The Chuckes of Oz Panto @ Darlington Civic

The Chuckle Brothers have done it again - Oh yes they have !

To nick a phrase from the Fast Show, "Aren't pantos Brilliant ?!" - forget the usual etiquette of theatre going and just let loose, laugh, sing and leave feeling the world isn't too bad a place, the weather isn't that cold and windy and The Chuckle Brothers are rightfully hailed as the best madcap panto double act since Blair and Brown.

This years Civic panto is a retelling of the Wizard of Oz and what is immediately noticeable is that whilst the plot stays true to the original, we're certainly not in Kansas anymore.  The sets are amazing; bright, colourful, quirky and full of detail.  The costumes are fabulous.; Lion, Tin Man and Scarecrow all look larger than life, Dorothy and Glinda resplendent in their respective dresses and The Wicked Witch of the West menacingly.... well, green !  A special mention to the backing dancers who must go through many frantic costume changes to keep up with the pace of the scenes.

The cast, of course, is headlined by Barry & Paul.  The boys' brand of humour is instantly recognisable; on the surface they are zany, daft, silly but this belies expert comedic timing and hours of rehearsal.  Masters of their craft they most certainly are, but they still manage to have fun whilst doing it and this rubs off on the rest of the gang too.  Lauren Varnham is Dorothy and is as true to the Judy Garland incarnation as I've seen; wide eyed innocence, boundless energy and just a little bit of sass to keep the boys in check.  Phil Corbitt (Lion), Adam C Booth (Scarecrow) and Danny Potts (Tin Man) are a great trifecta of quest seeking heroes - again, they stay very true to the original movie and because of this there is an instant comfort in knowing what they are about.

The two witches, Beth Stobbart as Glinda the Good and Emma Francis as the Wicked one from the West, are perfectly cast - they offer a wonderful, poles apart, view.  Emma has all the menace and evil one would expect from a green faced, dog knapping, monkey leading, recently sibling bereft broom stick season ticket holder - she prowls the stage with purpose and gives you the shivers when she looks directly at you.  Beth, on the other hand, is purity and innocence personified; a beauty in both looks and voice (although I did detect a little twinkle of mischief in her eyes during the "If I were not in Panto" routine).  Should Wicked ever be released for local production I would be first in the queue to champion Emma & Beth as the leads.

A special mention must go to the orchestra - never has so much music been made by so few for so many, Joe Morley as MD, along with Dave Storer and Sophie Hastings defy physics to create a soundscape as big and rich as a 20 piece pit.

For many years, Panto struggled to compete with the other demands for out attention - video games, blockbuster movies, multi-channel tv.  The format was in danger of becoming tired, a pastiche of what it once was and only good to serve as a nostalgic look back - not any more - the special effects, including the best 3D experience outside of Disney, all make for a totally immersive evening which knocks spots off a trip to the multiplex.

I can't think of a better way to start the festive season - I took both my teenage daughters and I think they were quite shocked to see their dad gasping for breath from laughing so much.  (Plus, Jess seemed to have quite a shine for Barry, especially when he disrobed).  So, if you've not got your tickets yet, what are you waiting for - after a year of austerity, spending cuts and pay freezes go and fill your feel good bank balance - it'll last you right through till next year.

Aladdin Panto @ Durham Gala

Fabulous start to the festive season

It's funny how some traditions live long and strong, year after year. Take Panto season, which is here again (oh yes it is); the usually demure and sedate theatre going audiences are suddenly turned into and accompanied by screaming kids sporting all manner of flashing appendages; the knowing whispers when an actor misses a line are swapped for roars of laugher both on & off the stage and the 4th wall is torn down and ceremoniously trampled on as young and old are encouraged to great the cast with cheers, boos, chants and giggles.

This years offering at Durham Gala is yet again a riotous mix of song & dance which will have everyone in tears of laughter (tho not always for the same reason). Clearly aimed at the kids, the script stays clean and simple, the use of musical numbers fresh and engaging while the visual gags, especially the laundry scene, will never fail to get everyone laughing (or cowering if you’re in the front 6 rows).  Directed by the brilliant (in both talent and name) Gareth Tudor Price, this is another sure-fire success his the every growing list of box office smashes.

Opening with my favourite panto villain, Neil Armstrong, as Abanazar, ensures that the audience are left in no doubt that this is as traditional panto as ever there was. Looking very much like an evil Harold Meeker (from Rentaghost) he elicits all the boos from the kids while playfully abusing their parents. Neil has been playing this type of role for many years and has honed it to such a fine art that I hazard to suggest he probably gets booed throughout the year, not just in panto season. The other Gala stalwart, Paul Hartley, is back, this time as Wishee Washee, and like Neil, brings his perfected panto craft that the kids lap up in spades. The perfect foil for the evil Abanazar, Paul’s Wishee is daftness personified.

Adding to the well known panto cast are some ‘newbies’ – fresh from their run in A Funny Thing Happened On The Way To Durham, Chris Connel, Viktoria Kay and Robert Hudson make their Panto bows. Chris, as the panto dame, Widow Twankey, had a choice to make, either play it totally camp (a la Christopher Biggins) or bring a more butch element to the role – Chris has gone for the latter and it works perfectly, he never tries to disguise his wonderful northern accent and coupled with his imposing figure in a frock he makes for a quite intimidating dame; if he picks you as his ‘boyfriend’ then you’d better say yes and quick. Viktoria plays the Emperor’s royal policeman and is a fabulous comedic sidekick. Sporting a silent movie style tash which has a life of its own, she is reminiscent of the Keystone Cop Sergeant, full of energy and a huge hit with the kids. Finally Robert, as the Emperor, has the regal poise and authority needed to demand obedience, but underneath there is clearly a sense of fun just waiting for the chance to break free - their homage to Wilson, Keppel and Betty (Google them, you'll know who I mean) had me literally gasping for breath.

