Chitty Chitty Bang Bang by Darlington Operatic Society

Once again, Darlington Operatic Society prove that they are capable of producing a 10/10, supremely professional, highly energetic and original show which will appeal to the whole family. 

Chitty Chitty Bang Bang, the much loved children’s tale penned by Bond creator Ian Flemming, lives long and fond in the memories of almost every child.  The quintessential Disney-styled family unit of one missing parent and the trials of the other bringing up two delightful, if somewhat spirited, kids alone is instantly recognisable.  Coupled with the magic of a flying car, the subterfuge of spies, the peril of being captured in a far away land and the villainous Kiddie Catcher there’s not much missing for children to lose themselves to. 

Of course, the movie brought to life the characters of Caractacus Potts, Truly Scrumptious et al and through the 1968 Roald Dahl production, most peoples’ personalisations of the characters were set.  To many, Dick van Dyke will always be the hapless inventor, Sally Ann Howes the eponymous Truly and Robert Helpman the stuff of kindergarten nightmares.   It is therefore because of the fondness for the film that any company attempting to put on a stage production will have an additional hurdle to vault – that of persuading the audience that their versions are just as worthy of belief.

DOS have never been one to shy away from a challenge and their opening night performance of Chitty once again demonstrates they have a massive pool of talent to draw on.  Taking the lead as Potts the inventor is Julian Cound who warms into the role and is at his most charming when interacting with his on stage children, the wonderful Matthew Scott & Alix Lennie (who were mesmerisingly good).  Despite now being one of the senior statesmen of the society, Julian’s energy and enjoyment is there for all to see, his careful nurturing of the young cast making them at ease to relax and perform as rehearsed.  Julian has always had a great stage voice and once again he demonstrates his range throughout, though there may be some who would doubt his ability to sing the kids to sleep with a rather powerful rendition of Hushabye Mountain.  Playing opposite Julian as the delicious Truly Scrumptious is DOS’s own theatre superstar Beth Hopper – Beth has the purity of voice and stage grace worth the admission fee on her own and shows genuine maternal care towards Matthew and Alix.  Whether playing a fairy godmother or a potential glamourous step-mother, she lights up the whole auditorium.  Completing the Potts gang is the last stalwart of the Empire, Grandpa, played by David Murray who manages to blend Lionel Jeffries with Blakey from On the Buses to brilliant effect.

Of course, the titular star needs her own mention – Chitty is a wonderful creation and through very clever stage management and lighting, the sailing and flying scenes are brilliantly believable.

The challenge for choreography and direction is in ensuring scenes without Chitty are not simply seen as fillers until the magical mechanical star returns; of course, the anthemic title song makes this rather difficult but by allowing both the Vulgarian spies (Nick Myers and Eddie Taylor-Jones) and the Baron and Baroness to impart some humour, Director Joanne Hand has overlaid genuine comedy to compliment the traditional musical storytelling.  I doubt there has been a funnier double act seen on this stage (in either guise) who could beat Hannah Teasdale and Leighton Taylor-Jones – their chemistry as the toy mad Baron and his child-phobic wife is pure comedy gold worthy of a spin off show all of their own.  With more than a few hidden naughty winks for the adults they border on pantomime without ever threatening to descend into a festive farce and I would urge any producer to check them out.

As always with a DOS production, the ensemble provide high energy dance routines and plenty of rousing choruses, giving the audience exactly what they hope for and expect – a wonderful family night which is guaranteed to leave you with an ear-worm for your journey home.

Due to the nature of casting and the younger members of the team, there are two separate casts for a number of the roles.  As such some of the roles mentioned in this review may be played by others in subsequent performances but there's one guarantee, they will all come with the DOS seal of quality

Benidorm Live

Derren Litten’s award winning TV sit com comes alive on stage and guarantees everyone a sunshine evening packed with laughter.  Directed by Ed Curtis and produced by Michael Harrison and David Ian, the tour began its run at the always wonderful Theatre Royal, Newcastle before heading off around the UK.

It can’t be easy to take a TV show that ran for 10 seasons, beloved by millions and winner of multiple awards and put it onto a theatre stage.  After 74 episodes, fans feel like they know everything there is to know about the characters so how do you create something that still feels fresh and exciting without either going over old ground or just making a pastiche (not pasty, Kenneth).

Derren Litten has written a stage show that brilliantly feels, for all intents and purposes, like a one off special for the small screen.  The audience are dropped right back into their favourite Costa Del Sol hotel, the characters act as if there has been no gap since the end of the last episode and, most importantly for fans, there is no time wasted establishing who is who and what is what.  This means the pace is immediately high with fans’ favourites entering to rapturous applause and cheers and the familiar surroundings of the Solana, Blow and Go and Neptune’s enveloping the audience like their warmest winter duvet.  The tour is due to run for over 200 performances and this show is packed with fun to keep people coming back for more, time after time – in fact it is possible we may have just watched a modern cult show being born.  There is every chance, a la Rocky Horror, that many fans, having seen it once, will dress like their favourite characters and keep coming back for an almost communal night out.

 Choosing which characters to use after so many episodes can’t have been easy;  fans of the show feel they have grown to know many of the families – the Gravies (sic), the Dawsons, the Matlbys, Les and Leslie and as such will always have their favourites, but the genius of Litten’s writing is that those not on stage are not missed, it just feels like they are somewhere else in the hotel at the time.  Of course, those who are on stage ensure that the core essence of the TV show remains strong; Matteo’s failed attempts at womanising, Joyce’s desperate approach to hotel management, Kenneth’s love of all things Benidorm, Jacqueline’s pursuit of carnal pleasures to name but a few. 

