One Man, Two Guvnors ****

It’s been a busy year for Richard Bean, with The Heretic doing well at the Royal Court and One Man, Two Guv’nors exploring the rich vein of entertainment in the Commedia dell’Arte and building on the work of Goldoni before him and his The Servant of Two Masters, originally written in 1746. The result is a blend of rehearsed gags and improvisation, physical comedy and witty banter that will reduce you to tears of interminable joy.

      

The script itself is remarkably basic. The jokes are obvious and simplistic, leaving plenty of room for the physical comedy and improvisation that make the show what it is. It takes a while for the ball to begin rolling, as the heavy strokes offered by the script don’t allow for much engagement from the audience. It’s when Corden enters that the fireworks begin and the action comes to life on stage. The script works as little more than a stage on which this action is set. There are a few recurring jokes but by and large the script isn’t at the forefront. I think if it was the show would not be as free and hilarious as it is.

      

Hynter’s touch is delicate but vital. Taking the simple script and crafting a simple set that works with the concept of the play itself and giving the actors a platform on which to excel he creates the opportunity for the brilliance that follows. The ensemble and supporting cast are set up and provide less in the way of plot development and characterisation than something for the leads to bounce off and it pays dividends.

      

It would be remiss of me to not mention the talents of The Craze, the band that plays the show in and out of acts and scene changes. They add a further dimension of audience engagement that is delightful and unique, once again making the show something special. They have a subtle blend of talent and poise as well as a small dash of humour to them as well and playing to a crowd like that must be a great amount of fun.

      

Special mention in the cast must go to Oliver Chris, Jemima Rooper and Daniel Rigby. All members of the cast are given a moment or two to shine and all take it with aplomb but these three crafted more for themselves and garnered a joyous expectation every time they made an appearance on the stage as the inevitable conclusion drew ever closer. I was a particular fan of Oliver Chris’ work in creating the upper class boarding school fop stereotype so hilarious.

      

Despite all this, it is James Corden is what makes the show what it is. His banter and improvisation with the audience is beyond what is offered by the basic script and at times it feels more like The James Corden Show than anything else, not that this is a bad thing. He takes the Commedia dell’Arte and explodes it onto the stage almost single-handedly and does so hilariously. Often addressing the audience as himself, as his character, as someone else entirely, he involves the audience in a way that is seldom seen. He deals with the physical comedy brilliantly, Hynter playing a part as well, no doubt, in playing a lot of the gags. He excels in the role and it’s his banter that makes him a unique talent. Bloody brilliant.

      

On the evening I went to see the show, a member of the audience managed to destroy the middle of the first half by offering Corden the sandwich he was shouting for. In what I hope will become known as the Infamous Houmous Sandwich Incident (sounds like an episode of The Goon Show) Corden has to deal with what little plot the play has being turned completely on its head. That’s what happens when you break the fourth wall like that. Corden, to his credit, completely broke character and engaged with the audience on this point for what must have been almost ten minutes, even saying at one point ‘this guy’s only got three lines in the whole play and you’ve just ruined two of them!’ I will never forget seeing someone on a West End stage look at a member of the audience and with genuine if comedic sincerity tell them that they've 'kind of interfered with the plot of the play'. Brilliance at work.


This is the only play in which this made the action better than it would have otherwise been. Later, Oliver Chris misses an important entrance, once more prompting Corden to break character and have a comedic stab at him. The final scene wasn’t free from this, either, with Chris utterly corpsing (I was at the very back of the stalls and even I could see it) and causing Corden to break again. In any other show this would be disastrous. Here it is worked in as brilliance and a wonderful showcase for Corden’s quick-witted comedy.

      

It is these moments that make the show special and offer the West End something that it won’t have found anywhere else. It makes it different to the point of being unmissable and lovers of this kind of hilarity will feel blessed to have both this and Noises Off playing at the same time. The dynamic between Corden and the character he plays, often simultaneously, is endlessly funny. It’s just funny.

      

After this most recent transfer, the play is set to split into non-identical twins from the same single form when James Corden takes it to Broadway while the current understudy for his role, Owain Arthur, takes over the lead reigns for the transfer to the Theatre Royal Haymarket in March. Being unfamiliar with Arthur’s work thus far I’d be challenged to recommend it with him in the lead role, though I’m sure it will be a good show. The current version, however, is made what it is by Corden and I’m very excited to see how the show does with him on Broadway. If you can find a ticket going before it splits then take it with open arms.

Written by Richard Bean; Directed by Nicholas Hynter; At the Adelphi Theatre; Starring James Corden, Suzie Toase, Trevor Laird, Fred Ridgeway, Claire Lams, Martyn Ellis, Daniel Rigby, Jemima Rooper, Oliver Chris, David Benson, Tom Edden; Runs from 8 November 11 - 25 February 2012.

http://www.onemantwoguvnors.com/adelphi/

John Ord (21/12/2011)

Promo: Nierka

The New Year has many exciting prospects for us to look forward to and they are far too many to name. Here, however, I shall name one. 'Nierka' is a highly extraordinary piece that transcends most of the common theatrical boundaries, bringing a myriad of different arts together to create a more substantial, a more impressive, a more emotional whole. Created to tell the story of a man who realises that he is not immortal, that he was born at least in part to die it touches on something that we must all face at some time or another.