Of course, Aladdin wouldn’t be Aladdin without the lead and his Princess. Matt McGoldrick is a very youthful ‘street urchin turned prince’, a friendly and engaging guy who draws the young kids into the land of make believe and keeps them rooting for him throughout. Christina Andrew is every bit the princess; beautiful, kindly and there is clearly some great chemistry between the two.  Ably supported by very talented backing dancers including the uber-lithe Andrew Wragg and Antony Edwards, and the dynamic duo of Jade Bailey and Sophie Taylor, the whole stage is filled with light, colour, movement and fun – a perfect and heady recipe for the best possible start to the festive season.

The Gala pride themselves on providing a wonderful family panto and have rightfully built a reputation of being one of the very best in the north – over 28,000 came to see last year’s and I wouldn’t be surprised if that number is matched again this year. So, if laughter is the best medicine, then go and get your fix and remain healthy all winter.

Blood Brothers @ Darlington Civic

Maureen Nolan gives a powerful and emotional performance at Darlington Civic

Everyone knows the story of the Johnston twins, as identical as two new pins, and as such, almost everyone who comes to see Willy Russell's Blood Brothers does so with a degree of expectation which rivals most other shows.  Little has changed in the 29 years since the show first hit the stage; the songs, the set and the mood all remain instantly recognisable, and yet the brilliance of the writing and the complexity of the characters provide each production with an opportunity to add their own special take.

Set in Liverpool over 25 years it plots the course of the lives of twins who, having been separated at birth, remain fatefully linked through common loves, shared struggles and ultimately both unknowing of their own secret. To many, the underlying story is one of nature versus nurture, but it's far more complex than that; no two humans are identical, despite them being twins and as such it is emotion that separates the two boys more than miles or money.

Maureen Nolan plays the boys' mother, Mrs Johnston, and is simply perfect.  She brings a worldly-wise element which deepens the belief that she has lived through all she sings of. She has a brilliant maternal embrace for the part, blending the love only a mother could have with the strength to defy the odds and fight against the cruel hand of fate.  Maureen starts the show light on her feet, twinkle in her eye and a cheeky smile, yet, by the time of the final scene we have watched her grow old before our eyes, lose the joys of life and finally witness the spectre of death that has haunted her throughout.     I defy there to have ever been as powerful and emotive lead seen at Darlington Civic and this was borne out by the sight at the very end of the sell out audience rising as one to give one of the most rapturous and intense ovations.

Of course, the story is not just Mrs Johnston, the rest of the cast are brilliant in their delivery too.  Kristopher Harding as the narrator is the ever present shadow of conscience, skulking in the dark, sliding through scenes as the fore-mentioned spectre and constantly reminding us that this story is destined to be an unhappy one.  Sean Jones (Micky) and Joel Benedict (Eddie) have great chemistry and play off each other like brothers always do.  In particular, Sean's portrayal of Micky as he descends into depression and pill dependency is a huge shift from the care free, rebel with a smile Micky he plays earlier and demonstrates a wonderfully deep appreciation of the role and human nature.  Danielle Corlass, as Linda, undergoes perhaps the biggest shift in character; starting as a 7 year old tom boy, she morphs into a giggling adolescent, then a lovestruck teenager before becoming a newly wed and ultimately a heartbroken widow.  For all that Maureen Nolan takes centre stage as the linchpin of the story, Danielle is the perfect foil to remind the audience that this is not a one dimensional story about the boys.

If there are any who have yet to see Blood Brothers, this will be the best and most memorable show you will see this year, for those who have seen previous productions you owe it to yourselves to go and see this one and marvel at the best Mrs Johnston - just remember a large supply of tissues.

Joseph & the Amazing Technicolour Dreamcoat @ Darlington Civic 2014

A great way to warm up for the festive funtime

Back once again like a renegade master, this timeless classic has been revamped for the modern age, a High Def version if you like and, as one would expect from a show which centres on such a range of colours, it really benefits from the use of 'new age' technology and choreography.

The story of the Lloyd Webber /Rice musical collaboration is probably as well known as the biblical story of Joseph; for many it is their first foray into musical theatre either as a child on a school trip or playing a part in a school production.  As such, as you settle into your seat and the first few bars of the opening overture build, there is a comforting warmth of knowing contentment, but with this comes the danger that familiarity breeds contempt.  Well, fear not, for this production is as fresh and dazzling as a first year show trying to get an extension.

The casting of Danielle Hope as the narrator is inspired; Danielle takes centre stage regardless of where she stands, has all eyes on her without demanding any attention and has the perfect voice to tell the story.  This is one of the hardest roles to perform in musical theatre, it needs verbal gymnastics linked to an impeccable memory to keep track of all the brothers and colours, there needs to be sympathy, empathy, passion and no small amount of humour, it all has to be kept within the frame of being a storyteller and Danielle manages it with aplomb.  Many years ago I watched my first production of Joseph, the narrator, Karen, was brilliant and ever since none have been able to compare - you never forget your first - but Danielle is certainly a candidate to take that crown.

