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