The man behind this concept and who is driving it firmly forward towards the 14th January (where it has a three night run at the Peacock Theatre in Holborn) is Tupac Martir. Martir is a visual designer by trade, a creative director with a portfolio that boasts an impressive back-catalogue of achievements. Listing a few would see a whistlestop tour through Paris and London fashion weeks, production design for Elton John, Sting, Beyonce and Jon Bon Jovi. Alexander McQueen, Stella McCartney and Vivienne Westwood have his design in common as well, among many others. Now he is bringing all his experience to bear on his personal passion combining writing, technology, dance, music, image and so many other artistic disciplines that to go into details would be to make it dull. If there's one thing this project certainly is not, it is dull.


Ahead of opening the show to the London audiences, Martir was kind enough to offer some of his rather oversubscribed time to answer a few questions for us at Tipsy Hippo. It is these answers that are contained below. They're rather good, you know. We think you should take a look. Go on, it's right there anyway...

For those who don't know you, how would you introduce yourself?

I am a visual designer, my work consists in creating environments in which performers can best present their story, performance, songs and talents. I always feel that my main objective while doing a show is to enhance the performance, to create other stimuli that help the performance become clearer.

What is the idea behind Nierka and where did it come from?

The idea behind Nierka is the moment when a human being understands that he is not immortal, that the nature of life is that he will eventually die, how he handles that reality which human beings tend to ignore or repress, hiding away from their demons and their fears. After this realisation comes the understanding of his place in life and in this world, the beauty of being part of the universe.

The idea came from a personal experience; after going through a similar process I felt the need to express it. It started as drawings, then etchings, then paintings and I couldn't get across my feelings the way I wanted. So for the first time I started writing and putting my emotions in writing. This felt really good but I knew that it wasn't the right medium. So I converted all that writing in combination with my drawings and the music in my head into a show. The more that I developed the idea, concept, music and everything else, that's when I realised I was creating this emotion and arriving at the correct outlet for my artistic vision.

What makes Nierka different from everything else on at the moment?

I think it is the way the piece is conceived, the fact it is the addition of all the elements at the same time that create the image, that no element was an afterthought but rather that they were developed at the same time, hence they are always helping the piece. They are all highlighted at various points but it is always about how the combination of the elements play with each other and interact with each other that makes the show different. Each light is as important in generating the emotion or feeling as a musical note or a movement by a dancer. The fact that all the elements are treated as characters, not just as an element to enhance a "principal character," gives an importance to the colour, movement, etc. 

It is also one of the first times that I am working with so much talent, artists that are usually the centre of attention in their own disciplines and that are taking a bit of a back seat, understanding that it is the sum of all their talent that will create the beautiful piece we are trying to create.

Why have you chosen London to host this event?

The first three shows will act as a showcase, hence we wanted to show it in a place were it will be easier for people from all over the world. It is also a Mecca for theatre, dance, arts, film, etc so it felt like the right place to perform a show like this.

How much work has gone into creating this project?

It has been hard work, not only as I am the director, main designer, writer, creator, etc. I am also the producer and mainly the man financing the show. So it has taken a lot of dedication and love to try to get the show up and running. After finishing the script we started looking for the choreographer, talking with the musicians, developing the characters, costumes, set, toys and all the technology that is coming into the show. I would say that it has been 2 to 3 years of a constant movement towards this goal on the 14th January.

What's been your favourite part of developing the show so far?

There are a lot of moments and things that I can think about but seeing everyday how things develop, how there is something new that gets us closer to my vision of the show is amazing. It is by far the biggest thing that I have ever created and to be surrounded by so many talented people is a delight. 

What do you hope to achieve with Nierka?

I am hoping to create a new way of seeing shows, looking back at old technology and finding new ways of using it and combining them with new technology. I want to make sure that I can create emotions in the audience, that in a certain way they can see themselves in the different elements and internalise the pain and happiness that our characters go through. 

What's next afterwards?

I am already developing the next two shows and working on new creative ideas. I hope to have a script finished by the end of April so I can start the process all over again. All that combined with my work in London and Paris Fashion weeks, a show in the Middle East and hopefully a tour of Nierka and other exciting new projects.

For people still 50/50 about whether to go or not, what would you say to convince them it's a good idea?

I would say don't be scared; give new people a chance. I am a visual artist crossing over to create something different. I don't know if you'll love it or hate it but I am sure Nierka will get an emotion out of you. That is the reason why we love art; because it makes us feel.

Nierka will run from the 14th to the 16th January at the Peacock Theatre on Kingsway in the heart of central London, only a short walk from Holborn tube station. This, to me, feels like the work of someone who cares about what's being said, someone who has a genuine desire to express something that lies deeply within themselves and is not doing it for any ulterior motive. He is open and honest, ambitious and determined and I, for one, am very excited about seeing this fantastic new show.

http://www.nierka.com/

John Ord (14/12/2011)

Winter Marathon 2011 Roundup

Right, so we've managed to make it to the end of what was a very exciting week for us at Tipsy Hippo HQ. We've seen a total of six shows this week and have loved traipsing around London in the cold and blustering beginnings of winter to make them all.