Lloyd Daniels as Joseph has all the innocence and naivety needed for the early part of the show (thought just quite how innocent he can remain playing with Potiphar's wife each night remains to be seen) - whilst later he manages to morph into Pharaoh's aide with all the pomp and importance.  Having one of the most iconic songs ever performed in musical theatre, Any Dream Will Do, Lloyd clearly enjoys the responsibility and revels in his multicolour frockery.

The rest of the supporting cast have boundless energy, which is just as well as Henry Metcalfe has the choreography turned up to 11.  Flappers, cowgirls, vamps, Frenchmen and of course, camels, all test the repertoire and all are fabulously performed with no shortage of humour.  The lighting design is particularly worthy of mention, never have the colours been so pure, so vibrant and clear - it really is like watching in High Definition.

So, for lifelong fans and new additions to the Joseph family, get your tickets, warm up your camel and head on down to the Civic, but be prepared not to leave early, the cast clearly love what they do and respond to the audience demands for encores; with standing ovations guaranteed at every performance you're going to get at least 3 or 4 additional numbers at the end.

Sister Act by Darlington Operatic Society @ Darlington Civic

Hallelujah, rejoice and praise be to DOS

For some, the signal for the end of summer, the start of Autumn and, dare I say, the run up to Christmas, comes with changing the clocks, golden leaves and the first strains of  Slade; but for me it is always the opening night of Darlington Operatic Society's Autumn show.  This year, the uber-talented gang bring their take on the ecclesiastical smash hit, Sister Act, and oh how the choir sings loud.

The story remains true to the hit film which starred Whoopie Goldberg as aspiring Vegas club singer Deloris Van Cartier (as in the diamonds) who is unwillingly forced to take refuge in a convent church after witnessing a gangland murder by her part time boyfriend and manager Curtis.  The underlying plot could be straight from a Disney movie, outsider refuses to bend to the ways of the establishment, finds she has some redeeming qualities to share and ultimately both sides learn more about tolerance and acceptance while the bad guys get their just desserts.

Having been to see the original show on tour, fresh from the West End, I was a little concerned - the production we had sat through at Sunderland Empire felt rushed and contrived to simply give the leads every chance to " belt out a few" to the detriment of the story or supporting cast.  I wasn't sure if I had seen a poor show or just a poorly directed one but I had no reason at all to be fearful. Under the expert directorship of Joanne Hand, this version is wonderfully paced, gives the audience ample time to recognise the multiple strands of story and yet still finds every opportunity to showcase what must be the best amateur cast in the country.  No stranger to tackling challenging shows (Jo brought the award winning Strictly Musicals to the stage this time last year) Ms Hand once again proves that she has the vision, the skills and the confidence in her performers to aim for the very top and then go one better.

Playing Deloris, which is a truly demanding role both physically and emotionally, is to be shared by Claire Wilmer (who took the opening night) and Rhiannon Walker; the girls will alternate so I hope to go to another show later in the run and report back on Rhiannon's performance.  On speaking to Joanne Hand after last nights opener, she confirmed that it is difficult to tell the two apart; both have an amazing vocal range, both bring their own style of sexy and sassy, and both made the decision to cast only one impossible, hence the shared role.

Of course, the show is not just about Deloris and where would DOS be without a stellar supporting cast, each of whom would undoubtedly enhance any production company in the UK.  Perennial favourite Sam Morrison as Mother Superior brings a degree of calm contemplation in her struggles with God's choice to allow Deloris sanctuary.  As always, every note, every phrase and every emotion is right on the nail.  Beth Stobbart, Darlington's very own Good Witch, plays Sister Mary Robert, the innocent and wide eyed novice who sees in Deloris excitement, danger and opportunity - it is amazing to think that Beth is still very young (won't give away her actual age) and yet has played a huge part in the DOS family for many years.

The rest of the Sister-hood are all given their parts to play too, cameo characters without whom the show would simply become a soapbox for the lead and who ensure that there is an underlying comedic quality which brought many belly laughs from the audience.  I particularly liked Sisters Mary Patrick (played by little Miss Dynamite Lisa Forster), Mary Lazarus (new girl Lynne Kerr) and Mary Martin of Tours (the irrepressible Megan Robson) but as with all choirs, it's the sum of its parts which provides the true force.

It's not just the girls who shine and have fun in this show, DOS boys do us proud yet again with some stand out performances from the North East's leading men.  Julian Cound, as gang boss Curtis, calls on all his acting ability to be menacing and threatening (not easy when you're such a genuinely nice guy in real life), Michael Hirst, star of previous shows as Danny Zucco in Grease and a lobster in Strictly, plays love-struck cop 'Sweaty' Eddie while Curtis's 3 stooges, Joey, TJ and Pablo, ensure that there is always some slapstick comedy sitting just under the surface.  To be fair, Ben Connor, Andrew Hamilton and Leighton Taylor are much more than just 3 patsies for Julian to play against, they are all brilliant singers, great actors and have such confidence on stage that they could easily form a breakaway show of their own.

The soundtrack for the stage show doesn't have the well known songs of the original movie, these songs have been specifically written but what that means is there is more of a consistent feel and theme throughout all the numbers; the band, led as always by impresario Michael Trotter, get right into the 70's groove with great funk, soul and disco acting as a juxtaposition to the nuns choral harmonies. The stage, set & costumes too belie any suggestion that this is an amateur production and just goes to show that DOS is, from top to bottom, front to back, professional in all but name.  That's why, when some major tours are struggling to put bums on seats, DOS can pack 'em in and then get 'em on their feet dancing and singing.