For an actor, TV can be quite a forgiving medium in which to work.  Multiple takes, multiple camera angles, dubbing, even stunt and body doubles can all be used to ensure the final cut is perfect.  On stage there is no such luxury, no safety net of fixing things in post.  This makes the comedic timing, singing, dancing and delivery of Litten’s word plays (at times his writing is like a cross between Alan Bennet and Victoria Wood) all the more impressive.  The cast never missed a beat, from Matteo’s flamenco dancing to Sam’s brilliant singing, from Liam and Kenneth’s love/hate/love to Jaqueline’s double entendres they were word and pitch perfect.

Mark Walters’ design and lighting is very clever; utilising a central revolving stage reception, the salon, the pool side, managers office and karaoke bar all morph before your eyes with no need for fades or flies meaning the scenes are seamless and the pace never drops.  Likewise, using the wonderful singing of Asa Elliot to help smooth the changes and the night simply flies by.

You may have noticed that I have not delved into the story or any of the stand out moments – believe me, I would love to as I have already told many, many people, but it wouldn’t be fair to spoil the surprises so instead I will say – if you loved Benidorm the TV show and mourned its passing after season 10 then this production is guaranteed to fill your evening with belly laughs, gasps and groans and leave you with the warm all over glow that only a day in the hot Benidorm sunshine can.

Tickets and tour dates can be found here:

http://www.benidormonstage.com/ 

Cragside - A Hidden Gem

Cragside – a hidden gem in Northumberland that changed the world forever

Nestled in a wooded dene just outside Rothbury, Northumberland, Cragside (and its surrounding estate) played home to one of the world’s greatest innovators, inventors, pioneers and for whom the modern way of life would for ever be grateful – Lord William Armstrong.  Now owned by the National Trust, we decided that it would be a perfect location to take the whole family for a picnic, explore the house and gardens and in doing so, we also made the decision to join the National Trust.  Our car full was made up of the whole range of ages, so we wanted somewhere that would appeal to everyone and Cragside certainly did that.

Getting to Cragside is easy, it is well signposted from all major roads and the route takes you through the wonderful Northumberland mix of sea view and moorland heathers.  On approaching we were met by a very helpful NT volunteer who made joining a very quick and easy process – not to mention very cost effective – it is only £10 a month for a family membership and that gave us immediate access.

The estate roads are well signed, with two main carparks and a circular “Carriageway” route that takes you past the main house and up to the highland lakes, much used in the innovative hydroelectric and hydraulic power systems.  There are plenty of picnic areas, circular walk routes of varying length and difficulty and stunning views back across towards to the coast.

The best path to take to approach the main house is undoubtedly from the pump house, along the bed of the valley – from here you see the house perched up above on the crag side and can really appreciate just why Armstrong chose this location.  Initially he built a modest house; 8 – 10 rooms and 2 storeys high with small stables, but very soon, and driven by his unquenchable passion for inventing, he needed a much bigger platform.  Over the next 30 years Armstrong created his ‘fairy palace’ with additional wings, floors, rooms and galleries added in piecemeal fashion, yet with his inventions and collections there always felt a connection between the old and the new.

The house is open to visitors and the best part, it is free roam – that is you are free to wander around and, apart from jumping on the beds and using flash photography, nothing is prohibited.  The list of inventions in this house is quite astonishing – not only is it the first house in the world to be lit by electric lights (using Swans incandescent bulbs) but it also boasts a dishwasher, a hydraulic elevator, a dumb waiter, an automated plant watering system, a self turning spit, a washing machine and a vacuum machine.  The rooms in the house, and out across the estate were all connected by a telephone system and these were all powered by the estates own hydroelectric plant.  Considering that this was still in the late 1800’s the ingenuity and vision of Armstrong is staggering. 

Complimenting the technological wonders there is a very impressive art collection, gallery, music room (with open piano) and a purpose built snooker/billiards room, complete with viewing stand, which is free for visitors to play on too.  The whole house has a feel of science museum combined with stately home and is the most relaxed and inclusive property we've ever visited.

The gardens and estate are home to one of the last remaining colonies of native red squirrels, living in the over 7 million planted trees(including the tallest Scots pine in Britain) and provide brilliant walking options and plenty of picnic places.  There is also a maze, a range of children’s play areas, a gift shop and tea rooms so there is something for everyone. 

For a day out, there are few places in the whole of Britain that can offer the sights and history of Cragside plus, if you join the National Trust, you can keep going back to explore and uncover even more through the seasons - I fancy winter with snow on the trees, others recommend late spring when the millions of Rhododendron will be in bloom.

For more information and directions, see 

https://www.nationaltrust.org.uk/cragside 

Some Mothers Do 'Ave 'Em

From the opening bars of the famous, piccolo based theme tune, to the final curtain, Some Mothers Do ‘Ave ‘Em is a brilliant step back to the time when comedy was built on keenly crafted word play and mad cap, real physical stunts.  Everyone of a certain age will remember Michael Crawford as the bumbling Frank Spencer, trying his best to make his little piece of the world better and constantly failing.  It’s been a long time since Frank and his beret were last glimpsed on our TV screens and, save for a brief sketch for Comic Relief, the Spencer family have been relegated to being the target for wannabee impressionists (many of whom still use ‘hmm Betty’ as their staple “Who do you do” response).

