Theatre Review - THREE TALL WOMEN - PEOPLE'S THEATRE, NEWCASTLE

 

A strange, yet brilliant, play written by Edward Albee. We start off in the bedroom of an elderly woman in her early nineties (exact age being up for debate) with her nurse and a woman sent in to monitor her paperwork. She tells them different things about her life as both of them consider ending up like her. The younger bookkeeper thinking that’s not where she is headed, as the middle-aged nurse seems to have accepted the grim inevitability that this is how we all end up. The older woman flicks between lucidity, reminiscence and the distress of confusion. The second half shifts to being inside her mind. As her son sits at her bedside, the three ages of the woman discuss her life. The 26-year-old self seems disappointed by what is to come, while the middle-aged version is already exhausted and jaded by the weight of life. This is balanced nicely with the older version, who looks on with apathy and acceptance of who she was. The three seem to subvert image of maiden, mother and crow, as we are reminded not all mothers are the ‘maternal type’. She is all of these women and none of them. She is the woman that time, life and her choices created - not necessarily likeable, but a ‘Tall Woman’ nonetheless. A deeply satisfying play executed magnificently.

Director Hugh Keegan creates an often intense production with many moment of wry humour. The set design of a simple but sumptuously furnished bedroom by Claire Leighton and Tim Swinton really sets the scene. The lighting and sound (also designed by Tim Swinton), highlighted the characters intense emotions and, at times, reflected memories with projected pictures on the walls, changing with the main character’s stories. Charlie Hope plays the simple silent role of Young Man well. As to the three main actresses, this show was a very tall order, with all three on stage for most of the play. Add to that the enclosed nature of the studio theatre it is performed in and you realise how gifted these three woman are, holding the audience in the palm of their hands at all times and always maintaining character. Kath Frazer played A, who slipped between the different memories of who she was and melting the audience’s hearts with outbursts of confused frustration. Sara Jo Harrison was B, a hypnotic performance as the sardonic fifty-something. Alison Carr, as C, brought out the naïve, almost child-like hope that our futures will be happy.

A fine piece of intimate theatre that reminds you to look closely at your own life, Three Tall Women is at the People’s Theatre, 31^st May - 4^th June2022.

Theatre Review - A BUNCH OF AMATEURS - THE PEOPLE'S THEATRE, NEWCASTLE

Dorothy (KayEdmundson), Jessica (SophieTaylor) photo Jules Dash

A story of a big name - and some even bigger egos. A former action hero is in need of a new direction as he becomes too old for the action genre and asks for help from his agent. Fortunately, his agent lands him the role of King Lear in Stratford, unfortunately it’s not that Stratford. Worse still, his co-stars are literally a bunch of amateurs. A Bunch of Amateurs, by Ian Hislop and Nick Newman, guides you through the silly, fun and complicated world of amateur dramatics, with all the pomposity and love it can house.

 

Ensemble (IanWillis), Denis (TonySehgal), Dorothy (KayEdmundson)
photo Jules Dash

Director, Steve Hewitt, clearly worked hard to bring about this show, adding moments of song to cover scene changes and highlight emotion. The decision to have cast members walk around the audience brought life to the performance as well as drawing the eye away to allow for set changes. Set Designer, Megan Smith, has created something of both minimal and adaptable beauty. A simply painted room unfolds like a Christmas card; I only wish it could have been utilised more. Phil Bradley, who designed the Lighting, and Kate Scott, who designed the Sound, created a good back drop to allow the play to spring forth. At times a few of the actors were a little hard to hear, but overall, the speech was clear.

