Tuesday, 10 March 2015

The Secret Diary of Adrian Mole, Aged 13 ¾ - The Musical

Curve, Leicester

6th March, 2015. Please note that this performance was a Public Dress Rehearsal.

I must admit I was dubious when it was first announced last year that a new musical based on Sue Townsend’s much loved novel was to be produced at Leicester’s Curve theatre. The structure of the novel seemed as if it would be less than easy to translate to the stage and the prospect of the more hormonal (ahem) aspects of the story possibly being diluted for a family audience gave pause for thought. However, I need not have worried, because Adrian Mole, it turns out, makes for a rather sweet and touchingly humorous musical.

Jake Brunger’s book recalls the spirit of the late Townsend’s novel as Adrian and Pandora come to life in all their adolescent glory . The nature of the source material dictates that the show takes an episodic form, charting a year through the diary entries and observances of young Adrian. The story of first love, family upset, and the minutiae of suburban life is heartfelt in its identifiable simplicity, with humour deriving from everyday oddities and empathetic, if caricatured, characters. The memory of the novel pervades the production – something drawn upon in Tom Rogers’ innovative set, Adrian’s scribbled writings ever present in the textbook style houses and proscenium fashioned after torn out diary entries.

Pippa Cleary’s music lends itself well to the British musical cannon with its tuneful melodies that never stray into the brashness of the more showy American compositions, perfect for an intimate show about British idiosyncrasies. Tickling lyrics also make the most of Townsend’s writing – a memorable example being the song ‘My Lost Love’, Adrian’s rhyming of ‘Pandora, I adore ya, I implore ya…’ referencing the novel before progressing into something more complex as various characters fill the stage, pouring their hearts out to different melodies, melding into one. The song makes for a striking moment, as does Adrian’s mum, Pauline (Kirsty Hoiles) having a heart-to-heart with her son about her failing marriage in ‘Perfect Mother’. At the opposite end of the spectrum, act two delivers some fine comedy scenes in Adrian’s hospital nightmare ‘If You’d Lived’ and the hysterical nativity scene, the latter being a true highlight and gaining a rapturous response from the audience.

The show is rounded out by a hard-working cast of six adults and four young actors (of which there are three rotating teams), often doubling in roles. Hoiles is a standout as Pauline, balancing humour with pathos, yet the show ultimately, and inevitably, belongs to Adrian – at this performance played by Sebastian Croft. He leads the show with charismatic skill, portraying both Adrian’s irritating pretentiousness and naïve sweetness equally well. He makes for a likeable lead while being believable as an endearingly flawed, yet optimistic, teenager.

Cleary, Brunger and director Luke Sheppard have created an intimate and appealingly British musical comedy which pays tribute to one of Leicestershire’s most celebrated writers and its premier at Curve feels like the perfect celebration of the midlands county.

The Secret Diary of Adrian Mole, Aged 13 ¾ - The Musical plays at Leicester’s Curve until 4th April 2015

Monday, 9 March 2015

Our Country's Good rehearsal blog 1

[Ahead of Nikolai Foster’s first production at Leicester’s Curve as Artistic Director, one of the assistant directors/ stage managers gives an insight into rehearsals for Timberlake Wertenbaker’s 1988 play Our Country’s Good]

‘It’s a theatrical custom, the company is formally introduced to each other’
(Our Country’s Good: Act One, Scene Eleven)

The first week of rehearsals for Our Country’s Good began in the studio at Curve. Although not all rehearsals will take place in here and the room currently looks different to what it will look like for the performances, it gave the cast a feel for the size of the space. After initial introductions were made, the company sat down for a readthrough of the script, giving the opportunity to hear Wertenbaker’s words read aloud for the first time and in the voices that will inhabit each character. After each scene, Nikolai and the cast discussed the text, getting to grips with unfamiliar terminology and bringing in points picked up from prior research. For instance, we talked about the famous actors of the 18th century such as Garrick and Kemble who are mentioned in one scene and how knowing more about them informs the cast’s interpretation of their characters. The day ended with the cast being measured for their costumes.

Over the next two days, the company started to put the play on its feet, starting with making a ship for the first scene. The production is going for a stripped back feel, which this scene epitomises. In a simple, yet very theatrical and poetic way, Nikolai and the cast have begun to explore ways to evoke the barbarity and longing that exist amongst the fleet of English convicts.  It looks to be a powerful opening tableau. Another scene which was focused on was Scene 3 where the officers are shooting birds whilst discussing the convicts. As this production will be staged in the round, the company are discovering the power of diagonals, and so it has been especially interesting to see how characters make their entrances and where they look up to shoot. The cast were also encouraged to be specific with the play’s use of Wertenbaker’s language and how punctuation helps to give a stronger sense of narrative and informs character motivation. Furthermore, in looking at the officers’ physicality and how they might carry their guns, the actors have started to build a level of detail which will help solidify the world of the play.

