment scene, certainly lives up to its billing. Located within Leicester Square’s ever popular Christmas Market, and in the heart of the hustle and bustle of London life, the Spiegeltent is the ideal location for a show which is as risqué as it is risky.
Read more…What Would You Do?
Incident at Vichy
by Arthur Miller
Teddington Theatre Club at The Coward Studio, Hampton Hill until 19th November
Review by David Marks
Arthur Miller’s Incident at Vichy is a warning from history. It is a snapshot of one moment in time in a waiting room in Vichy, France in 1942. The room is populated with a cross section of society – men from all walks of life waiting for their “papers” to be inspected. Some are released back to their everyday lives. Others are not and during the course of the play we hear various versions of what might happen to those not released. None of these versions is good. Some are truly chilling.
Read more…Stamp of Approval
The Last Laugh
by Richard Harris, adapted from Warai no Daigaku by Koki Mitani
Theatre at the Tabard at The Tabard Theatre, Chiswick until 3rd December
Review by Gill Martin
A sparky young idealistic writer of comedy crosses swords with a crusty, humourless censor in his bid to gain state approval for his play. This hilarious clash of cultures played out in The Last Laugh is an auspicious first in-house production in the relaunch season of the Theatre at the Tabard, Chiswick.
With a laugh wrung from almost every line by the rugged old soldier-turned-censor, played by David Tarkenter, and the fresh-faced writer, Matt Wake, this moving satire explores the battle of freedom of expression versus censorship.
Read more…Ealing’s Finest
The Lavender Hill Mob
by T.E.B. Clarke adapted for the stage by Phil Porter
Tulchin Bartner and Weird Sisters Productions at Richmond Theatre until 19th November, then on tour until 18th February
Review by Andrew Lawston
Adapted from one of the most celebrated British films of all time, The Lavender Hill Mob has large shoes to fill. And so, as self-confessed non-entity Henry Holland begins explaining to a visitor to his club in Rio, how he pulled off a record-breaking bullion robbery, Phil Porter’s witty and faithful script pulls the masterstroke of having the club’s patrons enact the story (which they have all heard dozens of times from Henry, we learn), rather than relying on a flashback structure which is more cinematic than theatrical.
Miles Jupp leads the cast as Henry Holland, jovial and avuncular, retelling his greatest triumph on New Year’s Eve 1949. Jupp wisely does not attempt to imitate Sir Alec Guinness, but holds the audience’s attention throughout the performance, which moves along at a brisk lick thanks to the taut direction of Jeremy Sams, and a tight performance from a talented and energetic ensemble cast.
Read more…Blood Count
Dracula
by Bram Stoker adapted by Liz Lochhead
YAT at Hampton Hill Theatre until 12th November
Review by David Stephens
Thanks to the Hammer House of Horror, those of us above a certain age will always tend to recall the blood-shot eyes and dripping fangs of Christopher Lee whenever the name ‘Dracula’ is mentioned. Such was the impact of these early, classic horror films on their audiences that the more subtle, original stories upon which they were based are often neglected. Directors of many stage adaptations are often so fearful of disappointing their audiences by not including the now clichéd scenes made so famous by these movies, that they fall foul of having to include them, very often to the detriment of the story itself.
Read more…Triple Time
Ek/Forsythe/Quagebeur
Triple Bill by William Forsythe, Stina Quagebeur and Mats Ek
English National Ballet at Sadler’s Wells Theatre until 12th November
Review by Suzanne Frost
Much change is in the air at English National Ballet. Artistic Director Tamara Rojo, visionary leader and one of the most outspoken voices for the arts during Covid, is leaving the company after a decade. On stage, there are also a few familiar faces and their associate star power missing. But this triple bill of new(ish) works celebrates the power and quality of the ensemble.
Read more…Turbocharged Dickens
Great Expectations
by Charles Dickens, adapted by Neil Bartlett
Putney Theatre Company at the Putney Arts Theatre until 12th November
Review by Eleanor Lewis
In London in early November, while the sun streams through the trees, warming everything and everyone as if it’s someway into March, it’s unnerving to see dozens of productions of A Christmas Carol springing up everywhere, reminding everyone that it is in fact not long until Christmas despite the alarming weather. Amidst this sea of spring-like, festive Dickens it’s also comforting to see a production of Great Expectations for the sake of variety, aside from anything else.
Read more…Goon, But Not Forgotten
Spike
by Ian Hislop and Nick Newman
Karl Sydow, Trademark Films, PW Productions and Anthology at Richmond Theatre until 12th November then tour continues until 26th November
Review by Louis Mazzini
To describe the whirligig imagination of the genius that was Terence Alan Milligan is no easy task, and to distil it into two hours would seem all but impossible. Overcoming the challenges, Ian Hislop and Nick Newman have conjured up a hugely entertaining and at times suitably surreal play with music. Taking its title from Milligan’s self-elected nickname, Spike is centred on his masterwork, The Goons, the BBC radio comedy series which ran for around 10 years and for which Milligan was (virtually) the sole writer, producing over 200 scripts with titles like The Dreaded Batter-Pudding Hurler (of Bexhill-on-Sea), The House of Teeth and The Great Tuscan Salami Scandal. As well as Milligan’s battles with mental health and with the BBC for more money and proper recognition from ‘Auntie’– the latter feels a little overdone here – Spike includes glimpses of Milligan’s war years and his first marriage, both of which have the potential for rather deeper exploration.
Read more…
Mark Aspen 