 

Kay Edmundson played the true peace-maker Dorothy, as she tries her best to keep all egos in check while dealing with the demands of Jefferson Steel, played by Steve Parry, who has a habit of referring to himself in the third person. Roger Liddle was brilliantly cast as self-interested and hammy Nigel who, under normal circumstances, would be playing Lear. Tony Sehgal as Dennis gave a solid comedic performance, almost channelling Blackadder’s Baldric as he explained why he would have made a good daughter (Goneril) for Lear. Kirstie Corfield was the charmingly befuddled Mary. Kate Lundy was Lauren, wife of the sponsor and the hapless physiotherapist who gets caught in a scandal. Sophie Taylor completes the main cast as Steel’s sarcastic and world-weary daughter Jessica Steel. As the rest of the Stratford Players / Journalists, we have; Bill Harrington, Stewart Dives, Steve Strouzer, Lauren Aspery, Molly Winton, Abigail Martin, Jo Murray, Ian Willis and Ben Watkins. They gave the impression of a busy theatre, while also arranging props and set during other characters’ speeches. At times this could be a little distracting, but it really helped set the tone when they were reacting to Steel’s shenanigans. If ever you loved the stage and the Bard, you’ll find something to smile at in this production.

The play’s the thing!

Runs at the Peoples Theatre until 14^th May.

Theatre Review - SHAKESPEARE'S SPEAKEASY - PEOPLE'S THEATRE, NEWCASTLE

Another thing to add to your bucket list; see a Shakespeare’s Speakeasy, see another one and then another. When you think of Shakespearian productions you will probably envisage a large scale, extravagant production with drawn-out dialog that emphasises every last syllable. Shakespeare’s Speakeasy is so much more fun than that. The actors have one month to learn their lines, separately, then one day together to create the production. With a ‘rehearsals are for wimps’ attitude, the show steams forward with confidence, laughter and cheesy pop music. As an audience member, you have no idea which of Shakespeare’s many plays they will be performing until the show starts, which adds to the fun! 

There have been many good productions of Twelfth Night, but Shakespeare’s Speakeasy smashes them all out of the water. This is rough and raw theatre, things go wrong, lines aren’t perfect, but the show is all the more enjoyable for it. It feels impossibly good for the time it has taken to put together. Only a few basic modern day props, some simple lights, a few bits of costume and a host of talented actors take you through the raucous performance of the Bard’s work. It’s ludicrous! It’s fantastic! This show is wise enough to know it’s a fool. By bringing the production to a simpler and, dare I say it, more accessible form of Shakespeare’s work, you can feel the joy of it. Not a word-for-word rendition, but showing the true soul of the Bard.

Jake Wilson Craw triumphantly directed this production, as well as working the lighting/sound desk (at times), while also playing Viola’s lost brother Sebastian with subtly and wit. The suggestion of his bisexuality brings new meaning to Antonio’s words of loyalty. Artistic Director Steven Arran, who also part-ran the light/sound desk, clearly took great pleasure in his role as the pompous, and greatly wronged, Malvolio. I have never laughed at a man’s legs more in my life. Katie Tranter, a resigned Viola with such easy humour, slipped gracefully into her role. Ellie Carroll seemed to revel in her moments as a slightly raunchier Olivia, leaving Sebastian with more than just a quick kiss. Adam Lowe flitted quickly between the delightfully cool Duke and his weasely Sir Andrew Aguecheek, contrasting the two perfectly. Joseph Lynch had the daunting task of playing The Clown, Sea Captain and Antonio, accomplishing his different roles with true earnestness, an understated delivery of his lines and a great deal of humour. Philip Harrison as Sir Toby Belch was wonderfully interactive with the audience; thank goodness he hadn’t had too many pickled Herring. It was a pleasure to watch him scheming with Kylie Ann Ford as Maria. She was able to say what we were all thinking about Malvolio and had the audiences in stitches.  

Bawdy, bold and brilliant!

Theatre Review - GASLIGHT - THE PEOPLE'S THEATRE, NEWCASTLE

 

Bella (Catherine Ellis)
photo credit Tim Swinton

The play that gave its name to the term ‘gaslighting’ was never going to be easy watching. Husband Jack Manningham is lamenting his failed efforts to help as his wife slowly descends into madness; but is he really such a good husband – and just why is Bella, his wife, so on edge? As Inspector Rough enters the scene, one must question if Bella really is losing her mind, or if someone is driving her from it. A disturbing tale that will have you questioning each move, it’s a play as pertinent today as it when it was first written in 1938.