Although we have just begun the rehearsal process, we have started to thoroughly explore the play which will further our ability to tell its story well. The cast now has a week off to individually work through their scripts and are looking forward to returning to rehearsals to continue working through this exciting play which acts as an affirmation of theatre and its value in society.

Our Country’s Good, directed by Nikolai Foster, plays at Curve, Leicester 16th-18th April, 2015. It is a co-production with De Montfort University students.

Monday, 23 February 2015


24th January, 2015, matinee

Menier Chocolate Factory

Assassins has been top of my 'to-see Sondheim' list for a while now and this production really does not disappoint. On stepping into the auditorium through the garish clown entrance the atmosphere is all-encompassingly creepy and Jamie Parker's banjo playing sets an eerily melancholy tone.

Rejecting the limitations of classic plot structured musicals, Assassins works as an overview of Western political failings and a sharp criticism of the American Dream through a series of interconnected vignettes. Faultless staging and direction from Jamie Lloyd, choreography by Chris Bailey, and committed performances from the whole ensemble means that the slight issues one might have with the – admittedly scattergun - structure of the piece are silenced. Sympathy, humour, tragedy and horror are all produced simultaneously to dizzying effect, and by the closing reprise of ‘Everybody’s Got The Right’ the tension is overwhelming as the assassins set their sights (and weapons) on the audience.

The purgatorial setting of an abandoned fairground heightens the sense of displacement and loss while also representing the assassins within the realm of the misfit communities of classic American travelling carnivals. Soutra Gilmour’s design and Neil Austin’s lighting captures the razzmatazz of the fair - a canopy of tangled lights and bright flashing ‘hit’ and ‘miss’ signs - which secretes the seedy corruption of both the killers and the systems they wish to annihilate. This concept leads to a thrilling climax as Lee Harvey Oswald takes aim and with an earth-shattering eruption the auditorium is illuminated and a cascade of red confetti smothers the stage representing the blood of the nation and a sense of the death of America itself.

Sondheim's score cleverly adopts and satirises classic American music genres from the wistful harmonies of the barbershop quartet to cheesy 70’s pop ballads to an ingenious piece of self-referential intertextuality in the use of Sondheim and Bernstein’s ‘America’ from West Side Story. My only slight issue concerns the presence of ‘Something Just Broke’ – an additional number incorporated into the 1992 London premier, and remaining controversial within fan communities – I somewhat agree that the presence of the song, focussing on American citizens and their reactions in the aftermath of the assassination of JFK, detracts from the focus of the show – the assassins themselves – and dampens any uneasy feelings of sympathy the audience feels for the disenfranchised group.

The entire cast works together brilliantly, vital in what is a truly ensemble piece. Catherine Tate is well cast as dippy frustrated housewife Sara Jane Moore, making the most of the comedic moments and proving capable in her few songs. Also particularly impressive are Simon Lipkin as the versatile Proprietor, holding the show together impeccably, Aaron Tviet, exuding charisma as John Wilkes Booth, and Jamie Parker in dual roles, skilfully transforming from his country bumpkin take on the Balladeer to the desperate frustration of Lee Harvey Oswald. Mike McShane also has ample opportunity to shine as Samuel Byck, relishing the juiciest monologues of John Weidman’s book.

The Menier has succeeded in staging a near-faultless production of one of Sondheim’s more divisive pieces; the powerful visuals linger, and the critique of American, and by extension Western, politics and culture and the seemingly inevitable disillusionment that many citizens experience ensures that audiences are invited to meditate further on these themes long after the curtain call.

Assassins plays at the Menier Chocolate Factory until 7th March 2015

Sunday, 15 February 2015

What's On Stage awards 2015 - the predictions.

Here is the shortlist for 2015's What's On Stage awards, which are being held tonight.

Here are my predictions in bold and underlined based on performance and, of course, fan base. In red is who I'd like to win. Enjoy!