This show, brilliantly written and directed by Guy Unsworth,  plays out like a Christmas Special from yesteryear and yet at the same time feels fresh as a daisy and as funny as Raymond Allen’s originals.  Undoubtedly, this is down to the writing which is the same machine-gun style of never ending mix ups and missed meanings as beloved of the TV series.  The set, whilst simple in initial viewing, is cleverly built to enable the stunts and pratfalls to happen with just as much shock effect as on the small screen – come the finale you are left wondering just how do they get this ready to go again in only a few hours.

Playing Frank Spencer is one of the UKs hardest working and genuinely funniest actors – Joe Pasquale.  To many who have not seen Joe’s work he is a funny voice over man (“I’ve had an accident”) but Joe is a master of his craft and this show is the perfect vehicle to showcase all his talents.  He avoids the temptation to fall into making this a Michael Crawford impression show and instead brings his own take on the hapless, lovable fool.  His comic timing is nothing short of genius, using the audience’s reactions to temper his next line and knowing just how to give everyone on stage a quick breather simply with a look.  This is the first time I’ve seen Joe live (can’t believe I’ve missed him for all these years) but he alone is reason to go and see this show again and again.

Playing opposite Joe as his doting yet long suffering wife Betty is Sarah Earnshaw.  Sarah is as cute as she is loving, patient yet frustrated that despite (of perhaps because of) Frank’s attempts, things that seem simple never quite stay so.  Sarah has a very impressive list of West End and tour theatre credits for one so young; Glinda in Wicked, Audrey in Little Shop of Horrors, Jennifer in Nativity, Lady of the Lake in Spamalot to name but a few and whilst some might suggest that Betty is the straight role to Pasquale’s funnyman, this would do her a great disservice – Frank’s failings would not be half as cringe-worthy yet lovable if we didn’t believe that he was trying to make the world a better place for Betty – she is his raison d’etre and Sarah makes this add couple totally believable (tho I think she is probably giving Frank a good 35 years grace in age).

Initially I thought that the audience were big Frank Spencer fans, tempted by the chance to see a piece of TV comedy history replayed but talking to many at the interval, they were neither old enough to have seen SMDAE, nor did they know who Michael Crawford is (sorry Michael).  Instead, they were drawn by both Joe Pasquale and the promise of brilliant comedy – perhaps more recent shows like The Play the Goes Wrong and Peter Pan Goes Wrong (both by Mischief Theatre) have opened people’s minds to the fact that theatre can provide great physical comedy without the need for clever editing or stunt people usually deployed for TV & Film.  In fact, I think that seeing this show live, as with the others mentioned, is funnier and gives a greater appreciation of the craft that goes into making them.

Some Mothers Do ‘Ave ‘Em is playing at the Darlington Hippodrome until Saturday July 7^th – not wanting to tempt fate, but it would be the perfect way to ease any post world cup blues should your team fail to make it through the next round – OR you could use it as a great evening to celebrate – either way, this is one show that guarantees to make you laugh out loud.

Comedy About a Bank Robbery

Following on the back of their phenomenal successes The Play that Goes Wrong and Peter Pan Goes Wrong, Mischief Theatre Company will be taking their current West End smash, A Comedy About a Bank Robbery on tour later this year.  Grabbing the opportunity to see it at the beautiful Criterion Theatre before it heads out round the UK, we were treated to one of the funniest plays on stage, ever.

More of a story than the madcap parodies their previous productions have been, Bank Robbery is set in 50’s Minneapolis and charts the exploits of a wannabee crime ‘lord’ and his attempt to steal a priceless diamond from the local bank.  Aided by the bank manager’s daughter, a petty pick pocket and some rogue prison guards and chased by an FBI agent with dubious intent and the bank secretary, the story twists and turns at such a pace that you need the interval just to grab a breath and stop your head from spinning.  Directed by original Mischief member Nancy Zamit (who fans will remember from the previous productions) and Mark Bell (whose credit listings deserve their own page in the programme) Bank Robbery is a modern day classic, laugh out loud and don’t care who hears you evening of unashamed fun.

The puns come so fast, right from the off, that it takes a few minutes just to get your brain into gear to keep up but once you’re up to speed it’s hold on tight for a rollercoaster ride. Les Dawson used to pretend he was a terrible piano player but he was able to make it funny because he was actually a brilliant pianist;  this cast make the apparent tomfoolery look effortlessly hilarious because they too are masters in their craft.  Familiar faces of Chris Leask (hilariously cast as Everybody Else), Jenna Augen (the sassy Ruth Monaghan) and Leonard Cook (Robin Freeboys) are joined by West debutantes brilliant Samson Ajewole (Neil Cooper), livewire Sam Fogell (Sam Monaghan) and the wonderful Holly Sumpton (Caprice Freeboys) and show that the draw of Mischief Theatre is not just limited to the audience.

Scene changes are wonderfully segue wayed with the cast singing 50’s doo wop whilst the action scenes are brilliantly choreographed using cartoon-like inventiveness as a throw back to silent movies. 

The writing is super slick – the 2 Henrys and a Jonathan are masters at multi-layered comedy blending words, actions and the subtlest of entendres – for Bank Robbery they have produced a blend of Whitehall farce coupled with Carry On and all wrapped up in Mischief’s impeccable attention to detail.  The word plays are writ large and proud, you can see most of them coming but they land so perfectly that you’re still amazed by the simple brilliance.  The set is a shining example of ingenuity and seamlessly supports the physical comedy whilst providing the frame in which the magic happens; you are lulled into a false sense of familiarity and then suddenly what appeared to be an office becomes a vault, an air duct, a bed frame, a wardrobe.