In case you missed any of our reviews, we saw Matilda (*****), Through the Night (**), Audience (***), Haunted Child (***), The Pitmen Painters (****) and Noises Off (*****). We thought that it would be a good final roundup to take a look back at the highs and the lows of the week and mention a few things that we felt were perhaps a wee bit out of place in the reviews themselves. It's only a short piece but a nice way to sign off nonetheless. 


There have been a number of highlights during the week, sandwiched between two outstanding five-star shows. 'Matilda' was simply outstanding and the song 'Naughty' has become something of an anthem over the last week. If anything is to be taken from this, it's that Bertie Carvel shouldn't be allowed to be as talented and funny as he is and that Tim Minchin should write more for musicals. Some of the lines in 'The Smell of Rebellion' had a distinctly Sondheim quality about them and were very intelligent indeed. And catchy. So damn catchy...


One criticism that can be levelled is at the Cambridge Theatre in itself and primarily at the front of house staff. It was something that annoyed us on the day and became a regular irritant throughout the week. Making sure everyone is seated when the action on stage begins is one of the principal duties of the ushers. After the interval for 'Matilda', however, there were stragglers coming in as late as ten minutes into the action and those of us seated near the back missed a substantial amount of what we can only assume was very funny stuff because of silhouettes walking across in front of us like a pirated DVD of an awful film. Not that we've ever seen a pirated DVD, of course. 


The ushers at the Finborough on the following night were also disorganised, calling us to enter the theatre from the bar while someone at the entrance to the theatre was telling us we could wait downstairs for the doors to open. This lasted a good five minutes before we were actually let in and wasn't an auspicious beginning. Though the Old Vic were as good as usual and one man in the Duchess ticket booth was particularly kind, I don't know what took the Duchess staff so long to start the show but it took what felt like ten minutes from when they closed the curtains around the doors to actually start the show. Perhaps this is something that needs to be worked on throughout the West End. Tidy up the front of house logistics and make sure you're efficient and prompt.


It's certainly not all doom and gloom, however. There were far more good things than bad and after seeing 'Audience' I can promise you that no trip to the theatre will be quite the same again. There will always be a sideways glance at the other audience members to see what they're up to and to try and discern their thoughts and character from their appearance. They've certainly succeeded in giving theatre an entire dimension that was missing before. At any show, whatever it is, the audience will now also be a show in themselves to those willing to look and see what they can find. Though, having said that, it's probably not a good sign if the show on stage is driving you to these lengths. Maybe something for the interval, then.


If there is anything this week has shown us it is that there is a wide variety and seemingly endless wealth of talent and joy to be found in the London theatre scene at the moment. Looking back over the last year and a half, we are prompted to agree that this isn't a new thing, either, and that the future is bright as well. There are so many reasons to go to the theatre in the coming months that it would be futile to try and list them all but they are all good and positive.


We enjoyed the marathon so much that we've already baked up the idea for another serving of marathon madness so in a few months when the weather once more turns its favours around and we can look forward to some sun on the horizon we'll be planning to bring another week of jolly jaunting to London's theatre highlights. We hope to see you then! Remember to keep following our weekly updates and, since the New Year is almost upon us, be ready for our annual Tipsy Hippo Theatre Awards that will be coming out first thing in January, giving a rousing round-up of everything we've seen this year!


Marvellous!


TTFN

Noises Off *****

Perhaps one of the most celebrated backstage comedies of all time, Noises Off returns to the West End for the first time in about ten years at the Old Vic under the expert guidance of Lindsay Posner. The concept is simple; the action is anything but. A farce evolves around a theatre company trying to stage a farce and chaos, unsurprisingly, ensues in utterly ridiculous fashion. This is one of the best nights I have had at the theatre all year and I sincerely urge everyone to book a ticket now and go whenever you can.

      

From even before the play begins the Old Vic has put everything into it. The music that plays develops into a dynamic all its own and works very well indeed. In addition to this, I particularly liked the inclusion of a short programme for Nothing On in the actual programme; it really gave the play within the play a feeling of authenticity that allowed us to believe from the off that these characters were real and struggling. This may not be a necessary touch for farce but it lifted it to a higher level.

      

The first act is hilarious but it’s the second act where it really steps it up a gear and accelerates to raucous laughter with the onstage and backstage confusion mounting and multiplying. There’s not enough duct tape in the world to hold this group together and watching it all fall apart with their simultaneous best efforts to hold the show together and sabotage each other gave an experience that is doubtlessly one of the funniest I have ever had in the theatre. It’s what A Flea in Her Ear was trying to be.

      

It must be unnervingly difficult to make sure that everything is in the right place, that the timing of all the events is as perfect as it was when they were on stage. The rehearsals must have been exhausting but I can thankfully report that it was worth it. The comic timing of not only the lines but also all the physical comedy was perfect. The second scene in particular requires the actors to all keep a great deal in their heads at once to make sure that everything meets up in the way it needs to and everyone succeeded brilliantly. It’s a textbook example of great farcical theatre.

      

To single out any one of the actors for praise over and above the others is impossible. They are all, every one, outstanding. They have mastered the physicality required of such an energetic farce and often their physicality alone is enough to make you laugh out loud. The confidence that the actors have in their lines is remarkable for a script so easily confused and muddled. Each character has a distinctive comedy and a recognizable humanity, a keen balance to be struck in such a demanding play. The quality on stage here is some of the best I have not only seen all year but ever.