 

Jack (Sam Hinton) Bella (Catherine Ellis)
photo cedit Tim Swinton

Director Gordon Russell should be complimented many times over on bringing forth a show which would not seem out of place in the West-End. The atmosphere in the theatre was (ironically) electric! From the perfectly-tailored Victorian costumes (by Sarah Pearson) that fit both the actors and characters well, to the lighting (designed by Tim Swinton), keeping those all important lamps at the correct levels for a sinister feel, to the sound (designed by Tim Swinton), sending chills down the spine with subtle but eerie music and whispers, bringing home Bella’s feeling of unease. The set (designed by Tim Swinton) is green; normally a calming colour, here it creates a sinister, oppressive, atmosphere - reflecting Bella’s feelings in a place that should feel calm and safe. I would advise you to get seats in the centre block, if possible, as otherwise, due to the way the sofa is positioned, there were occasionally times you saw more of the characters’ backs than the action at hand.

Rough (Stuart Douglas) photo credit Tim Swinton

As we took our seats it was announced the two of the cast, Valerie Russell and Mark Buckley, would not be able to perform. Although it is sad to miss the actors who, I’m sure, put a lot of work into what is a fantastic show, it is a testament to the high standards at the Peoples Theatre that, had no one told me of the change, I would never have known. Maggie Childs stepped in as caring, and occasionally funny, maid Elizabeth. Sam Hinton played Mr Jack Manningham, slipping quickly from happy caring husband to tyrant on the turn of a heel. Stuart Douglass played Inspector Rough, bringing moments of much needed humour to punctuate the tension. His characterisation was flawless and perfectly understated. As for Catherine Ellis, who played the haunted Mrs Bella Manningham, I can only applaud her skill in executing such a difficult role - at times so anxious and fraught she becomes nearly manic with laughter; award-winning professional actors could do no more.

Please see this show - it is an intensely good piece of theatre that will have you on the edge of your seat.

Gaslight is running at the People Theatre 28^th March- 2^nd April.

Theatre Review - CATCH ME IF YOU CAN - DARLINGTON HIPPODROME

BILL Kenwright has brought one of the most engrossing thrillers I’ve seen to Darlington Hippodrome. The twists and turns during Catch Me If You Can kept me completely captivated throughout. With so many red herrings, it kept my brain working hard trying to decide what the conclusion would be.

Set in the mid-60s in the living room of the remote Catskill Mountains, designed by Julie Godfrey. The newly wed Daniel and Elizabeth, should be enjoying their honeymoon. Instead, Daniel Corban, Patrick Duffy, is waiting for the return of his wife Elizabeth, who he has reported her as missing. Inspector Lavine, Gray O’Brien, is investigating the disappearance. Father Kelleher, Ben Nealon, turns up with Elizabeth, Linda Purl, which starts many extraordinary events as Daniel believes Elizabeth is an imposter and not his recently married wife, but the evidence shows otherwise. Who is telling the truth? With the arrivals of Sidney, Hugh Futcher, Everett Parker, Paul Lavers and Mrs Parker, Chloe Zeitounian, the surprises and shocks for Daniel keep coming.

The pace is steady up until the final conclusion. Patrick Duffy, well known for his iconic role as Bobby Ewing in Dallas, shows what a talent he is. He quietly commands the stage showing a range of emotions. Gary O’Brien is always there when he is needed, but doesn’t appear to give support to Daniel. Linda Purl brilliantly makes you change your mind about who she actually is. Ben Nealon is probably my favourite character, in a style of Father Ted – a priest with attitude.

The standing ovation was well deserved. This is a thriller you must see.

Runs until Saturday 19th March.

Theatre Preview - A NORTHERN ODYSSEY - PEOPLE'S THEATRE, NEWCASTLE

Fisher Girls photo Paula Smart

“Every man must have his mystery”

 

Some of the masterpieces that secured Winslow Homer's reputation as the greatest American figurative artist of the nineteenth century were painted in Cullercoats. But what on earth was he doing there?