It is not often that a show delivers through every single second of the performance but with Bank Robbery there isn’t a moment across the 2 hours in which the pace slips, the humour eases or the tears stop rolling .  A special mention too for the programme – this is one of the best companions to a show, packed full of the same humour and has a wonderfully witty timeline of the evolution of Mischief Theatre.

All in all, this show has delighted West End theatregoers for the past 2 years and very soon it will share the love around the UK – it WILL sell out so grab your tickets now, strap up your sides and take a deep breath.

***** and an extra *

The Comedy about a Bank Robbery is on tour – check out the dates and tickets here:

http://www.thecomedyaboutabankrobbery.com/uk-tour

Woven Bones

Take a step through time and walk in the shoes of the Scottish soldiers who became Durham’s darkest secret.

Laura Lindow has written a powerful and poignant piece which transports the audience back into 17^th century Scotland and brings alive the heart-breaking tale of local lads who were conscripted to fight against Cromwell’s English army and their families they were forced to leave behind.  Based on the archaeological findings at Durham Palace Library, and using the forensic evidence which helped to establish the soldiers’ lifestyle, Woven Bones is clever, witty and captivating.  Taking the audience back from the initial discovery of the remains to the childhood of one of the soldiers, we follow his story as he leaves the Western highlands and walks down the length of the country, finally ending up at the battle of Dunbar.  From here, our soldier is captured and becomes a prisoner of war, marched further south and held captive with thousands others in Durham Cathedral.  Luckily, he was one of very few who survived and ended up leaving these shores for a new life in a New World.

The cast, Greig Adam, Paula Penman and Gemma Stroyan are brilliantly inventive, providing everything from the soundscape of building work right through to becoming archaeologists providing the science behind the soldier’s story.  They very quickly draw you into the world of Scottish families in the mid 1600’s with a blend of humour and pathos.  Director Brad McCormick keeps the intensity high, made all the more claustrophobic by Katie Doherty’s ambient soundtrack, while Anna Reid’s design is impressive in its simplicity.

If you have been to see the Bodies of Evidence exhibition at Durham Palace Library then Cap-a-Pie's Woven Bones is a brilliant companion to the whole story.  Laura Lindow has once again written a piece of theatre which transcends time and cultures and, by ensuring that it’s not just the story of the soldiers but also their families we cannot ignore that each set of bones found represents a life amongst lives.

Woven Bones is on tour in June and July - check out the Cap-a-Pie website for more details:

http://www.cap-a-pie.co.uk/woven-bones/

29th June, The Maltings, Berwick
3rd July. The Customs House, South Shields
5th July, Arts Centre Washington
6th & 7th July, Gala Theatre, Durham

This IS Elvis

It’s hard to think that the legend that is Elvis Presley, the King of Rock ‘n’ Roll and one of the most iconic and recognisable voices ever to have graced the airwaves, could have been so close to quitting music performing for good.  It was after a gruelling run of movie productions in which Elvis’ role was diluted to, as he put it, “Sing a bit, hit the bad guy, get the girl” that Presley, in a stew of insecurity and self doubt, decided that he could no longer perform to his roots of live performing.  He’d been away from chart music for 8 years in which time the British invasion had taken America by storm, hippy and surf music had become the West Coast soundtrack and many were proclaiming Rock ‘n’ Roll was dead.

Persuaded by TV Producer Bob Finkel to make a TV special (developing an original idea by Presley’s manager Colonel Parker that he should make a Christmas show) Elvis began recording over 4 hours of material which would later be distilled down into the 50 minute special and broadcast on December 3^rd.  The impact was worldwide with Presley’s recordings rocketing into the charts and calls for him to perform following long and hard from all corners of the globe.

At this point, Colonel Parker (whose motives were often very selfish in seeing how much he could personally make from Presley) signed Elvis up to 3 seasons at a brand-new hotel The International on the Las Vegas strip.  Once again, Presley’s insecurities resurfaced, especially when he thought of the alumni who performed regularly at the Nevada hotspots but he battled through and thus his Vegas show legend was born.

This show, produced by Bill Kenwright and Laurie Mansfield is a replay of these two pivotal shows in the Elvis flightpath to immortality.  Steve Michaels IS Elvis; he isn’t playing Elvis, he isn’t impersonating Elvis, he doesn’t have an uncanny passing resemblance to Elvis – he IS Elvis.  To be convinced of just how good Steve’s performances are, find out the two live shows on YouTube and be prepared to have the hairs on your arms stand up.  The live shows have all of Elvis’ power and style but still show some of his ring rustiness that was later polished from years of Vegas headlining – Michaels' performance, his style, his looks and of course, his voice (not jsut singing but while talking too) captures all of this and makes it, and him, the best EVER Elvis since Elvis.

This is not a journey show, it doesn’t have much dialogue outside of setting up the two performances, nor does it chart Elvis’ life at this time save for his initial reluctance to play such high profile shows with no warm up tour but for any fan of Elvis Presley there is no better show to see.  Steve Michaels is able to bring the intimate, fun loving Elvis seen on the ‘68 TV special and then explode into the Vegas show king, complete with brilliant set, band and backing singers.  Personal favourites are Burning Love and the hypnotic Suspicious Minds, guaranteed to get everyone up dancing and singing.

This is Elvis is on at Darlington Hippodrome until Saturday 30th June and is a brilliant way to grab a break from the heat (and the football).