      

It’s not hard to see what has made the script so lauded over the years. Apart from the meticulous attention to detail that is necessary for a successful farce (let alone a farce within a farce) it offers so much more than that. Every line is comedy. Every line is either a joke or a setup for a joke, either physical or otherwise. The intelligence in the structuring of the acts is noticeable as we see onstage then backstage then onstage again as the run progresses. It’s a truly magnificent piece of writing.

      

The direction from Lindsay Posner is skilled. Holding everything together, making sure that all the little things that need to be there are where they should be and that the characters are as relatable and haphazard as they are is no easy task and he succeeds in making it all it could be.

      

The set is strikingly magnificent for one that is moved around so easily. The speed with which the set is turned around in both the interval and second short break is impressive and even when you’ve seen the backside you believe there’s a whole house behind the numerous doors that litter the stage and are slammed throughout to perfection. As the action slowly accelerates and any semblance of unity in the play within a play collapses, the set holds up to the demands of people falling down stairs, breaking doors and everything else. It’s a brilliant set, functional as well as able to enhance the overall show.

      

Often in these reviews I mention balance being the key to great performance. When everything is in a harmonious balance with everything else there is nothing out of place, there is no prop that doesn’t have a reason for being there, no line that is skipped over, no character ignored and the result is a fantastic show. This is one such show. Everything has been orchestrated and engineered to bring the best out of everything else and it tells.

      

A five star piece of theatre should be a piece that you want to go and see again and again. If I could, I’d never leave. Noises Off is a classic piece of English theatre and should never be missed. A rendition this good shouldn’t stop, though it will have to at some point. Make sure you don’t miss it.

Written by Michael Frayn; Directed by Linsay Posner; At the Old Vic; Starring Jonathan Coy, Janie Dee, Robert Glenister, Jamie Glover, Celia Imrie, Karl Johnson, Aisling Loftus, Amy Nuttall, Paul Ready; Runs from 3 December 11 - 10 March 12.

http://www.oldvictheatre.com/whatson.php?id=80

John Ord (10/12/2011)

The Pitmen Painters ****

The Pitmen Painters tells the story of a group of working-class men from Ashington who created a phenomenon in their lifetime. Starting from a position of complete ignorance with only a desire to learn, they created art that defined their generation. Having originally opened in Newcastle in 2007, the show has enjoyed extended sellout runs at the National (twice) and on Broadway as well as a UK tour before returning to the West End now at the Duchess Theatre. I’m not at all surprised.

      

The first thing to say is that the acting is magnificent throughout. Every character, no matter how small, is fully developed, a dynamic and passionate person built from the foundations up. There is no standout performer, each actor having honed the character through the weeks and months of run that they have behind them and the result is something that you seldom see in theatre – characters that are vibrantly alive. They have within their cohort a history of their own and the longer this group stays together, the more material this bond becomes, the more you can feel a genuine relationship between these men and women on stage.

      

To single anyone out would be to do the others a disservice as each gave performances of the upmost professionalism. There was no moment that any of them weren’t in character and each was endlessly watchable from beginning to end while also being endlessly relatable. There is humour in their mannerisms and their speech but most of all in their relationships with each other and these are all dynamics celebrated by the cast and you can tell that they are all enjoying themselves immensely.

      

This is testament to the power of the script and the confidence of the direction as much as any other factor. Lee Hall and Max Roberts had worked together before teaming up to celebrate the renovation of Roberts’ Live Theatre Company’s theatre in Newcastle. Familiar partners make good partners, it seems, as the result of this collaboration is nothing short of magnificent. It is univocal, has one vision, one direction and the unity between all of these is striking. Every actor, every costume, every line seems perfectly suited to all the others and together it combines to make a whole that is so much greater than the sum of its constituent parts.

      

Hall has some prestigious work behind him, including Billy Elliot and the upcoming film release of War Horse, directed by Steven Spielberg. There is good pedigree behind the script, then, and he has done his research. He also admits in the programme the couple of factual inaccuracies in the script, which commend him even more in my mind. The script has a humanity to it, a simplicity in the companionship these men found with each other and with the paintings that were to become so famous. It is a story that we can all understand and relate to because they are just like us. They don’t understand the big mysteries, they don’t have the power to grasp complex theories and change the course of the world but they have a passion for their art and a burgeoning desire to understand and to learn. We can all relate to that and in places we find ourselves heavily invested in the course the characters’ lives may take. They are us and they make it happen.

      

The set itself is simple and works well, transmuting from lowly hall to museum or country house with ease. The use of projectors is treacherous at best but this production uses them to enhance the production, drawing you in to what the characters are feeling by immersing you in the detail of their art and what they are seeing, thinking and feeling.

      

A touch in the design that I particularly liked was the use of actual paintings. Through the course of the play, these are arranged carefully around the edge of the stage so that at the end of the piece you can look on the stage as a wider exhibition of the work that this unbelievable group of people created from nothing. This exhibits the aim of the show, the power of the direction, in that it tells the story of these men not just through what happened but through the art they created. We can see in front of us the proof of it all and it is immensely inspirational.

