Theatre Review - PYGMALION - PEOPLE'S THEATRE, NEWCASTLE

 

Eliza (DaisyBurden), Pickering (JimBoylan), Higgins (Jake Wilson Craw) photo Paul Hood

One of George Bernard Shaw’s classic plays, the iconic Pygmalion tells the tale of flower-girl Eliza Doolittle as she is catapulted from working class poverty into high society. After a bet is made between the rich Professor Higgins and the even richer Colonel Pickering, it is decided that the uneducated ‘guttersnipe’ Eliza will be trained to be a lady. Even though her tutors’ own manners are at times sadly wanting, she is successful. But what then? Where does she fit now. This is a witty show of class and morality.

Higgins (Jake Wilson Craw), Alfred Doolittle (Jack Thompson) photo Paul Hood

Director Tracey Lucas has created one of the best productions I have ever had the pleasure of seeing. I hope to go a second time, if only to see if I missed any details, such as Higgins standing next to his own portrait, mirroring the same pose. Actors moved the larger pieces of set for scene changes as they continued to chat, in character, creating a smooth and extremely elegant switch. The set (designed by Sands Dobson) was just enough to set the scene without being overly complex or intrusive. The costumes (wardrobe Linda Girling, Poppy Carlaw and Luke McVeigh) and wigs (Wiggy), encapsulated the feel of each individual character and added vibrancy to the picture created on the stage with, at times, an almost rainbow-like effect. While lighting (Claire Brissenden) and sound (Kate Scott), were timed perfectly and synchronised effortlessly with the action on stage.

Mrs Pearce (Helen Parker), Eliza (Daisy Burden) photo Paul Hood

The acting was superb from everyone and the Ensemble (Hannah Backhouse, Oscar Errington, Ella McFetrich and Damani Richards) often had me giggling. Alisha Peart and Helen Doyle were charming as mother and daughter Mrs Eynsford-Hill and Clara Eynsford-Hill. Joseph Carss was delightfully dippy as the joyful, lovestruck Freddie. Helen Parker played the stern but kind housekeeper, Mrs Pearce, to full force as she tried to look after Eliza’s best interests. Jack Thompson was sublime as the drole semi-philosopher Alfred Doolittle. Maggie Childs was everything you could want and more as Mrs Higgins - seemly the only woman who can bring her son Henry Higgins to heel. Jim Boylan hit the perfect cord as the gentle and kind Colonel Pickering. Daisy Burden was incandescent as Eliza, managing the difficult task of transitioning her character through the show, from ‘draggle-tail’ to ‘duchess’, while keeping a strong and wilful mind. She showed us all how she, unlike Higgins, is strong because she is capable of evolving and adapting. Jake Wilson Craw is the new standard by which any actor playing Henry Higgins must surely be measured as it’s difficult to see the role being played any better. He hit the sweet-spot of making the character neither too likable nor too disagreeable, and made every action seems so natural.

Truly an astoundingly good show, worth seeing at least twice.

Pygmalion is showing at the People’s Theatre until 22^nd March.

Theatre Review - HANGMAN - PEOPLES THEATRE - NEWCASTLE

 

Harry (Ian Willis) photo Paul Hood

Hangmen, written by Martin McDonagh, is difficult to describe, except to say it deals with dark and disturbing themes in a very sardonic way. You find yourself laughing, whilst also thinking ‘is this ok?’ It’s a little unsettling what subjects can be made ‘funny’. Set in the sixties, we start by watching a man called Hennesey as he seemingly attempts to argue his way out of the noose at the last hour with his protestations of innocence. Hangman, Harry Wade, is having none of it and the job of his hanging is done. Cut to a couple of years later in the now-retired Harry’s pub, the government have abolished hanging and, as the (formerly) second-best hangman in the country, people want to hear his thoughts. The warm mood of the Oldham pub changes as a stranger appears and old colleagues visit. The subject of Hennesey, and the question of his guilt, comes up several times through the show – but was it Harry who took his life or the courts?

Alice (Alison Carr) & Mooney (Craig Fairbairn) photo Paul Hood

Director Matthew Hope has created a thought-provoking and entertaining show that keeps the audience’s attention with its dark ‘gallows’ humour. The music between scenes was a clever nod/link to the actions it bookended as swift scene changes took place. The set, lighting and sound (all designed by Tim Swinton) were nicely detailed and gave an excellent ambiance to the whole production.