Bodies of Evidence @ Durham Palace Green

Have you ever watched Time Team on TV and wondered just what happens after they’ve made a discovery ?  Have you ever watched Bones and been puzzled about the science behind the show ?  Have you ever wanted to know what has made Durham City such a rich and diverse place in the country’s history ?  Well, there’s a new exhibition on at the Durham Cathedral Palace Library that will not only answer a lot of those questions, but will inform, entertain and leave you in awe of the science and history behind an amazing discovery.

Bodies of Evidence is the stunning new experience which charts the history of a group of Scottish soldiers, captured by Oliver Cromwell and marched from Dunbar in the Scottish borders all the way to Durham Cathedral.   Not only are we taken through the timeline of their march, what they ate, where their slept, how many actually made it alive, but perhaps even more fascinating we are also shown what happened to some of them afterwards and where they ended up.

Split into 3 main areas, the exhibition is a walkthrough experience taking in Archaeology, Anthropology and Forensic Science and uses exhibits, video, interaction and hands on activities to immerse visitors into a period of history that is rooted in the Civil War.  Drawing on world leading experts and using ground breaking techniques, the story of the soldiers comes alive, not just a few pages in a history book but people with families, beliefs, passions, troubles and hopes.

First is the story of how the soldiers were discovered.  From the initial uncovering of the remains (which were exposed during work to renovate the café), an archaeological investigation was set up to establish exactly who they were and to tie them into known history.  These Scottish soldiers were captured at the Battle of Dunbar in 1650 and, after a period of incarceration, marched down the 110 miles to Durham where they were held in the Cathedral.   Most of these soldiers were taken from small farmsteads in Scotland by generals loyal to King Charles and forced to fight Cromwell’s armies all across the borders.  Many were the younger sons (the older ones being kept on the farm to continue working the land) and as such there were often ‘Sliding Door’ moments separating families simply by letting one son leave and one stay.  Professor Chris Gerrard, Durham University Department of Archaeology has led this fascinating exploration and brought to life their stories.

The next part investigates what happened to those soldiers who survived the march and imprisonment – soldiers were sent to work in linen factories on Tyneside, down to Lincolnshire to dig clearing ditches for the Fens, over to France to support English troops and, perhaps most amazing, over to the East Coast of the US to clear forests and work the land for the early settlers.  Bearing in mind that this was the late 1600’s, this would have been an amazing wrench for the young Scottish men and yet they didn’t just survive, they thrived.  It is estimated that there are now over 500,000 people in Eastern US who are descendants of the initial Scottish soldiers and here visitors are treated to videos from some of the families who have been traced.

The 3^rd part takes visitors through the science behind understanding the anthropology of the remains, who they were, what they ate, how they lived as well as an amazing facial reconstruction of one of the soldiers.  Created and reconstructed by Prof Charlotte Roberts, one of the world’s leading palaeopathologists, bioarchaeologist and an expert in understanding people’s interactions with their environment, this is no dry science lesson;  Charlotte’s displays bring to life the painstaking steps taken to providing understanding of our ancestors, our evolution and how lifestyle and environment change how we develop, our health and ultimately our demise. 

Bodies of Evidence - How Science unearthed Durham's Dark Secret, is a wonderful walk through the history and science and is perfect for the casual visitor as well as the passionate history buff and will definitely leave you wanting to learn more.  It will be revered throughout the UK and beyond as a pivotal display of how to blend 3 branches of human science and create a seamless understanding of cause and effect.

For more information go to https://www.dur.ac.uk/palace.green/whatson/events/

For specific information on some of the family events, please go to

https://www.dur.ac.uk/palace.green/whatson/details/?id=38395

https://www.dur.ac.uk/palace.green/whatson/details/?id=38398

84 Charing Cross Road

84 Charing Cross Road is a charming and utterly beguiling story of love – love of books, of travel, of finding a kindred spirit and of sharing the most human of qualities, that of time.  Adapted by James Roose-Evans and directed by Richard Beecham, this Cambridge Arts Theatre Production started its tour at Darlington Hippodrome – a tour which will undoubtedly and very deservedly receive huge applause and accolades wherever it plays.

Beginning in 1949 and spread over 20 years, it charts the long distance friendship between Helene Hanff (Stefanie Powers), a Brooklyn writer and bibliophile, and Frank Doel (Clive Francis) the chief buyer for Marks and Co, a second hand book shop in London.  Between them they share the trials and joys of post war rationing, the death of King George and coronation of Queen Elizabeth, the blossoming of TV, the rise and fall of the Brooklyn Dodgers and the cultural shift of pop music, all played out against the backdrop of Hanff’s constant searching for rare books and her repeated desire to visit London and the home of her beloved books.

Told through a series of correspondences, 84 Charing Cross Road (which is the address of the bookstore) is a wonderful and genuine tale which cannot fail to touch the heart of everyone who sees it.  Powers’s performance is simply one of the best you’re likely to see anywhere on any stage – her American forwardness boarders on brash without ever being crass and underneath, her gentle ribbing of the rather straight-laced Frank Doel belies a growing love for him and all things English.  In return, Francis portrays Doel as the consummate early 20^th Century Englishman – proper, polite and purposeful and yet, over time he too grows to love his American ‘cousin’, relaxing his formality and replacing it with warmth and affection.

The set, designed by Norman Coates is a perfect example of the craft at its very best – split between Hanff’s Brooklyn Brownstone apartment and the London bookstore, you can’t help but feel you’re stepping between two different worlds, and with clever use of highlights, the attention of the audience is gently shifted between the two leads as they take turns to write and read their correspondences.