Best Actor in a Play sponsored by Radisson Blu Edwardian:
• David Tennant, Richard II
• Mark Strong, A View From the Bridge
Richard Armitage, The Crucible
• Tom Bateman, Shakespeare in Love
• Tom Hiddleston, Coriolanus
However, I'm also told not to undermine Hiddleston's fanbase.
Best Actress in a Play:
• Billie Piper, Great Britain
Gillian Anderson, A Streetcar Named Desire
• Helen McCrory, Medea
• Imelda Staunton, Good People
• Lucy Briggs-Owen, Shakespeare in Love
Best Actor in a Musical:
• Alistair Brammer, Miss Saigon
• Jon Jon Briones, Miss Saigon
Killian Donnelly, Memphis the Musical
• Marti Pellow, Evita
Robert Lindsay, Dirty Rotten Scoundrels
Best Actress in a Musical sponsored by STAR:
• Beverley Knight, Memphis the Musical
Eva Noblezada, Miss Saigon
• Gemma Arterton, Made in Dagenham
• Jenna Russell, Urinetown the Musical
• Madalena Alberto, Evita
'Best Supporting Actor in a Play:
Adrian Schiller, The Crucible
• David Oakes, Shakespeare in Love
• Hadley Fraser, Coriolanus
Mark Gatiss, Coriolanus
• Nathaniel Parker, Wolf Hall & Bring Up the Bodies
Best Supporting Actress in a Play:
• Anna Madeley, The Crucible
• Deborah Findlay, Coriolanus
Nicola Walker, A View From the Bridge
Samantha Colley, The Crucible
Vanessa Kirby, A Streetcar Named Desire
Best Supporting Actor in a Musical:
• Ben Forster, Evita
• George Maguire, Sunny Afternoon
Hugh Maynard, Miss Saigon
• Kwang-Ho Hong, Miss Saigon
• Rolan Bell, Memphis the Musical
Best Supporting Actress in a Musical:
• Claire Machin, Memphis the Musical
• Karis Jack, Urinetown the Musical
Katherine Kingsley, Dirty Rotten Scoundrels
• Rachelle Ann Go, Miss Saigon
• Samantha Bond, Dirty Rotten Scoundrels
Best New Play:
• Great Britain
King Charles III
• The Nether
• Shakespeare in Love
• Wolf Hall
Best New Musical sponsored by Autograph:
• Here Lies Love
• Made in Dagenham
Memphis the Musical
• Sunny Afternoon
• Urinetown the Musical
Best Play Revival:
• Blithe Spirit
• Coriolanus
The Crucible
• Richard II
• A Streetcar Named Desire
Best Musical Revival sponsored by R&H Theatricals Europe:
• Evita
Miss Saigon
• The Pajama Game
• Porgy and Bess
• Sweeney Todd
Best Direction sponsored by Managed Networks:
• Christopher Ashley, Memphis the Musical
• Gregory Doran, Richard II
• Jamie Lloyd, Urinetown the Musical
Laurence Connor, Miss Saigon
Yaël Farber, The Crucible
Best Choreography sponsored by Capezio:
• Ann Yee, Urinetown the Musical
Bob Avian & Geoffrey Garratt, Miss Saigon
• Drew McOnie, In the Heights
Jerry Mitchell, Dirty Rotten Scoundrels
• Sergio Trujillo, Memphis the Musical
Best Set Design sponsored by Feast Creative:
• Bunny Christie, Made in Dagenham
• David Gallo, Memphis the Musical
• Nick Ormerod, Shakespeare in Love
• Soutra Gilmour, Urinetown the Musical
Totie Driver & Matt Kinley, Miss Saigon
Best Lighting Design sponsored by White Light:
• Adam Silverman, Urinetown the Musical
• Bruno Poet, Miss Saigon
• Howell Binkley, Memphis the Musical
• Jon Clark, Made in Dagenham
Mark Henderson, Coriolanus
Best Off-West End Production:
Dogfight, Southwark Playhouse
• Forbidden Broadway, Menier Chocolate Factory
• In the Heights, Southwark Playhouse
• Oh, the Humanity and Other Good Intentions, Tabard Theatre
• Sweeney Todd, Twickenham Theatre
Best Regional Production sponsored by Travelzoo:
• Guys and Dolls, Chichester Festival Theatre
Gypsy, Chichester Festival Theatre
• The Kite Runner, Nottingham Playhouse and Liverpool Everyman & Playhouse
• Oliver!, Sheffield Crucible
• Water Babies, Curve Leicester
Best Takeover in a Role sponsored by Equity:
• Craige Els, Matilda the Musical
David Hunter, Once
• Jennifer DiNoia, Wicked
Kerry Ellis, Wicked
• Michael Watson, Jersey Boys
Best West End Show sponsored by Tiger Films:
Les Misérables
• Matilda the Musical
• Memphis the Musical
• Miss Saigon

Saturday, 10 January 2015

The Sound of Music

Curve, Leicester
30th December, 2014

One of Rodgers and Hammerstein’s most popular musicals gets a glorious outing at Curve to say ‘so long, farewell, auf wiedersehen, goodbye’ to director Paul Kerryson, who’s been artistic director of Leicester’s main theatres for over 20 years.