I could go on naming more and more of the cast and bestowing due praise on them all but rather than take my word for it, why not get some tickets and go and see what is undoubtedly the 'Must See' show of 2014.

April in Paris @ Darlington Civic

Once again, Godber holds up a mirror to us all 

and lets us see what we try to ignore

What happens when a couple have performed their family duties, kids have grown up and left, life has slumped into a daily routine and the state of the economy (and loss of jobs) kill any last dreams they once may have had ?  They turn to the one solace, the tiny shred of hope, the glint of light in the otherwise murky day of life and do magazine prize puzzles.

Written and set in 1992,  but apart from the lack of the Euro it could be yesterday;  the story of April in Paris focuses on a middle aged couple whose lives have reached the bottom of the 'just existing' curve.  Al has not worked for months after the building market collapsed and spends his days painting monochromatic landscapes of industrial wastelands.  Bets is a part time assistant in a shoe shop who lives each day in a dream of winning it big from a magazine prize puzzle.  Instantly as the play opens you know that it is another Godber masterpiece of observation, heart-aching honesty and acerbic wit.

Joe McGann and Shobna Gulati play the tiresome two with impeccable timing; it is very obvious that they have a great history and pedigree in situation comedy which suits perfectly the indifference and dismissive interactions which long married couples base their 'loving' relationships on.  Godber's style could have been written with them in mind when he crafted the dichotometric duo's first trip on a ferry - McGann acting as the stereotypical Brit abroad and Gulati bringing innocent wonder into finally being let free from the claustrophobic confines of Hull.  To me, Shobna will always be Anita, the delightful if somewhat forgetful dinnerlady from Victoria Woods long running sitcom.  Godber's northern honesty is very much in the same vein as Victoria Wood and as such, Bets character feels like Anita all grown up; she's still a dreamer, still living in clouds of fantasy and could-be;  she's just moved out of the canteen and into a Hull shoe shop.

The clever use of stage & props (the first act is set simply on the deck outside their tiny little house in Hull, the second uses the whole stage as a Parisienne backdrop)  adds to the eye-opening experience the couple have when they leave the UK and take in a night in the most romantic city in the world. Hilarious episodes - having a meal in a swanky and oh so French restaurant, encountering old fashioned toilets, views from the top of the Eiffel tower are overlaid on top of the seeds of recovery that their time away might just have rekindled some long lost passions (or at least stripped back some of the thick life gloss of indifference).

Last year, another Godber play, September in the Rain, focused on a couples lifelong trips to Blackpool and just like Paris..... it was warm, witty and struck a chord (so much so that afterwards my darling wife badgered me for a trip to the North West).  I have a nervous feeling that come this evening she will return home with armfuls of city break brochures all extolling the wonders of gay Paris - I think I'd better start doing some magazine puzzles.

One Man Lord of The Rings @ Darlington Civic

3 tales of lands away,

3 tales of friendship,

3 tales of life and death

and one man to tell them

Peter Jackson totally broke the mould when he took on the monumental task of bringing to life Middle Earth and Tolkien's Lord of The Rings trilogy.  Filmed in New Zealand, costing millions and cast with thousands, it quickly became THE viewing for anyone remotely keen to escape to The Shire and beyond.  There was one person, however, who saw LOTR and instead of being blown away by the scale and majesty thought - "I can do that"

Enter Charlie Ross, Canadian actor, writing, painter of dreams and creator of nightmares (ok, I added the last two bits) who, fresh from his Lucas-inspired tour of One Man Star Wars, embarked on re-writing the greatest story ever told (as voted for by Tolkien Weekly) into an hour and a half solo spectacular. For this show, Charlie does it all, voices, acting, sound effects, background music and for anyone who has seen the Jackson movies, it is instantly recognisable whilst at the same time unique.  With regular knowing nods to the audience and geeky in-jokes, Charlie uses the fact that the movies are so well known to add more topical references and play on the cast members' own idiosyncrasies - previous films they have starred in, Legolas' obsession with his hair, Saruman's ultra deep voice, unrequited Hobbit love ?? etc.

With nothing but a microphone, Charlie Ross re-creates the vast lands, claustrophobic dungeons, weyrs of dragons, huge armies and of course, those touching, telling moments between 'friends'.

The audience last night, tho small, were all very keen LOTR fans, well, I say all but, as Charlie conducted a very brief poll at the start to see who has watched the DVDs, extras, director extras etc, there were a few 'yeas' to the question "Has anyone here NOT seen or read LOTR" - just what they would make of the show was open to debate, but actually, whilst some of the in-jokes would have been lost on them, there was no denying the skill, talent and energy on stage.  For those who know and love it, Charlie's show is like the missing extra that would make the ultimate box set to end all box sets.

For those Tolkien and Lord of the Rings Fans who feel they have seen everything they can about the story to end all stories, I urge you to go see Charlie Ross's One Man version - it is one of the funniest and entertaining shows I've seen at Darlington all year.  I just wish he had brought this out on DVD, it would have saved me the 15 hours of pre-show preparation watching the extended directors cut box set and learning the Silmarillion.