Cleverly aided by live music, the bookshop staff all play their part in creating a happy workplace vibe as we are taken by the hand through the seasons and milestones – Christmases (for which Hanff sends the store food parcel gifts with such delicacies as eggs and ham), Easter, New Years are all shared with the audience – as are the end of rationing, staff leaving to start families, sad demises and happy coronations. 

What sets this story apart from so many others is Hanffs searching for, and Doel’s locating of the rare books – names such as John Donne, Samuel Pepys, Chaucer, Jane Austin, Izaak Walton and Virginia Woolf evoke such passions and desires for holding their physical works which, in the current day are all too often substituted for electronic versions on a tablet.  What is even more impressive, is that this story is true – Helene Hanff did request all these books (and many more not listed in the story) and was genuinely in love with holding the physical copy.  Likewise, Frank Doel saw in a ‘well bound and clean’ book a piece of art to be enjoyed as much by looking at it as it was to be read.

If you plan to see only one play this year, make 84 Charing Cross Road your priority, if you fancy seeing more than one then go and see it again.

Dusty - The New Dusty Springfield Musical

Voted one of the last century’s most influential people in music, Dusty Springfield was and still is an icon of individuality, creativity and inclusivity.  Her hits spanned the world and remain as popular today as they did on first release, but behind the public façade is a life less well known, that is until now as a brand new show is about to tour which will peel back the layers and allow us to peek into the real life of the US and UK Halls of Fame inductee.

First, let’s be clear - this is not a jukebox musical like so many shows currently touring, some of which are, to coin a phrase, ‘just bobbins’ – this is a fully rounded play with a fiercely funny and emotionally charged script by BAFTA and Olivier nominated writer Jonathan Harvey.  Directed by Olivier Award-winner Maria Friedman and supported throughout by Dusty’s close friend, manager and authorised biographer Vicki Wickham this promises to be a super-charged trip through her life.  “Audiences will come out surprised at what a life she had, the challenges she faced and how she overcame them” said Wickham, the lady who first met Dusty in 1963 on the TV show Ready Steady Go!. 

Dusty has always had a huge following who love her style and music – to many she has become an empowering icon for them to follow but what is probably less known about her is that it was Dusty who introduced many of the black artists of the 60’s into UK mainstream TV – The Temptations, The Supremes and Stevie Wonder were all invited to perform on a special edition and was just one example of how Dusty wasn’t just against racism, she abhorred it (to the extent that she was barred from South Africa for refusing to play to a segregated audience).  A lady of principals far ahead of her time, her story still rings true today, in fact it is probably more relevant now than ever before.

With 16 UK Chart hits and 20 in the states, the challenge for writer Harvey was how to ensure the songs were woven into the thread of the story, not just shoe horned in “You don’t want it to feel like you do a scene, stop for a song, do the next scene…it has to feel organic” and it will be this approach that will undoubtedly set this show apart from all the other tribute/jukebox musicals.  Agreed by all the cast, Harvey has written a really visceral, raw script that is also very funny.  Dusty herself was a very funny lady and so there’s a lot of banter between her and her entourage of best friends, but he hasn’t shied away from showing the darker, less happy times too – times which may shock and surprise the casual fan and leave them more in awe at the challenges she had to overcome to be such the legend she is.

Of course, any show is only as good as it’s cast and for this Producers Eleanor Lloyd Productions in association with Tris Penna and Vicki Wickham have brought together Katherine Kingsley (Piaf, Singing in the Rain) as Dusty, Roberta Taylor (The Bill, Eastenders) as Dusty’s mom Kay and Rufus Hound (Dirty Rotten Scoundrels) as her manager Billings.  All three were visibly excited to be a part of this new production, with Rufus Hound explaining “in these current times it is brilliant to be a part of a show that celebrates powerful, successful women who achieved it in a time where male dominance was not only accepted, it was expected.  Dusty took charge in her own way and fought has hard as anyone to ensure she got what she needed to be the success she was and still is”

The recent press launch was hosted in the Arcane cocktail lounge in Manchester – a very intimate setting to introduce the stars, writer and director and gave Katherine an opportunity to show a glimpse of why she has been chosen to play Dusty.  As she admits, Dusty’s songs are instantly recognisable and so too is not only her voice, but her style of singing  - “This is not me trying to do a Dusty impression”, she explains “but trying to capture the essence and presence of an icon in such a way that it tells her story without fans being distracted by trying to compare like for like”.  “What was most surprising when researching Dusty, was how incredibly shy she was away from the public persona she created….I have immersed myself in her world…to show people what was really going on in her life” Treating all to a rendition of The Look of Love it was instantly clear why Katherine has been chosen – she exudes a sensuality which is hypnotic, mesmerising and yet strangely familiar and is certain to have audiences holding their breath.  Taking the tempo up a notch or ten and backed by Joelle Dyson and Micha Richardson, she then gave us possibly Dusty’s most famous “Son of a Preacher Man” in all its raw, gospel-driven power.

It goes without saying that fans of Dusty Springfield will be in raptures over this new production but its reach, its impact and, not to forget, its brilliant script and cast will mean this show will delight anyone who enjoys great music and wonderful acting.

Dusty – The New Dusty Springfield Musical opens on 

Saturday 23^rd June at Theatre Royal Bath 

Sheffield Lyceum (from July 10^th), 

Newcastle Theatre Royal (from July 17^th)  

The Lowry, Salford (from July 24^th).  

Website www.dustyspringfieldmusical.com or venue box offices for tickets and full list of showtimes.

