Top Hat by DOS

The latest production from Darlington Operatic Society is a step back in time to the simpler shows which relied on brilliant choreography, stunning costumes and wonderful dancing.  Sure, the current hi-tech shows are fantastic entertainment; Shrek, Wicked, Harry Potter, Aladdin are great examples of blending cutting edge technology with stagecraft but sometimes the art of performing can be lost in the special effects.

For the ever-impressive DOS’s Spring performance they have stepped right back to the 1930’s for the show that many argue is THE best example of musical comedy.  Backed by Irving Berlin’s instantly recognisable soundtrack, this production of Top Hat is guaranteed to send everyone away humming one of the classics having marvelled in some mesmerising dancing and breath taking costumes.

The story is a classic tale of mistaken identity descending into a screwball farce – Jerry Travers (the irrepressible Luke Oldfield in the Fred Astair role) is an American star who, whilst promoting a new show in London falls in love with Dale Tremont (DOS’s own Ginger Rodgers, Claire Monaghan).  Through a series of unfortunate mistakes, Dale believes Jerry is actually his manager Horace Hardwick (Julian Cound in probably one of his best roles to date), recently married husband of Dale’s friend Madge (the ever youthful Samantha Morrison) . 

Whilst it might sound confusing, the constant interplay between these 4 draw you right in, setting up punchline and pratfall with perfect timing.  Julian Cound’s comedy delivery, especially when trading verbal punches with stage wife Samantha in “Outside of that I love you” is perfection and illustrates that, despite the much held belief that Top Hat is first and foremost a musical, it is also a brilliant comedy in its own right.

For anyone who has seen a DOS show over the past few years you will instantly recognise the craft and brilliance of Director and Choreographer Joanne Hand.  Whether it is the intimate duet in Cheek to Cheek or the stage stomping tap ensemble in Top Hat, White Tie and Tails, Joanne gives the audience the chance to step back to the hayday of Fred Astair and marvel at the power of perfect timing. The depth of talent at DOS has never been in question, but seeing the ensemble rival Busby Berkeley for coordinated tapping is very impressive.  Ably complimented by Linda Sams as Wardrobe Manager, the glitz and glamour costumers add even more wow the to the show.

Some would say that following modern productions of Sister Act, Legally Blonde, Spamalot, Priscilla and Chitty Chitty Bang Bang, taking a step back to a classic is a bold, if potentially risky, move which may lose some of the recently acquired, and perhaps younger DOS followers – to that I say poppycock – there is as much comedy, great songs, wonderful dancing and brilliant acting in Top Hat as will ever be seen in a newer more contemporary show and I urge anyone to go and be entertained.

Picture of Dorian Gray @ Darlington Hippodrome

A frightening insight into the fragile psychology of man faced with the relentless passage of time.

Based on Oscar Wilde’s novel of 1890, this retelling, adapted and directed by Sean Aydon,  is much less a traditional gothic horror and more a gripping, if somewhat challenging, psychological thriller, focussed on the trade-off between hedonistic pursuits and the fragility of age.  Playing on the same framework as Coleridge’s version of Faust, (but with less devil and more scotch) we witness the descent of young socialite Dorian Gray (Gavin Fowler – Penny Dreadful) from the innocent pup into a hardened and self-destructive cynic with a god complex so full of hubris as to challenge the very fabric of time itself.

The eponymous portrait, crafted by gentle and loyal Basil Hallward (the brilliant Daniel Goode – The Bill, Hustle, Shadowlands) remains ever present though never really seen, hanging more like a shadow of doom over the proceedings and creating an ever purveying sense of foreboding.  As young Gray is gradually and systematically hardened by Lord Henry Wotton (Jonathan Wrather – Emmerdale, Silent Witness, Bones) we see him release his grip on traditional values; his brazen dismissal of young actress Sybil Vane (the delightful Kate Dobson – Car Share, Fresh Meat) for whom he had professed love and indeed proposed, led to her taking her own life.  Instead of feeling grief and sorrow, Lord Henry persuades Gray to embrace life as a toy to be played with, only those who treat and treasure it as a finite commodity feel the pain of loss.

The Portrait of Dorian Gray is oft told as a simple tale – a man’s portrait is kept hidden and, following a pact with god (or the devil), the picture begins to age while Gray the man remains youthful.  In this version we are not given much indication as to the passing of time, in fact it is almost incidental, as the trade-off between portrait and man is as much about Gray’s soul and his ability to continue to commit heinous acts without showing any signs of guilt or remorse than it is about looking old.  Indeed, as he progresses, he even sees decisions to ‘be good’ (which can mean not killing someone when he was sorely tempted) as something to be celebrated rather than the usual baseline of acceptable behaviour.

Aydon’s version is certainly more thought provoking afterwards than it is during, in fact it was not until having slept on it that the more nuanced messages became apparent, but perhaps that is more a sign of how linear a lot of storytelling has become recently – indeed it was enjoyable to be challenged by a production which was neither formulaic nor predictable and I wager it will be appealing to many who seek a more ‘grown up’ tale before bedtime.

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