One Man Lord of the Rings is on tour for the next few weeks - check out the website www.onemanlotr.com

EXTRA EXTRA - For those who loved Charlie's LOTR, he is back in the North East on the 13th October at Whitley Bay Playhouse doing his One Man Star Wars show

Eva Cassidy Story @ Darlington Civic

Just plain wrong on so many levels

To many, Eva Cassidy is only known from her posthumous albums which, considering she is no longer able to record anything new, must be by definition collections of her best work.  As such, those charged with compiling them will be always be challenged to choose the right songs & recordings, whilst those listening will always have their appreciation and opinion 'controlled' by this.  There is, therefore a degree of power for anyone representing, portraying or producing Eva's work but with this power comes great responsibility.

My view on Eva is that she possessed one of the purest voices we have ever heard; she was able to convey feelings, emotions, passion, longing, sadness and joy without ever having to stray from remaining controlled, almost to the point of being understated.  Less was most certainly more when she took to the mike and this is one of the most endearing factors that set her apart from so many others.  Unfortunately, this is where the current show, and in particular Nicole Faraday seems to miss the real essence of Eva.  Don't get me wrong, it is obvious Faraday can sing, but to cast her as Cassidy left many of the audience puzzled to distraction.  Under Faraday it seemed every single song had to have an element of 'belting'; either through choice or by direction there are problems with her volume control as even mid phrase she moves from smooth & soulful to loud and brash and then back again.  This was regardless of whichever song but in particular the signature ballads of Fields of Gold, Over the Rainbow and Autumn Leaves were all 'karaoked' up .  It was reminiscent of the early stages of X Factor auditions where the wannabee star tries too hard to showcase her complete vocal range and power to Simon Cowell et al, when all that is needed is some genuine emotion.  Even when playing Cassidy in her final hours, sick and weak, Faraday still manages to wallop out the top notes and totally ruin the heart rendering tearful end to the story.

It's not just the lead who left many of the audience in dazed uncertainty; Rose-Marie as Mary Ann Redmond achieved what has never happened in all my years of watching theatre - I was left totally stunned and gob-smacked as to what I was watching, how it fit into the story and ultimately, why ! Likened to the Irish Bette Midler, I'm afraid it was like watching a demented step aerobic instructor with an unhealthy fixation on Tina Turner and completely interrupted the flow and feeling of what should have been an emotional story being told.

I'm aware that there has been some considerable rewriting done since the show first appeared over 10 years ago, and on speaking to many afterwards who had seen it originally, they were baffled as to why.  The story doesn't need any embellishing, just a truthful recounting by actors who can understand and portray Cassidy's uncertainty around her career, her love of her family and her drive to keep giving even as she was dying - instead we are treated to drama school levels of smaltz, paper-thin sentiment and an anti-climax of an ending.

As for my accompanying guest who is a huge Cassidy fan, she was almost in tears; not because of the emotional ending, but because of the complete feeling of betrayal to the memory of a true singing legend.

Double Death @ Darlington Civic

A double helping of suspense, intrigue and murder

Identical twins have always held a fascination for me; how much of one twin went to make up the other, how identical are they, what of the oft-spoken special bond they are supposed to have? Simon Williams taps into all of that and creates a brilliant murder mystery play which feels like multiple games of Cluedo being played at the same time on the same board.

Max and Ash Hennessy are the aforementioned twins, but these are not loving siblings who enjoy sharing their identical-ness. There is a deep seated loathing in both of them, no doubt borne initially from years of competitive rivalry but honed to total despising by a terrible ‘accident’ which left Ash in a wheelchair. This accident, whilst they were both rock climbing, was to many, an attempt by Max to rid himself of his perpetual shadow and as such he is now the subject of a court order forbidding him from making any contact with his unfortunate brother. Yet both brothers know that one of them is about to die, just which one and how is still open to debate.

Back story set, we are transported to the family home in remote Cornwall on a dire and stormy night, the eve of the twins’ birthday. Max has ignored the courts and made his way home in time to ‘welcome’ his brother who has just been released from hospital and into the care of his Aunt Lalla and his home nurse, Jess.

Max, it appears, has much more on his mind than simply sharing cake and candles and so starts a story of thrust and counterthrust which plays on the twins’ childhood games of “can you guess which one is which”. The plot is deliciously twisted, the use of only one actor to play both twins made totally believable by some inspired direction and the set, cleverly adorned by the Cluedo murder weapons, makes for a very claustrophobic stormy south coast retreat.

The cast, of which there are only 4, have great fun with their roles; Judy Buxton as Aunt Lalla delights in blending Shakespeare quotes with a rather impatient use of ‘real language’, Kim Tiddy as Nurse Jess manages to stay coldly indifferent to both Ash and Max for as long as possible before dropping the façade and showing her true self. Brian Capron as Detective Fergus avoids playing the bumbling Columbo styled mac wearing cop and stuck resolutely to the country DI . Tom Butcher as the twins was superb; undoubtedly he is assisted by the props and costume dept to ensure that he can remember who he is and when, but he keeps the two brothers identifiably different while still maintaining their monozygotic similarities. The twists and turns of the story give great scope for exploring the inner drivers of both brothers and Butcher doesn’t waste a moment.

For a Monday night, it was a little disappointing to see the stalls only half full, such a shame for a brilliantly funny & entertaining play which would knock spots off any TV drivel being served up at the moment. 