Dr Jekyll and Mr Hyde

Dr Jekyll and Mr Hyde – a cautionary tale of addiction told through the struggle of one man against his inner demons

Robert Louis Stevenson’s gothic novella has been the subject of a multitude of films, radio plays, and tv series, so this current TCTC/Rose Theatre production, adapted by David Edgar and directed by Kate Saxon has some tough competition to follow – but it is clear from the very beginning that this show follows no one, it leads. The story is built on the mystery that surrounds men of profession, the suspicion that people of money are free to dabble with any pursuit, safe from the prying eyes of the populous and surrounded in the protective company of people of influence. 

Remaining true to the period and setting, the opening scene plunges the audience into the dark and gloomy world of smoggy London Town with the class divide ever present – a dirty match girl trying to eek out a living on ha’pennies from the suited and booted gentry.   We are introduced to Dr Jekyll, a broad, if somewhat refined Glaswegian (Phil Daniels demonstrating that despite being considered the UKs best cockney, he has a huge range of accents he can draw on), his widowed sister and her family.  Dr Jekyll is searching for his late fathers scientific writing, and, whilst not explicitly revealed, the source of his forthcoming experiments.

Quick shift to Jekyll’s London town house and laboratory and we begin to understand that there is a fine line between genius and madness, one which the intelligencia of the day are constantly trying to cross using whatever means and substance possible.  There are some quite lengthy discussions around the binary of the human psyche, challenging the audience to choose between faith and science, but given that the lead is a doctor, we already know the path to be taken.

Jekyll ‘successfully’ recreates his father’s experiment, initially conducting the tests with a scientific approach under exacting conditions but all too quickly he descends into affliction, addiction and despair.  As with all good tales of the time, there is no happy ending (this is pre-Hollywood, who always seem to be focussed on sending the audience home happy) – the beast unleashed is too much for Jekyll to consider and so he takes the only path left in his control.

Specific mention goes to Grace Hogg-Robinson playing Annie the chamber girl and target of Hyde’s unwarranted and unwanted attentions – she is childlike without being childish, innocent whilst still of the streets and in the end portrays a love for Jekyll borne from an understanding of the turmoil he created.

Previous incarnations of the tale have used special effects, or even different actors, to portray the split persona of Mr Hyde, here it is Daniels who draws out the alter-ego, changing his stance and movements and broadening his accent so deep that at times it is no more than guttural ramblings.  His temper, loss of rationality and base desires are more caveman than cultured doctor and yet, it is all too familiar for anyone who has seen friends, family or even themselves change after consuming one too many. Indeed, were it not a retelling of RLS classic, this production would make for a very effective, if somewhat shocking, public awareness film on the dangers of drinking to excess.  Polar to that, however, it could also be used as a demonstration of the struggle sufferers of mental health problems face.

Dr Jekyll & Mr Hyde is at Darlington Hippodrome until Saturday 18^th May

The Leftovers @ Northern Stage

A tragi-comedic look into how we perceive other, how they perceive us and how the two can be so drastically different depending on the view point.

The Leftovers, the latest production by Sheep Soup and written by Nic Harvey, is the story of 5 musicians whose lives are inextricably linked by the death of a Jodie; a mutual friend, confident, lover and yet, as we discover, they all seem to have known a completely different person to each other.

Set at a recording studio (wonderful designed by Lizzy Leech) , Yaz (Philippa Hogg) wants to capture her relationship with BFF Jodie in a song.  She has enlisted Jim (Ben Welch) as musician and technician to help her record the song and Hayley Reigns/Rains/Reins (Sarah White), a published songstress to help write it but they are struggling to really capture the mood and style which best represents the person they knew.  Was she the life and soul of the party without a care in the world, or a troubled soul who was constantly putting on an act? Was she a trusted and loyal friend or a stabs-you-in-the-back user who flitted from one good time to another?

As the story progresses we are introduced to two more of Jodie’s past – Russ (Tim Murphy) who is a once hippy traveller who knew Jodie for a year as they explored the far flung reaches and Angie (Wreh-asha Walton) for whom Jodie represented much more than a brief friendship, which sadly  appears to have ended abruptly.  The discovery of a box of writings, diaries and messages, along with some old voicemails, helps to unpick Jodie’s tangled life but for the others they only serve to open old wounds and shatter long held beliefs.

Each of the assembled have their own story to tell and these are done through the guise of improvised song writing in their attempt to produce the one piece that truly captures the impact Jodie had on their lives.  Brilliantly directed by Adam Lenson and with the erudite and enthralling musical direction of Rob Green, The Leftovers unpeels the onion of life and shows that a throwaway comment to one person can be held as lifetime moment to another.  The way that Jodie’s character and her interaction with each person is revealed is as thought provoking as it is entertaining – very much akin to the Netflix smash hit '13 Reasons Why' and Hannah’s tapes that destroy perceptions and expose lies.  That said, there is still a great amount of comedy in the show and of course no end of genuine musical talent.

As always, Northern Stage is THE place in the North East for ground breaking productions, showstopping performances and naturalistic delivery, be sure to check out their webpage for details of forthcoming shows.

Matilda @ Sunderland Empire

Fresh from the award winning & sell out run in the West End, Tim Minchin’s musical adaptation of Roald Dahl’s tale is a wonderful family treat guaranteed to leave everyone wishing they too were 5 again.

Produced by The Royal Shakespeare company, the story about a little girl’s discovery of her super powers and the eventual comeuppance of her abusive parents and the horrible bully Miss Trunchbull is one of the most endearing happy endings in children’s literature – coupled with some very catchy tunes and brilliant lyrics makes for one of the best modern musicals totally worthy of all the awards and accolades.