Tynemouth-born Shelagh Stephenson's A NOTHERN ODYSSEY magnificently imagines how this quiet genius settled in a remote enclave of the North East in 1881 and stayed for the best part of two years, gaining inspiration from the fishing folk and their way of life.

The arrival of such an exotic creature from Massachusetts creates an inevitable, often funny, clash of cultures. The local fisher girls wonder what Homer is – French, perhaps? – while he struggles with their accents.  

He meets injured fisherman Joe to whom Homer represents an escape to a life of endless possibilities, and finds himself drawn into the family of a local lawyer and his wife, a would-be poet who craves culture and sophistication.

Apart from the paintings themselves, Homer left no record of his stay, leaving Stephenson (whose credits include ‘Downton Abbey’ and new BritBox drama ‘Murder in Provence’) a blank canvas for the play, which was originally commissioned by Live Theatre.

In imagining his time in the region, Stephenson creates a living, breathing portrait of the artist and weaves a tale of seduction, not only of individual hearts, but of a whole community.

Adam Thompson who plays Joe adds: “This gem is a love letter to the North East coast. The play’s sense of place is rooted in its depiction of the working class. It’s a story of unrequited love and is a seminal piece of LGBTQ+ theatre in its unassuming, quiet way.”

A NORTHERN ODYSSEY is playing at the People’s Theatre from Tuesday 8^th to Saturday 12^th March, including a socially-distanced performance on Tuesday 8^th. Find out more and book your tickets at www.peoplestheatre.co.uk       

Theatre Review - ABIGAIL'S PARTY - THE PEOPLE'S THEATRE, NEWCASTLE

 

Abigail's Party photo Paula Smart

A suburban situation comedy of manners and a satire on the aspirations of the middle class. Beverly has invited her new neighbours, Angela and Tony, around for a few drinks, as well as neighbour Susan, a divorcee who has vacated her own house to allow her daughter Abigail to have a party. The evening starts off badly when Beverly’s husband Laurence is late back and then has to pop out again for work. The uncomfortable evening goes forward with too many gin and tonics, many cigarettes and stilted conversations, with a few eventful moments to boot.

Beverly (AnnaDobson) Laurence (SeanBurnside) photo Paula Smart

Director Sam Hinton uses the awkward silences in the conversations to great effect, drawing out ever more laughs from the audience. The set, designed by Claire Leighton, was quite simply a joy to behold, reflecting an authentic seventies-styled living room with its loud prints and beaded curtains; it was very clear a lot of care and attention had gone into its creation. At the interval I had to force myself to stay seated to refrain from going up and pouring myself a drink! Lighting and sound by Tim Swinton were simple and effective, adding to the ambience of a night in a neighbour’s home. Costumes by Paula Smart fed into the feeling of the characters and the time.

Anna Dobson (Beverly) Alison Carr (Sue)
Mark Burden (Tony) photo Paula Smart

I was afraid, after hearing the barely audible recorded announcement before the show, that I’d be straining to hear, however this was not the case and all actors and their well-tuned accents were not only easy to hear, but marked out each character brilliantly. I was surprised to realise that the actors were actually smoking during the show; my hat is off to a true commitment to the part. Anna Dobson, who delighted in every opportunity to bring out innuendo as the overbearing, and increasingly inebriated, Beverly is ‘very good actually’. Emma Jane Robson showed some very interesting dance moves as the practical, and also increasingly drunk, Angela. Sean Burnside had me laughing as he held a knife a little too long as the poor, ridiculed husband of Beverly, Laurence. Mark Burden does so much, turning a seemingly monosyllabic character, Angela’s husband Tony, into comic gold. Alison Carr had me laughing out loud to her reactions, and use of seemingly polite replies, to the ever-probing questions of her nosey neighbours, as divorcee Susan.

A very enjoyable evening.

Abigail’s Party is running at the People's Theatre until 12^th February.