Black Coffee @ Darlington Civic

Quintessential Christie whodunit and thoroughly entertaining

Sick of poor portrayals of Hercule Poirot, her super-sleuth, Agatha Christie wrote Black Coffee, her first stage play, so that she could ensure he was as he should be.  In doing so, she set in place the basis for all subsequent Christie murders and created the blueprint for our best loved Belgian.

Set in a country house in 1929, the story is atypical of Christie's murder plays; the first third sets up the characters while preparing for the actual murder, the second third shows them all unsettled by the appearance of Hercule and his side kick Hastings, and the third is the great reveal.  The claustrophobia of being set in just one room adds to the intensity of the scenes so that by the end of the show the audience is left breathing a sigh of relief that they were not accused by association.

The plot centres on the Amory family; Sir Claud, a prominent inventor bordering on megalomaniac, his sister Caroline, Richard his son and Barbara his niece. They are obviously well to do, with the usual smattering of servants associated with 1920's aristocracy lead by Tredwell the butler and Edward Raynor, Sir Claud's personal secretary.  Completing the houseguests are Lucia Amory, Richards wife of Italian descent and an acquaintance of hers, Dr Carelli.  Sir Claud has recently designed a formula for the creation of a super explosive and it is this formula that leads to his untimely death, a death which appears to come from drinking the Black Coffee.  Of course, I'm not going to tell who did it, save to say that there are enough potential culprits to keep you guessing right to the end.

Jason Durr, of Heartbeat fame, takes the lead and plays the eponymous detective with a delectable degree of aloofness borne only from having total confidence in his ability.  He has all the quirks and skittish mannerisms, broken by occasional knowing looks to the audience, that we have come to love from the character so famously 'owned' by David Suchet.  He is both unimposing yet commanding, peripheral yet central.  I am sure that there will be many linguists challenged to locate exactly where in Belgium Jason's accent hails from, but that all adds to the entertainment of the show.

Whilst Gary Mavers as Dr Carelli continues the theme of un-placeable accents (sorry Gary but Joe Dolce sprang to mind on occasion) it was Felicity Houlbrooke, playing the delightful flapper Barbara who brought a real sense of period with her perfect take on 20's high society - not only did she have the timing and pitch to a tee, but her girly charms coupled with the use of jazz-age slang was reminiscent of Thoroughly Modern Millie.  The way she playfully goaded Robin McCallum's Hastings could have made for an entire act on its own.

Special mention must go to the scenery & set design - an art décor paradise which was stunningly lit and perfect in every detail - one of the best stages I've seen at Darlington for many years.

The Agatha Christie Theatre Company can always be relied upon to produce a totally engrossing play, remaining true to her initial writings and yet somehow making it feel very modern - this stands toe to toe with any current murder mystery and head and shoulders above pretty much anything served up on TV - well worth a trip to the Civic, just avoid having coffee in the interval.

Dreamboats and Miniskirts @ Darlington Civic

A nice little show, but if only .....

The scene is back in Essex (this time it's 1963), the story, a follow on from the end of Bobby & Laura's No.1 hit song, and the cast & musicians are the same talented and energetic bunch as before but unfortunately that's where the similarities between the hugely successful Dreamboats and Petticoats and this latest bubblegum musical end.  The program notes talked all about the emerging British pop culture, the Beatles, Stones, the influence of the Mersey sound and the London fashion scene but sadly, apart from one small scene set in Liverpool, the writers, Laurence Marks and Maurice Gran,  decided to ignore the greatest back catalogue of British pop in favour of rolling out more Mid-American jukebox tunes.

A runaway first show sparking a huge following, spin off albums, mega marketing and thousands of fans was always going to be ripe for a follow up, but a major part of the success of the original was built on having first choice of the best songs to use to support the story.  Writing a follow-up could have gone one of two ways; same again but use songs from the 'B' list, or take the vibe and step it into a new direction - unfortunately the writers opted for the easier first option and in doing so missed a great opportunity - think Grease 2 after Grease and you've got it.

I am not suggesting that the play list is not filled with hit after hit, but what was very disappointing was the absence of British pop.  The story, which continues on from the end of the last show and occasionally gave a passing nod to the early 60's British revolution, could have shown how the Conquests had to change their style away from the late 50's  to reflect the new wave of England-based music which stormed round the world and spawned a totally different sound.  It could have made more about the band's trip to Liverpool to watch the embryonic Beatles and copy the fab 4's groundshaking style.  It could have recognised that the London fashion scene demanded its own soundtrack.  Instead, it reverted back to using the same American led formula of the original, shoehorning in more songs to 'tell the story' whilst actually leaving some in the audience just wishing for a few minutes of acting before the next aural assault.

Don't get me wrong, this is still a fantastic showcase for some very talented performers; the band is still as tight as ever, the girls vocals are crisp and clear and most of the boys hit their mark, nonemoreso than in the few acapella numbers.  Stand out performances were Louise Olley as Sue who lit up every scene she appeared in, Chris Coxon on bass guitar and Chloe Edwards-Wood and Charlotte Peak on the Saxes.  

The sets are fun, bright and full of energy, but the creativity and possibilities are stifled by the limited story and claustrophobic plot. It seems like the writers simply opted to throw in another song instead of a few minutes story-telling which leaves it feeling like a compilation album being performed live, rather than a musical story.  Shame really, that said, if you love live music and early 60's American pop then you'll really enjoy the talent on show.