Hangmen photo Paul Hood

The whole cast was very strong and all showed excellent skill throughout. Harry, played by Ian Willis, had such perfect timing and showed us the true colours of a pompous man who doesn’t feel the need to question why he thinks something. The chilling, yet charismatic, fast-talking newcomer Mooney, was played by Craig Fairbairn, who was mesmerising as he intimidated and undermined those around him.

The play itself, reflecting the attitudes of the times and handling sensitive themes, is not for the faint-hearted, with some violence, strong language and outdated attitudes on display. That notwithstanding, it’s a very funny, dark and atmospheric play.

Running until 8^th March at The People’s Theatre.

Theatre Review - DIAL M FOR MAYHEM! - DARLINGTON HIPPODROME

 

Dial M for Mayhem! from Middle Ground Theatre Company instantly took my mind to Dial M for Murder, the 1950’s thriller, but clearly with a twist. So, begin to think more Play That Goes Wrong and Noises Off as comedy drama rather than thriller and you’ll know what to expect.

Set in 1991 a small group of actors are travelling around village halls and open their production in a remote area of the Scottish Highlands and Islands. This is emphasised from the large screen behind the set highlighting the remoteness of the area. The group are performing Frederick Knott’s classic 1950’s thriller Dial M For Murder. The play within the play, shows the set of the village hall with their set for Dial M for Murder, which to be honest does create a very busy set, with little space for movement, but does show exactly what touring theatre is like, trying to fit the set into anywhere they go.

During the first act we discover the dynamics of the group as they rehearse the murder scene, showing the stresses of the group of people being thrown together as they work on the road, including some of the locals which appear. The main comedic elements are set up during this act with several accidents. The highlight being Joey Lockhart as George the AA Man, with his oversized AA mug and moving props on the set. The second act the pace instantly increases as we are back stage with the performance, where the set and props fail, crew members feel ill and a rat keeps appearing.

The six actors, Joey Lockhart, Isabella Inchbald, Theo Woolford, Estrid Barton, Luke Rhodri and Alasdair Baker, playing nine characters with some doubling perform incredibly well. The range of accents were the only possible issue with my companion who occasionally struggled to hear fully.

This was a highly entertaining evening with lots of comedy and if you’ve ever been to a village hall as an actor or member of the audience you’ll love it.

Dial M For Mayhem! runs until Saturday 22^nd February at Darlington Hippodrome.

Theatre Review - TOP GIRLS - PEOPLE'S THEATRE, NEWCASTLE

 

TopGirls - dinner party - photo Paul Hood

An interesting show that subverts the audience’s expectations. Top Girls was written by Caryl Churchill in the early eighties. Seeming to have rather a dour perspective on the age-old question ‘Can woman really have it all?’, it starts with a sort of fantasy dinner party with various women from history celebrating Marlene’s promotion. As the evening goes on, they all lay bare the wounds their successes brought them. Scene Two feels like a whole new play as we watch an argument between two teenagers. Scene Three finds us back with Marlene, though this time with actual living people, as we join her at ‘Top Girls’ employment agency. The final scene has the audience catapulted back in time one year to see Marlene visiting her sister.  An intriguing plot looks at how women of various states view one another.

Angie (MyahRoseWilson) photo Paul Hood

Directors Kath Frazer and Sue Hinton have created a dynamic show that combines anticipation and depth of feeling with a humour and drama. Set Designer Luke Durham created a simple but effective set with little furniture that created each different environment perfectly. Geogina Purvis was an absolute wizard of the wardrobe as she created not only effective and characterful 80’s fashion for each individual character but also dressed a Pope!

Shona (Erin Thwaites) & Nell (Steph Moore) - photo Paul Hood

The entirely female cast was absolutely flawless and naming the numerous talents of each of these women would take too long. Each actress brought something different and interesting to their roles and made it their own. Here are a few of the wonderful performances in store for anyone who goes to a performance: Sarah McLane had me in stiches as the woman of few words, Dull Gret, and Anna Dobson was equally hilarious as the fantastic Pope Joan. Hayley Simpson, as the uber-sophisticated and graceful Win, is that girl we all wish we were, until we know her back story that is. Kay Edmundson invokes such emotion as the struggling Joyce and Myah Rose Wilson creates an effective, angry, yet unaware teenager Angie. Finally, Sara Jo Harrison is extraordinary as the ambitious Marlene and always has the audience in the palm of her hands.

Top Girls is showing at The People’s Theatre until 15^th February.

Shona (Erin Thwaites) & Nell (Steph Moore) - photo Paul Hood