      

Above all else, however, the script is an honest celebration of art. Not just in its abstract form apart from the daily business of living but as an extension of ourselves, as a necessary part of our creativity and need to express our experiences to others. What makes this story even more powerful is that it is real. It is not some fantasy dreamed up by a playwright locked in his shed trying to envisage a world in which he can play an important part; it is the story of a group of miners from Ashington who looked to the world for a purpose and who became one of the most important artistic movements in British history. Their work, and all work, is celebrated in this piece of theatre. If you ever have any doubt about the place and need for art in the world, watch this play and find yourself reassured.

      

This production deserves the accolades and the history it has made for itself and I hope it is never too far out of the sights of our community, especially in these dark economic times.

Written by Lee Hall; Directed by Max Roberts; At the Duchess Theatre; Starring Joe Caffrey, Trevor Fox, David Whitaker, Brian Lonsdale, Michael Hodgson, Ian Kelly, Viktoria Kay, Joy Brook; Runs from 5 October 11 - 21 January 12.

http://www.nationaltheatre.org.uk/?lid=66843

John Ord (10/12/2011)

Haunted Child ***

The premise of Haunted Child is simple. A man has left his wife and child without saying anything to them only to return having been initiated into what appears to be a sinister and predatory esoteric culture in West London. His intentions for his family and how his estranged wife and child cope with his return and changed self are not smooth and honest and create a great deal of tension and drama.

      

This play marks Penhall’s return to theatre and the Royal Court. His first major play, Some Voices, premiered at the Royal Court back in 1994 and since then he has written successfully for both stage and screen, most notably with Blue/Orange, The Road and the screen adaptation of Enduring Love.

      

Penhall is very skilled at making us feel the tension before us and both Okonedo and Daniels both produce spirited and touching performances. You genuinely feel like you’re bashing your head against a brick wall trying to reach past the indoctrination that Douglas has suffered from. The talent of Daniels is at the fore, you really do believe that some spiritual force has compelled him and I, at least, wanted to sit him down and talk sense in to him as much as Okonedo was trying to do on stage. His characterization of the less sane elements of the esoteria was both funny and deeply worrying at the same time and I felt sincere fear for the son as he was innocently wanting to follow his dad into whatever pit he was falling into. 

      

Okonedo deserves equal praise for her role as the distressed wife. Trying to battle against the nonsense her husband is sprouting while trying to protect her petulant son from being exposed to it isn’t only difficult in reality but also very difficult to balance on stage. She does a great job, fixing herself as an anchor of sense and sensibility while at no point feeling totally secure in herself. Although she suffered more from line slips than the others, she had a lot more to cope with and dealt with it all very well indeed. 

      

The acting throughout was of a very high standard. Near the beginning there were a couple of line slips that could properly be put down to the fact that it’s still in the early stages of the run and once the actors gain more confidence the beginning should pick up fine. I was impressed with Jude Campbell as the son, Thomas. He was not just a child doing as he had been told and walking here and saying this or that, he was a fully-formed and realistic character and this is a real achievement. 

      

At no point, however, did I feel like the young boy caught in the middle of this adult struggle was the main character. The hauntedness of the drama is dispelled very early on and the macabre nature of his mind is only hinted at through a painting and one or two conversations about death and dying. There could, and should, have been more exploration here. The title being Haunted Child leads you to expect more from the character of the child and the phenomenon of being haunted and this just doesn’t come through in the script and I think there was room for it.

      

The play is quite short and never really digs its teeth into the philosophical and practical aspects of this ‘esoteric philosophy’ that has so utterly taken over this vulnerable character. Every time the script approaches some genuine philosophical challenge, some intellectual point that appears to have the esoteric maniac fumbled Penhall resorts to making him look like a fool with some sort of physical gag (and I’m not saying a bucket on the head or a Jackie Chan impression aren’t funny); I would have liked to have more substance, more debate in this piece. I wanted more friction and was expecting a more difficult fight that never really materialized.

      

I found the play to be confused. As I was thinking to myself about Douglas’ esoteric group, ‘if he has to forego all attachments to join the group, why has he come back to his family now?’ he almost answered my question by shouting at his wife and saying that he essentially came back to take their son with him and to sell the house to pay for his initiation. This, however, is still an attachment and attachment to other members of the group would also count, surely. The play never addresses these questions and needed to take a more direct approach and launch a full broadside on this particular brand of bullshit. Perhaps the best way to explore an issue in an intelligent way is to use intelligent characters and on this count, Penhall simply falls short. Although the characters are formed, emotional and often rational they are never intelligent, much less have an intelligent discussion. The result is that they leave the play somewhat void of intelligence in itself. 

      

The craft on the stage was fine; the acting was of a high standard and the set was complete, functional and impressive in its subtlety and how much it felt like a home and not simply a house. However, the script was a few noticeable rungs short and could have explored deeper themes and questions further and given the audience more to leave with than just a somewhat weak plot. What could have been an interesting exploration of conviction and belief seemed to lack either element.