Private Peaceful @ Darlington Civic

Powerfully written, brilliantly acted, emotionally draining

In this year of remembrance, a year which has been, and will continue to be, commemorated by huge budget productions, Hollywood movies and lavish TV dramas, here is a simple, one man show  that encapsulates all the emotion, drama, life and death of the Great War.  It is so perfectly delivered that to watch it is to be transported through the innocent eyes of a young boy in the wide rural expanses of pre-war Devon countryside and into the battle weary claustrophobia of the front line trenches.  There are no huge sets, no painted scenes and no other cast, but through Andy Daniel's brilliant acting you are left feeling that you have just sat through an epic life story movie.

Told as a recounting of his short life during the night before his execution, Tommy 'Tommo' Peaceful is a Devon country boy, growing up in a turn of the century idyllic lifestyle, exploring life and love until the outbreak of war.  The story, written by Children's Laureate Michael Morpurgo (he of War Horse fame), covers everything from early school days, the loss of his father, his devotion to his older brothers, his one true love and his subsequent going to war, and yet remains wonderfully grounded by constantly returning to the cold, hard cell with only his bunk and pack.

In the first act, Andy Daniel effortlessly paints pictures of school yards, huge rolling estates and intimate haystacks, all with the warm, Halcyon days glow of eternal summer sun and the innocence of youth.  Turning to the second act, he strips bare the human emotions, darkens the skies and covers everything in mud and blood as he drops the story's hero into the madness and injustice of the Ypres trenches.  Torn between the expected blind obedience and his love for his brother, Tommo falls not to a German bullet, but as so many other young soldiers did, to the British Army high command and their inhumane use of the charge of cowardice.   So powerful was the ending that we left the show with the hangover of unfairness still souring our mouths and a heaviness in our hearts of knowing how true this outcome often was.

A great performance which will serve as a perfect example of storytelling for young actors and seasoned hands alike, Darlington Civic theatre have opened their Autumn season with the bar set very high; here's to many more shows of this calibre over the coming months.

Private Peaceful is at Darlington Civic Theatre until Saturday 13th September.

Last Night of the Proms @ Darlington Civic

No excuses for being proud to be British

Last night Darlington Civic hosted the Last Night of The Proms, a celebration of British composers, traditional classical music with addition of a few interesting renditions of Abba, showtunes and movie themes.

Most people will have seen the world famous LNOTP from the Albert Hall and this, albeit on a smaller scale, managed to capture all the pomp & ceremony.  Ageless favourites including Rule Britannia, Jerusalem and the Selection of Sea Shanties were enthusiastically and energetically performed by the British Philharmonic Concert Orchestra while the audience lapped up every possible opportunity to wave their Union Jacks, clap and of course sing.  It was quite obvious that there is an expected degree of knowledge and etiquette when attending a 'Last Night' performance; the conductor (who for this show was the wonderfully energetic 'Lord' Anthony Kraus) will play to the crowd, trying to keep them in time and at pace, the leading soloists will deliver their finale bedecked in Red, White & Blue and the audience will bring kazoos, whistles, bells and rattles to ensure their audio cues are hit with as much noise as possible. To this end, there is, for the uninitiated the need for a compare just to guide us along.

 For this evening we had Gary Wilmot as the master of ceremonies who immediately gave the proceedings a wonderful air of fun, humour and cabaret; it is such a shame that we don't see Gary on TV these days, there are none better at combining genuine humour, impeccable timing with a great singing voice  - I had almost forgotten just how easy he makes things seem while clearly enjoying himself on stage.  When you watch the usual TV drivel we are served up labelled as family entertainment there must be a vehicle somewhere to get Mr Wilmot back on our screens.  Throughout the evening Gary interjected with telling facts, trivia and of course jokes (some new, most old but all were funny) all focussed on the theme of anniversaries.  He also helped to keep the lead singers, the delightful Anna Clare Monk and the mischievous Andrew Forbes, in line as both were tempted to throw away the running order and just join in with the audience.

You don't have to be a classical music buff to appreciate Last Night, nor do you have to be worldly wise in regards to traditional patriotism; all you need is to be able to enjoy a great evening of music, laughter and a sense of pride at being British.

Grease by Darlington Operatic Society

They're the ones that YOU want !!

Following on from last Autumns spectacular, Strictly Musicals, Darlington Operatic Society launched their Spring show, Grease, last night to huge applause, standing ovations and no shortage of critical acclaim.

Every year, DOS leave their audiences wondering how they can possibly top their most recent show, and every year they go one better - well with this show they've totally upped the bar when it comes to professional production values, great voices and bags of family fun.  Packed with all the classic songs known and loved from the biggest musical film of the 70's, this is much more than a simple sing-a-long stage version of the Travolta & Newton-John legend.  The choreography keeps it fresh and lively while the slight change in the musical running orders stops any complacent viewer from shuffling "I know what's coming next".  As for the cast, everyone on the stage looked like they had accomplished a childhood dream to 'sing Grease' on stage in front of a full house.

The leads, Michael Hirst and Selena Blain managed what so many since John & Olivia have tried and failed - they really gave you the impression they were into each other and the chemistry was there for all to see, bubbling under.  Michael had the swagger of Travolta, helped in no small part by his proud jaw line, cheeky smile and smooth moves while Selena (who many will remember for being Aerial in Strictly) had all of Newton-John's candy kitsch and faux innocence until the bg switcheroo at the end.  I don't want to spoil just how amazing Selina looks as sexy Sandy, but I will steal a quote from a previous show, The Producers, when I say "you can't see it but we're giving you a standing ovation."

