Peter Pan Goes Wrong @ Darlington Civic

It's not quite Brigadoon

Many years ago, Les Dawson used to include in his act a piece of him playing the piano - well, I say playing it, but actually it was the worst piano playing you could ever hope not to hear; out of key, out of time and with more bum notes than Prime Minister's Question Time, but the genius of Les was that, despite the obvious disastrous keyboard playing, you could still make out what he was trying to play - how, because Mr Dawson was in fact a brilliant pianist and it was this skill that allowed him to make such a comical attempt sound both dreadful and wonderfully funny.  When I was learning to play I regularly held onto the belief that it takes more skill to play something badly on purpose than it does to just play it well and to that end, the people at Mischief Theatre are all geniuses of the highest order.

Coming hot on the heels of their last production "The Play That Goes Wrong", the brilliant, madcap and downright dangerous gang are back to retell the story of Peter Pan in the guise of Cornley Polytechnic's Christmas pantomime - sorry, Festive Vignette (backed by Max's Uncles money). Right from entering the auditorium you know that this is not going to be like any other play you've seen - the cast/backstage team/production crew are already busy trying to organise last minute preparations in readiness for first curtain leaving some bemused viewers wondering if they should have stayed in the bar for one last drink.  As the show starts and the Director and Co, sorry Assistant, Director introduce the nights performance there could be no one left in any doubt that all normal expectations of theatre should be put under their seats for the next few hours.

Producing a play within a play has been done many times before with notable exponents; Bill Shakespeare, Al Bennett and Tommy Stoppard to name but 2, but none have portrayed the angst, frustrations, annoyance and desperation of an amateur dramatics company attempting to put on an end of year play, complete with cast in-fighting, set and prop malfunctions, personal injury and verbal abuse of the audience.  Indeed, for this show the audience are invited to contribute to the mayhem, responding to the usual panto prompts but with additional scope for ad hoc heckling and hero worship in equal amounts.

I'm sure many can identify with the Director , Chris Bean (played by Laurence Pears) who casts himself in the roles he wanted, and his drive for excellence which, despite their best endeavours, wasn't really matched by the rest of the cast and leads to mounting frustrations.  Likewise, the leading lady (in her mind at least) playing Wendy Darling (played by Sandra Wilkinson who was actually played by the brilliant Leonie Hill - keep up) who takes every opportunity to demonstrate ALL her theatrical talents, regardless of what scene she is in, will have rang true with many frustrated swings and understudies.

Everyone deserves applause and credit but in particular Naomi Sheldon who plays Annie Twilloil who in turn plays Mary Darling, Lisa the housekeeper, Tinker Bell, Tiger Lilly and Cecco - just remembering who to enter stage as is tantamount to a Mensa entrance test, let alone the costume changes and accents - because of this Naomi is pretty central to much of the craziness (and probably in weeks of therapy afterwards).  Also a word for Rosie Abraham playing Lucy Grove who in turns becomes Tootles - Rosie seemed to spend most of the show being physically abused, dropped, smacked, crushed, rolled and tossed about, such a shame for a delightful and delicate deep sea diver.

An ingenious stage design gives 3 sets in one on a rotating turntable, perfect for quick scene changes but prone to mechanical malfunction which, by the end of the second act, makes for the funniest 15 minutes to be seen on stage.  Couple this with some spectacularly bad wire flying and a host of disastrous sound effects and the laughter just keeps coming and coming.  It is human nature to laugh at others' misfortune, especially when those falling have held themselves up for praise;  The Mischief Theatre co tap into that trait with such aplomb that you feel guilty, well, almost guilty at the stream of calamity.

As I said earlier, to take something and purposefully make it look so bad that it is funny is a real skill, without which the audience would be left wondering, was that meant to happen - fear not, for every joke, pratfall, 'accident' and mistake are expertly choreographed so as to ensure they eek out maximum hilarity.

From the first line to the last, this is non stop laughter at its best - a total riot of madcap mishap which at times defies belief and re-defines parody, pastiche and plain old silly fun.  Too often people are put off attending theatre for fear that it is still elitist, snobbish and aloof - well if there were more plays like this (and more experts like this cast & crew) then I am sure theatre audience numbers would rocket.  Oh, and be sure to get a programme, it is packed with more in jokes, back stories and mistakes.

Come to Darlington Civic, leave your inhibitions at the door, relax those chuckle muscles and be prepared to laugh so hard that a little bit of wee comes out - oops.

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.