Written by Joe Penhall; Directed by Jeremy Herrin; At the Royal Court; Starring Sophie Okonedo, Ben Daniels, Jack Boulter, Jude Campbell; Runs from 2 December 11 - 14 January 12.

http://royalcourttheatre.com/whats-on/haunted-child

John Ord (09/12/2011)

Audience ***

Having been to a number of interactive theatre pieces before I had at least an idea of what to expect when I walked up the stairs to the Soho Theatre space, sodden with rain from the sudden rush from the heavens outside. A nice gentleman offered to take my coat and I obliged him, only to find out later that it had become a prop for the performance. I say performance; it’s not nearly so easy as that.

      

Audience is a complete subversion and inversion of what theatre is expected to be. Under normal circumstances you would enter the auditorium, take your seat and wait for the play to begin, watching the actors prance around on stage saying things that are variably intelligent or just plain daft. Here, however, the tables are surreptitiously turned and you find yourself, the audience, the centre of attention.

      

Using the simple technology of a man with a camera and a very large screen every member of the audience is forced to consider themselves, perhaps in ways they have never done so before. In some cases using silence, in some cases placing themselves in the minds of the audience members whose faces were larger than life on the screen before all of us and speaking their thoughts, in some cases separating themselves from the audience and forcing us to band together in situations that were alternatively fun and exciting or dark and malicious; in all cases they were meaningful and poignant.

      

A few people walked out during a few of the scenes that were closer to the bone, a few more vocally objected and spoke out. A few people danced when bade to and a few shouted and screamed on cue. Everyone was affected by what they saw and felt. I would deny anyone who sat through a showing without being moved on a deep emotional level in some way, whether it was laughter or anger or something else entirely.

      

Seeing people’s clothes modeled by the actors like a catwalk show and seeing people’s bags emptied onto the stage is perhaps enough of an invasion of privacy for some but there is more to be had and I shan’t spoil the effect by explaining it here. Calculating and reading out facts about the audience, what colour is most common, how many couples, how many singles, how many people wearing hoodies and carrying bags is a deeply emotive experience for one so coolly factual. It makes you aware of yourself as part of the group collectively known as the audience and you band together, form a group identity in light of this.

      

Throughout the show you question whether or not the people being picked on and the stuff being strewn over the stage are part of the setup or not, whether the people walking out are members of the public, just like you, who have reached their limit of what they are willing to see. These questions are never fully answered and to answer them would be to the detriment of the show as a whole.

      

Those that you are made aware of as actors and part of the show are very brave people. Most of the time when you’re on the stage you are a character. Here, however, the line between character and person is deeply blurred, as it is between being in the audience and being part of the show itself. Their efforts are remarkable. It will take an awful lot for you to not hate and resent at least one of the actors as you leave and this is strong testament to them achieving exactly what they set out to achieve. They unsettle and unnerve you, forcing you to reconsider what’s going on at every stage, unsure of what is real and what is staged.

      

I have only given it a three star rating, though the impact is perhaps worth more. There are a few reasons for this. It’s only forty minutes or so long. There would need to be more for it to reach deeper into what it is to be in that position, to be a person in that crowd, in that group and this is something I would like to see explored more so than it is here.

      

A word of warning if you are considering seeing this show: if you are the kind of person who is easily upset or disturbed, someone who is perhaps vulnerable to the machinations of the stage then think hard before walking in. It may be entertaining at times but it is also chilling at times, depending on how hard you think and how much store you put in the insightful comments made by the actors in your midst. If you can go and think it will challenge you in ways you are willing to be challenged then I urge you not to miss it, as it’s not the kind of show that comes around every year. This is something else and it depends on you whether it’s good or not, not the actors.

      

Like I said, subverting and inverting what it means and what it is to go to the theatre. If you don’t believe me or don’t know quite what I mean then go along and find out yourself.

Directed by Alexander Devriendt; At the Soho Theatre; Starring Maria Dafneros, Matthieu Sys, Tieman Van Haver, Angelo Tijssens; Runs from 6 December 2011 - 7 January 2012.

http://www.tastetheatre.com/whatson/audience/

John Ord (08/12/2011)

Through the Night **

The Papatango New Writing Competition has been running since 2009 and has the express aim of bringing new writing to the stage, this year receiving more than 600 entries from around the UK. Teaming up with the Finborough Theatre could not be a more perfect match, as the theatre is renowned across London not only as one of the finest fringe theatres but as one of the finest places to see new writing talent come to the fore. Through the Night was one of the three runners up in the 2011 competition and won a week’s run at the theatre alongside the overall winner, Foxfinder.

      

Through the Night is a short one-hour play about the possibly disturbing events of a single night and how stories can be spread and fears can be preyed upon. A seemingly secure middle-class family is threatened by the possibility of their son being involved in a fight that led to another boy’s death, a story they heard from one of their closest family friends and her daughter, born at the same time as their own son. As sure as they seem that their son wasn’t where she says he might have been (at the fight) their insecurities are drawn out by a mixture of coincidence and calculation.

      

The play itself suffered from a few issues. Firstly, a lot of the script is someone talking at someone else while they sit or stand and either listen or don’t, it seems to make almost no difference at all to the plot. What this does is create a very low energy level and a feeling of monotony. I felt as if the play lasted almost twice as long as it did, which really isn’t a good sign for an hour-long show. Secondly, it wasn’t particularly engaging. There were no twists in the plot, no brutal revelations but only insinuation and supposition. This is all well and good, and I think appropriate for the play, but there needs to be more character development for us to empathise with them. I’m not sure that a lack of such development can be pinned on the shortness of the play itself and had hoped for more.

