Fatal Attraction at the Theatre Royal Newcastle

 

Fatal Attraction is a must see, 5 star production – go with friends, go with partners but probably don’t go if you’re having (or thinking of having) an affair.

James Dearden’s dark and twisted tale of obsessive love leaves you breathless.  Leads Kym Marsh and Oliver Farnworth give one of the most powerful performances you’re likely to see this year.

Based on the Paramount Pictures movie from 1992, Fatal Attraction is the tale of Dan Gallagher (Farnworth), a happily married New York lawyer who one night happens to be in a bar with a friend when he meets publisher Alex Forrest (Marsh) who is out looking for company.  Tempted to stay a while longer as his wife is away, Dan and Alex end up having dinner and then go back to her apartment.  A one night stand ensues, but from this point on, the one night is the least of Dan’s worries as Alex begins to control, manipulate, threaten, plead and beg for Dan’s attention.  She turns up at his work, calls his cell, texts and even manages to meet his wife at their apartment.

Trying hard to distance himself from Alex, Dan changes his phone numbers, his routine, agrees to move out of the city with his wife and daughter but nothing will stop Alex.  Using all her powers of emotional blackmail and some very clever, underhand tricks, she manages to get right under the skin of Dan’s life and from there she festers and grows, like a cancer.  The ends to which she will go and limitless, the infamous rabbit scene is even more harrowing on stage than in the movie and her coup de grace is the ultimate in revenge.

Kym Marsh is simply amazing – sultry and seductive, yet in one moment she becomes psychotic, unhinged, fragile and dangerous.  You never know which Alex is going to appear from one scene to the next and that is truly scary. In a minimal set there are no distractions from the performance on stage, but to be honest, Marsh could perform in a crowd of thousands and you would be able to see nothing but her. 

Farnworth’s Dan, for any married man, is surely a ‘there but for the grace of God go I’ performance – he never intends to cheat on his wife, nor does he seek to maintain a relationship with Alex after the fateful weekend but he does show that, to coin Kipling ‘ the female of the species is more deadly than the male’.  His weakness was his ego; flattered by the attentions of a beautiful woman he pays the ultimate price in losing everything he once held dear.  Farnworth delivers a profound progression of annoyance to frustration, to desperation, to rage and finally to complete devastation with the pain and anguish visible right to the back of the theatre.

Supporting cast Susie Amy as Dans wife Beth is perfect; she is lovely and loving, wants nothing more than to enjoy her married life and move to the country which makes his cheating on her evermore heart-breaking. 

Special mention to lighting designer Jack Knowles, sound designer Carolyn Downing and Set designer Morgan Large who give director Loveday Ingram some of the most powerful and evocative tools to play with.

Out of Order @ Theatre Royal Newcastle

Ray Cooney’s Out of Order at The Theatre Royal Newcastle

A farce is defined as “a comic dramatic work using buffoonery and horseplay and typically including crude characterization and ludicrously improbable situations”.  Often thought of as a quintessential British form of theatre, farces were designed to play on the disparity between the haves & have-nots, the posh and the poor, Upstairs v Downstairs in an attempt to allow people to laugh out loud at situations which are in all likelihood, happening in real life.

In Out of Order, Ray Cooney brings the farce right up to date and into the glare of the modern political spotlight.  In fact, if it wasn’t for the costumes and stage, it would be very easy to think you were watching a Private Eye exposé on Westminster.

Set around the attempts of Tory MP Richard Willey (Jeffrey Harmer) to enjoy an illicit night with the Labour Leader’s secretary Jane Worthington (gorgeous Susie Amy) instead of attending a cross party debate, every conceivable mishap befalls him, often of his own making, as he tries to dig himself out, protect his reputation and slope his shoulders of responsibility. Finding what he believes is a dead body, trapped in the sash of his hotel room window, Willey could have done the sensible thing, called the authorities and taken his medicine, but hey, that a great play would have not made.  Instead he drafts in his tortured and put upon PPS, George Pigden (Shaun Williamson) and so sets in motion an ever increasing catalogue of bizarre, ludicrous but always hilarious events.

The cast is brilliant, simply brilliant and kudos must go to casting director Mark Frankum for bringing together some very well known faces who never once step back into the roles for which they are best known.  Harmer conjures up the spirit of Rick Mayall from his Alan B’stard New Stateman times (a role which I believe was Mayall’s absolute best); he is sly, controlling, disingenuous, entitled, well, you know, a stereo-typical ‘Tory’ MP.  James Holmes, as the waiter, has the look and feel of Andrew Sachs’ Manuel but with a British Steel core – always looking for his tip before AND after providing whatever room service is required. I guess if I’m making comparisons to sit com legends then Arthur Bostrom as The Manager would be likened to Basil Fawlty but that would be unfair to Bostrom, he is less madcap and more straight man which gives each scene a lightning rod to ground the silliness.  Cameos by Sue Holderness as Willeys wife, Pamela and Elizabeth Elvin as Nurse Gladys Foster ensure that the scenes continue to flow with variety while Jules Brown (Ronnie Worthington) drew some very approving gasps from the ladies sat around me.

Star of the show is Shaun Williamson.  I owe a sincere apology to Shaun – sure, I knew his roles of the past and was aware that he didn’t mind being cast in roles that send himself up but I didn’t realise just what a truly fantastic comedic actor he is – his timing is on a par with the true comedy greats and his mannerisms, facial expressions and slapstick would rival those of Laurel & Hardy, Norman Wisdom and Benny Hill (in fact, should they ever decide to do a film of Benny Hill’s life then Shaun would get my vote to play the Angel master).

It’s difficult to explain all the scenes, so quick is the pace and incessant the gags and pratfalls, but suffice it to say, you must ensure you grab every opportunity to breath otherwise you could find yourself laughing non-stop until you pass out.

The beauty of Cooney’s writing is that this play can be easily updated to include current references and thus make it always feel very relevant; Jeremy Corby and Theresa May are both name called, whilst the behaviour of the lead characters seem to be constantly reflected in most Sunday papers.

On a day that was fraught with sadness, angst and anxiety, it was perfect to be able to step outside of the world and enjoy a few hours of unapologetic fun in a wonderful theatre.