High Def Joseph and his Technicolor Dreamcoat

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 itself; 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.

Jaymi Hensley (who found his fame as a member of pop group Union J) has a hard act to follow, the alumni of previous Josephs reads like a who’s who of musical theatre but, after 30 years of watching, it is my opinion that his is the best performance I have ever seen.  Naive at the start, powerful and confident by the end, he takes the audience through Joseph’s journey from young boy to kings confidante with complete believability.  His renditions of the two standards, Any Dream and Close Every Door are given real depth, emotion and gravitas, breathing new meaning into the words and, even after 30 years, surprising with the feelings they stir  - the bar is now set super high for any future wannabees Joes.

Trina Hill as the narrator is inspired; Hill 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 Hill manages it with aplomb.

The rest of the supporting cast have boundless energy, which is just as well as Gary Lloyd 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 – there is plenty of references to other musical theatre, pop culture and even a cameo by Jersey Boys.  Nick Richings’ lighting design is particularly worthy of mention, never have the colours been so pure, so vibrant and clear - High Def theatre for the High Def era.

So, for lifelong fans and new additions to the Joseph family, get your tickets, warm up your camel and head on down to the Hippodrome 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 additional numbers at the end.

Agatha Christie's Mousetrap at Darlington Hippodrome

It’s amazing how some things stand the test of time despite changing fashions, changing cultures and changing tastes.  The Mousetrap was established in 1952 and over the following 67 years cinema, tv, theatre and entertainment in general have all undergone evolutions of their own.  Yet, here is one play that continues to attract audiences across the land and across the ages.

The opening night of this current production, directed by Gareth Armstrong and produced by Adam Spiegel and Stephen Waley-Cohen once again played to an almost full house – an amazing sight from within the audience and no doubt an equally encouraging and satisfying one from the stage.  The fact that most people have probably seen Christie’s most famous whodunnit at least once and still want to come back for more is testament to the brilliance of the writing and the guarantee that you are going to get a great evening’s entertainment. 

The current cast include Gwyneth Strong (best known and loved as Cassandra in Only Fools and Horses) playing Mrs Boyle, a brilliant lynchpin performance of Mollie Ralston by the wonderful Harriett Hare and a deliciously delightful Lewis Chandler playing Christopher Wren.

Set in Monkswell Hall Guest House (with some exquisite set design), the new owners Giles and his aforementioned wife Mollie take in their first set of paying guests on a bleak and snowy night.  Each present themselves having previously booked accommodation and yet all seem to be there for a different reason. Suspicions rise as one by one they are forced to interact with each other in the now snowed in hotel.  Right from the off the audience can see elements of the mystery evolve, little details that link each other and failings in credibility hitherto unobserved by the characters,  and yet we are still none the wiser or any closer to working out who the likely killer is.

The pace is perfect, allowing the audience time to play a little ‘Cluedo’ of their own as we delve further into the guests back stories but what may surprise some is how funny this play is;  the humour being neither farcical, nor distracting, but integral in creating depth of character and giving no short measure of laughs.

For obvious reasons I will not go further in exploring or explaining the story, nor will I say who actually ‘dunnit’;  like many that have come since, this story must retain it’s mystery right to the end – afterall I daren’t undo 67 years of keeping audiences guessing.

The Mousetrap is on at Darlington Hippodrome until Saturday 4^th May (Star Wars Day)

Rain Man @ Northern Stage

A long time favourite 80’s movie gets the stage treatment and is even better than the original.

The story of Charlie Babbitt, wannabe big shot luxury car dealer and his brother Raymond is as classic and timeless as the 80s soundtrack that accompanies this Classic Screen to Stage production.

Charlie (played by Chris Fountain with great frustration, a big ego an even bigger chip on his shoulder) is desperate to raise some cash to head off the loan sharks and save his failing business.  All he cares about is himself, so when his estranged father dies, he expects to inherit the family fortune and all his worries will be gone.  Sadly (for him) the estate is left to a 3^rd person, someone whom Charlie has never known existed yet has been linked to all is life – his brother Raymond.

Raymond is a savant, initially ‘held’ in an institution by a doctor who believes that isolation is the only way to protect Raymond from the world.  Adam Lilley plays Raymond and, if Dustin Hoffman received the Oscar for Best Supporting Actor, then Adam should equally be feted in acclaim and awards.  His portrayal of Ray is both sensitive and dynamic, immediately exposing the vulnerability of someone for whom the world is a confusing and scary place and yet, throughout, he bestows Ray with a strength of not needing to conform.

Through an attempt to get access to the family fortune by taking Raymond on a road trip, Charlie realises that life has far more purpose when you care about someone other than yourself.

Chris

Backed by some innovative set design, wonderful use of 80’s pop music and great pacing this transfer from screen to stage makes for a brilliant evening.  Northern Stage, with its wide stage, very comfy seats and great hospitality is an ideal venue for a night out.

Rain Man runs until the 13^th April – tickets https://www.northernstage.co.uk/Event/rain-man

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.