      

The set is a configured in a triangular shape with the audience seated around three sides. This is not in itself a bad thing but the blocking doesn’t do very well with it. A few times I lost the majority of a scene because I was looking at people’s backs and was unable to see any faces, particularly towards the end.

      

The only member of the cast that created a character that seemed to be coherent and complete was Steven Elder as the father, Michael. He was constantly rational and powerful, keeping the action under his control and looking at home on the stage. When he loses his temper you do feel the power of his physicality, even if the stage violence is almost embarrassingly poor. When he was on stage it was clear that he was the figure in command and the women and children bowed to his confident demeanor, as did the audience.

      

The same cannot be said of Terri Dwyer and Jan Shepherd. Dwyer’s character is weak and insecure, having relied heavily on Shepherd’s character while struggling through sixteen years of parenting. Over these years she has grown jealous of her and how well she is doing while she struggles in the apparent background. Her character appears quite flighty and I didn’t entirely understand the motivation for a few of her actions, apparently coming from nowhere without earlier hints, which is all the script would have needed to give. She played the opening scene magnificently but trailed off after that.

      

Along with Dwyer, Shepherd was most guilty of line slips and although she never stopped and started again a few stumbles were very obvious. Her character was more fully formed than Dwyer’s but much of what she was trying to say throughout the play, particularly in the limp final scene, felt more like the author trying to make a point than the character needing to say something and as a result she irritates more than instructs, which is what this play is trying to do.

      

It’s a decent script with a decent cast but bearing in mind it’s at a fantastic venue and beat out around 600 other scripts to be in this position, I can honestly say I was expecting better. The direction was half-hearted and the script too one-dimensional and preachy to actually convey any real message.

Written by Matt Morrison; Directed by Matt Grinter; At the Finborough Theatre; Starring Terri Dwyer, Steven Elder, Jan Shepherd, Liam Smith, Nadia Giscir, Jack Johns; Runs from 6 December 11 - 11 December 11.

http://www.finboroughtheatre.co.uk/productions/2011/production-papatango.php

John Ord (7/12/11)

Matilda *****

It must have been an exciting moment when this project was revealed to the team at the RSC as their next big thing. I bet everyone was jumping at the chance to be involved. Matilda has become a children’s classic and this musical is set to achieve the same. Everyone should celebrate that they are now booking until the 21^st October 2012 and push for more; it deserves it. Want to know why? I'll tell you.

      

The stage itself looks magnificent; adorned all around, up and under with books and cutout letters it has the feel of a child’s imagination allowed to explode all over the place. The various walls that slide in and out and desks and platforms, slides and swings that appear and disappear only serve to amplify the enduring enjoyment of the diversity of imagination.

      

The whole play is fantastic. It has captured the feel of childhood perfectly where the mind takes a simple idea and makes it fantastical; the lasers that fly across the room when it comes time for the infamous Chokey to make an appearance is a prime example and works wonderfully. There isn’t a single moment that feels out of place in the script and the story progresses with dexterity and intelligence as Matilda tells her story to the librarian in conjunction with the development of her own story. They two marry naturally and not a moment is wasted or missed.

      

The music is supremely entertaining. I don’t think there’s a better fit for this project than Tim Minchin who has brought every iota of his comedic brilliance to this score while at the same time a maturity that moves us very deeply. It’s a wonderfully innocent score while at the same time being mischievous and passionate.

      

The cast were outstanding. Melanie La Barrie as Mrs Phelps the librarian was the voice of the audience on stage and was magnificent in the role; I laughed out loud almost every time she had something to say. The scenes with the acrobat and escapologist, played by Emily Shaw and Matthew Malthouse were spectacular and when they merged with the main story it felt right, which is a credit to the actors. The entirety of the supporting cast deserve critical appreciation for their efforts.

      

Lauren Ward’s Miss Honey is moving; effortlessly making the audience empathise with her situation and root for her against the seemingly indomitable odds. Matilda’s parents are largely responsible for these odds and Paul Kaye and Josie Walker bring everything they possibly can to the stage. Mixing some great physical comedy with an energy that I’m surprised could last for the full two and a half hours, Kaye in particular lights up the stage and creates an iconic character for himself. Their presence on stage is simultaneously something you want to rebel against while at the same time being immobilized by laughter at their ludicrous lives, costumes and everything about them, really.

      

Yet this is only one half of the cast. The RSC have always had a talent for bringing good child actors to the stage and here they have outdone themselves. Every child on the stage was confident and more than able to pull off both complex dance routines and songs as well as holding character. Particularly special are the performances from Bruce (played by Zachary Harris when I saw it) and, unsurprisingly and undeniably, Matilda herself (played by Cleo Demetriou). Matilda in particular was outstanding. All the performances showed maturity beyond belief, perhaps ironic when the show is all about childhood and imagination, and the queens of this must be those playing the lead role. The things that are achieved on this stage by these young talents are often things that one would have left to imagination but are undeniably real.