The position of Matilda, played for this performance by Annalise Bradbury must go down as the best children’s role since Annie – there is no end of opportunity for mischief, devilment and cheeky trickery and Annalise clearly has as much fun as the audience.  Of course, for each hero there must be an anti-hero – for this there are two in particular – Mr Wormwood (Matilda’s unscrupulous car salesman father) is dismissively played by Sebastien Torkia, full of annoyance that he even has a daughter and happy to try and chase the next big con.  Ms Trunchbull, the sadistic chokey-loving, children-hating, hammer throwing elementary teacher is undeniably the real star of the show – Craige Els seems 8 feet tall amongst the children and possesses such a menace that there were many adults in the audience who also quivered. Of course, the final events show that in the end it is Ms Trunchbull’s past that finally does for her and justice prevails.

Special mention must go to Miss Honey, Carly Thoms, whose beautiful voice acted as a complete opposite to the gruff Ms Trunchbull – Carly is a delight and totally believable as Matilda’s new adaptive mother.  

Split between Matilda’s new school and her evenings at the TV obsessed front room, the set & scenery (managed by Head of Stage Steven McGookin) has an uncanny familiarity which makes it very easy to slip into Matilda’s nightmarish world.   Brilliantly changed during performance, there is an almost balletic quality to the scenes morphing from one set to another which meant the audience never had need, nor chance, to look away – even during the interval there was a clever addition of Mr Wormwood bestowing his wisdom (which would certainly keep the younger viewers entertained during the 15 minute break).

The chance to see Matilda here in the North East is certainly one not to be missed – built on the quality of Roald Dahl, fed by the brilliance of Tim Minchin and performed by a whole cast of ridiculously talented children it remains a classic of modern musical theatre.

★★★★

Brighton Rock @ Northern Stage

Following on from Playwright Bryony Lavery’s much acclaimed and award nominated Frozen, her adaptation of Graham Greene’s Brighton Rock is a darkly delicious descent into the anguish and turmoil of a young man trying to understand who he is and what is his place in life.  Whilst Greene wrote this story in 1938, the themes and characters are instantly recognisable today, thanks in the main to the brilliant directing of Pilot Theatre’s Esther Richardson, who uses both traditional and contemporary techniques to present the multiple personas constantly in bitter struggles with themselves.

The story focuses on Pinkie, a 17 year old wannabe gang leader who craves respect far greater than his tender age deserves meaning when he doesn’t get it he inevitably turns to violence.  Brilliantly played by Jacob James Beswick, Pinkie is constantly on the edge, the edge of reason, the edge of glory, the edge of sanity – Beswick’s energy is truly scary, never quite knowing whether he is about to smile or scream.  The rest of Pinkies gang are forever tiptoeing round on eggshells, fearful for saying the wrong word, looking the wrong way, and yet magnetised by his charisma and forthright ambition.  Sitting in the 2^nd row I felt myself shrink whenever Pinkie took on a rant and yet, like his gang, felt attached to him with an illogical loyalty.

On Pinkie’s orders, the gang murder a rival who was masquerading as a newspaper celebratory but find they have left a witness who can link them to the killing, a young waitress, Rose, and so Pinkie must decide whether to kill her too or befriend, and ultimately try and control her.  Rose, played with a heart-breaking mix of wide eyed innocence and adolescent passion by Sarah Middleton, falls for Pinkie, despite (or perhaps because of) his manic obsessions, and agrees to not only keep quiet, but to help him avoid further detection.  Sarah is a wonderful actor and in Rose, she is able to take the audience on an accelerated journey to becoming a woman, yet never loses the childish binary belief of right and wrong.  This is further reinforced as both Pinkie and Rose are from devout Catholic families, brought up on the premise of Heaven and Hell, of mortal sin and of repent and atonement.  When Greene wrote his original story, there were only two dominant paths of fate but you can substitute Catholicism for any religion, faith or belief system making this story as true and relevant to today’s youth as it was for those in the 30’s. 

Following all this action is Ida Arnold, a seeker of truth and justice with more than a passing resemblance (in investigative prowess at least) to sleuths of Agatha Christie.  Ida, played by Gloria Onitiri, pieces together the fragmented detritus left in Pinkie’s wake and begins to see that the police have either missed, or chosen to ignore, vital clues linking several suspicious deaths all back to Pinkie.  When Ida realises that Rose is being drawn into this underworld she vows to protect her, even if it means taking on Pinkie and his gang herself.  Gloria gives Ida some real spunk; at first she seems like a bit of a lush, hanging round the bars, betting at the races, but all too soon displays a steely resolve to go toe to toe with the gangs.

The choreography and scene setting is elaborately simple – movement around the stage is poetic, even the set shifting is done with an artistic flourish meaning the audience never drops its gaze.  The soundscape, an ever present live accompaniment composed by Hannah Peel is possibly the best I’ve ever heard – it is reminiscent of David Lynch’s underscoring of scenes in the TV series Twin Peaks – rhythmic heartbeats, low and metronomic are almost imperceptible until the action, at which point they help drive the audience into the heart of Pinkies psychosis before subtly fading back. 

Definitely recommended, this production leaves you wondering why the story can still be so true today as it was 80 years ago - is it that society has never manged to embrace adolescence or is it hard wired into the DNA of all teenagers that they must go through this rite of passage.

Brighton Rock is on at Northern Stage, Newcastle until 5^th May