Of course, there are more than just the two love birds in this show - Nick Holmes as Kinickie is perfect for belting out "Grease Lightning" and it is very clear that he has studied all the words to ensure his 'actions match up to their meanings'.  Katie Carter, making her DOS debut as Rizzo had a great first act in which she stays very much the matriarch of the gang, slightly aloof, cocksure and more mature than the other girls, but it was halfway through the second act, with her solo of "There are Worse Things..." that Katie stopped the whole auditorium dead in its tracks.  She managed to bring out Rizzo's vunerablilty perfectly, pealing away her protective shell to show a glimpse of the little girl underneath, before putting the barriers back up and returning to the hard Rizzo of before.

One of the great things of a stage show over a film is that there is more licence to allow some characters to relax and have bit a more fun - nonemoreso than Andrew Hamilton and Hayley Walker who, as Roger and Jan, brought the house down with their mickey taking and comedic ribbing, especially as they extol the virtues and love of lunar pastimes.  Even when she is not front and centre, Hayley adds so much to her character - at times I found myself watching her instead of centre stage and laughing at her extra little antics.

Another who made me hope she would be in all the scenes was Claire Williams, playing Patty - she is just so adorably high octane that you want to box her up, put her on a shelf and keep her for those days when you're feeling a little low - she is a pocket rocket of energy, the perfect Little Miss Goody Goody and a great mover to boot.

The set design and choreography are all fantastic and show true ingenuity in how to make the most of stage space while the costumes remain true to the feel of the film without being mere copies - that said,  Glyn Bigham in his all white suit was a heavenly vision straight out of the (Beauty) school of Frankie Avalon.

Of course, Grease is habitually a younger persons show, it is, after all, set in High School, but that's not to say that there weren't parts for all ages of the society. It is a great testament to the all the cast of DOS that so many familiar faces from Strictly Musicals were present in the company, and even though they weren't taking leads this time they looked like they were still having a fantastic time.

Looking round the theatre before curtain up and talking to many at the interval, it was obvious that the majority of the audience were there to see Grease based on a love of the film, however at final curtain everyone agreed that this performance was every bit as good as the movie and then some - there is a far better connection to the characters when you can see them live in front of you but more than that, you can feel their total enjoyment in what they are doing; the audience feed off the actors enthusiasm who in turn respond to the crowd - perpetual energy has at last been found.

The final curtain call was met with standing ovations throughout, well deserved by all on stage and even more so by Directors Martyn Knight, Joanne Hand and Michael Trotter.  I hope that this great theatre has strong foundations because on this showing there will be many more throughout the 10 night run.

Grease, by Darlington Operatic Society, is on at Darlington Civic Theatre until Saturday 12th April - there are still a few tickets left but hurry - see the DOS website for more details.

PS - I couldn't write a review on a DOS show without mentioning my two favourite girls - Zoe Birkbeck and Chloe Dargue - Great Hand Jiving Chloe and Zoe, that mauve sweater - Oh My !!  x

Circus of Horrors, London after Midnight @ Darlington Civic

sexy, scaring and funny all at once, this is grown up theatre for adults

Darlington Civic theatre is one of the oldest and most vibrant theatres in the North East and has played a huge range of shows, events and performances BUT I defy anyone to have EVER been and seen a show as bizarre, diverse, shocking, surprising and funny as The Circus of Horrors. In our current climate of nanny state, over sensitive PC do-gooders, it was like a shot of adrenaline straight into the main vein to be treated like an adult.  True, there were disclaimers before the show started, but even these had a forked tongue-in-cheek approach and added to the anarchic build up of the show which included much scream provoking before the first beat.

Circus of Horrors is not a new concept - the show has been running in a variety of guises for over 18 years and recently spent 8 weeks residing in London.  Now, on a UK tour, they are bringing their blend of heavy rock, blood and body parts to the unsuspecting regions. The premise of this show is a tour with evil Doctor Haze of 1665/1666 London and some of the capital's worst places in history - worst for the foul, depraved, degenerate practises that history tells us actually did happen - Cheapside, Bankside, Bedlam are all covered along with demented doctors, possessed priests and ghostly girls.

Make no mistake, underneath this macabre mayhem beats the heart of circus perfection with many acts displaying world class performances rarely seen outside of Shanghai or Vegas; a sword swallower who has remodelled his body to aid his swallowing techniques; a contortionist whose bone crunching joint manipulating was the perfect physical embodiment for a possessed inmate of Bedlam; death defying high wire and swing 'twins' and an acrobatic team who literally throw themselves around the stage.  There are elements of true humour, all be them in a very adult vein, some of which prompted a collective sharp intake of breath but this is what is so refreshing - we were all adults watching an adult show designed for adults and no apologies for it.

What is most impressive about Circus of Horrors is that this is not simply a one-after-the-other come on stage, perform and then leave show - the choreography and stage design keeps the seedy underbelly of 17th century London right to the fore and many times there are multiple acts all performing on stage together, blending into the telling of a story of horror, death and madness.  The constant heavy rock music, which created an almost trance-like feeling, ensured that the show enveloped the audience in a cocoon of twisted consciousness, rising and falling as one like some perverted scene from a Ken Russell movie.

Plenty of fire, certainly a lot of danger and no shortage of flesh, the show left me hating myself for wanting more, more, more. 

Circus of Horrors, London after Midnight, is on tour around the UK with more details available here - http://www.circusofhorrors.co.uk/tour_dates.html