      

Having said how brilliant the cast were, and not wanting to undermine any of their achievements, I feel I must make special mention of Bertie Carvel whose rendition of Miss Trunchbull is nothing short of magical. Becoming the linchpin of the whole show he brings raucous laughter to the auditorium by simple appearing let alone letting loose with his comic charms. Switching with ease between intimidatingly scary and hilariously funny, he shows us exactly what that kind of drag role should be. His script and his music both support him but he takes full advantage of everything at his disposal and lifts the show to greatness.

      

The only things I would say in a critical way are that shining bright lights at the audience when their eyes aren’t prepared for them is rather painful and that if any of the front of house staff are reading, it’d be good if there was a more efficient routine for making sure people are in their seats in time for the lights coming up – it’s very distracting having people walking in front of the view, especially when you’re sitting close to the back.

      

This show celebrates play, fun and imagination, moving you from tears to roaring laughter and back again in moments and is far more than a show for children. It may be that but it is so much more, dragging the inner child out of everyone and entertaining the most fundamentally silly instincts in all of us. Unadulterated excellence; one of the best things you will ever see, certainly one of the best musicals any of us will ever see.

Written by Dennis Kelly; Music and Lyrics by Tim Minchin; Directed by Matthew Warchus; At the Cambridge Theatre; Starring Tim Walton, Josie Walker, Paul Kaye, Peter Howe, Melanie La Barrie, Lauren Ward, Matthew Malthouse, Emily Shaw, Bertie Carvel, Gary Watson, Verity Bentham, Alistair Parker, Cleo Demetriou, Kerry Ingram, Sophia Kiely, Eleanor Worthington Cox, Ruby Bridle, Jemima Eaton, Ellie Simons, Jake Bailey, James Beesley, Zachary Harris; Runs from 25 October 11 - 21 October 12 (expect an extension on this, though).

http://www.matildathemusical.com/

John Ord (6/12/11)

Tipsy Hippo Winter Marathon 2011

May I introduce you to an exciting mini-adventure from Tipsy Hippo - the Tipsy Hippo Winter Marathon 2011. To celebrate all that is good and great about the London theatre scene we are committing to a week of non-stop theatrical traipsing as we jaunt around the streets, circuses and squares that dot the London landscape. From Tuesday 6th to Saturday 10th December we're dropping into six shows in total, with the reviews appearing shortly thereafter on this blogsite. We hope that you join in on following us along the way and pick up on the reviews. If you've seen any of the shows, let us know what you think of our review and the show by commenting on them. We're very excited by this quaint little quest and we hope you are, too!


So...

On Tuesday 6th December we begin a week of fun with a trip to Cambridge Circus in the heart of the West End to sit in class with Matilda and her RSC rejuvenation. Transferring to the the humdrum of foggy old London town's West End from a sell-out season up in quiet, sunny Stratford-upon-Avon in the Courtyard Theatre it has brought a huge buzz of excitement with it and we can't wait to get in on the action. With the script written by Dennis Kelly and all the music from the multi-award winning comic musician Tim Minchin (host of the first ever Comedy Prom as well) it promises to be a great night and a great way to open the billing.

Wednesday sees us move westward with the setting sun to sit in on 'Through the Night' at the Finborough Theatre. The theatre has celebrated its 30th anniversary in magnificent style this year with no less than 44 premieres of new plays and musicals and has earned renewed recognition for its endeavours, among these is The Stage 100's Fringe Theatre of the Year award (in its inaugural season). Well done! Now they have teamed up with the Papatango Playwriting Competition and present the winner and three runners up from their 2011 competition. Papatango has been running since its inception in 2007. Needless to say, we can't wait to see what the results are!

Thursday once more takes us into the heart of central London to the Soho Theatre, another venue known for producing new and original theatre. 'Audience', the show we're going to see there, has had fantastic reviews from its stint up in the Edinburgh Fringe, after which it has been described by various sources as 'the most talked about show' of the whole month. Following that they have conducted a successful European tour and are finishing out the year in the heart of London's West End. We're very excited to see what they have to offer us!

Friday is the penultimate day in our stretch and we sit down and relax in the comfortable and reliable arms of the Royal Court for 'Haunted Child'. Writer Joe Penhall renews a successful history with the Royal Court (most recently 'Dumb Show' in 2004 and originally 'Some Voices' in 1994, which won him the John Whiting Award). A story questioning our beliefs and the consequences of our holding them. Described as chilling and unsettling it will bring a great dynamic to the week.

Saturday is a bumper day that sees us going to two shows, beginning regally with a matinee at the Duchess Theatre and 'The Pitmen Painters'. Acclaimed at every level from their 2007 opening in Newcastle through their run at the National, UK tour, Broadway production and now revival in the West End as well it's hardly difficult to see why we've picked this to fall on our final day. 






Our rousing finale takes us down to our favourite theatre in the whole wide world, the Old Vic. Their new production of 'Noises Off' opens this week and we're not exactly going to miss a treat like that, are we? Since the play premiered in 1982 it has enjoyed a silly amount of awards and acclaim, having been enjoyed by audiences all over the world. Following the antics of a touring theatre company stumbling their way through rehearsals and shambolic performances it offers a classic comedy of backstage play-within-a-play confusion; sounds great, doesn't it? Directed by Lindsay Posner and boasting a very talented cast it should prove to be the final height we reach as our excitement reaches its feverous climax.

If you have any comments or contributions regarding the Winter Marathon, please leave them below!!




John Ord (5/12/2011)