From Broadway hit to Bank Holiday standard, The Sound of Music may be sweet but its background of impending war is as dark as the Austrian hills are a luscious green. For those who don’t know the story, it sees peppy, joyous wannabe nun Maria (beautifully played by Laura Pitt-Pulford) asked to leave the abbey as her behaviour is unsuitable and she is in the habit of singing too much (yes, that was a habit pun). She joins the strictly-raised Von Trapp children, and after a gay old time and falling in love with the Captain, has to escape the country with her new family to flee from the Nazis. It’s entertaining, if perhaps too syrupy for some. But it is successful in its triumphing of freedom of expression over the repressing forces of war, near-military family routines and the restrictions of an abbey.

Paul Kerryson’s fine production fills Curve’s vast stage to extraordinary effect. It’s the biggest stage outside London apparently and Al Parkinson’s design is effective: the mountain at the back evokes considerable awe, the religious imagery conveys the forces and atmosphere of the abbey, and the Von Trapp house is cleverly used. Michael French has now pulled out of the production due to personal reasons but his understudy Mark Inscoe was impressive as was Susannah Van den Berg as the understudy Mother Abbess. The whole cast though excel. Some of the dialogue scenes and lesser-known songs occasionally slow down the pace but this is highly enjoyable.

And, once more, there is considerable praise for Curve: artistically and aesthetically, especially the latter, this regional theatre impresses from the moment you walk up to the front door. Incoming AD Nikolai Foster has big boots to fill but I’m sure he’ll deliver.

It may be kitsch, but it has superb performances and sets and some great songs, and as a Christmas treat with the family in a packed theatre, kitsch is no bad thing.

The Sound of Music runs at Curve, Leicester until 17th January, 2015.

Tuesday, 30 December 2014

#ReadaPlayaWeek 2014

Since the beginning of 2014, I’ve tweeted about one play a week that I recommend reading. Of course, plays are meant to be seen rather than read, yet if you are either unable to see a particular play, fancy brushing up on the classical canon, or just want to read a playtext, then #ReadaPlayaWeek offers a wide range of scripts. From the challenging and the classical to the popular and the contemporary, from a host of playwrights, both well-known and obscure, from all over the world, here are 2014’s #ReadaPlayaWeek suggestions:

The Caretaker (1960), Harold Pinter
The Night Heron (2002), Jez Butterworth
The Winterling (2006), Jez Butterworth
Separate Tables (1954), Terence Rattigan
A Taste of Honey (1958), Shelagh Delaney

The Shape of Things (2001), Neil LaBute
The Weir (1997), Conor McPherson
random (2008), debbie tucker green
All My Sons (1947), Arthur Miller

Twelfth Night (c.1602), William Shakespeare
Mother Clap’s Molly House (2001), Mark Ravenhill
Plenty (1978), David Hare
England People Very Nice (2009), Richard Bean

The History Boys (2004), Alan Bennett
Cleo, Camping, Emmanuelle and Dick (1998), Terry Johnson
Awake and Sing! (1935), Clifford Odets
Jerusalem (2009), Jez Butterworth

Old Times (1971), Harold Pinter
Shopping and Fucking (1996), Mark Ravenhill
The Permanent Way (2003), David Hare
Birdland (2014), Simon Stephens
Body Language (1990), Alan Ayckbourn

Noises Off (1982), Michael Frayn
Arcadia (1993), Tom Stoppard
Volpone (1606), Ben Jonson
The Secret Rapture (1988), David Hare

Glengarry Glen Ross (1984), David Mamet
The Trial of Ubu and King Ubu (2012), Simon Stephens, King Ubu after Alfred Jarry (1896)
Chimerica (2013), Lucy Kirkwood
The Unexpected Man (1998), Yasmina Reza
The Seagull (1896), Anton Chekhov

Uncle Vanya (1898), Anton Chekhov
Parlour Song (2008), Jez Butterworth
Dead Funny (1994), Tony Johnson
August, Osage County (2007), Tracy Letts

Beyond Therapy (1981), Christopher Durang
Quartermaine’s Terms (1981), Simon Gray
The Imaginary Invalid (1673), Moliere
Bluebird (1998), Simon Stephens

Stuff Happens (2004), David Hare
The Lady’s Not For Burning (1948), Christopher Fry
Anne Boleyn (2010), Howard Brenton
Blue Heart (1997), Caryl Churchill
The Invisible Man (1991), Ken Hill after HG Wells’ novel

A Dream Play (2005), Caryl Churchill after Strindberg (1907)
The River (2012), Jez Butterworth
The Philadelphia Story (1939), Philip Barry
Christmas (2004), Simon Stephens

Absurd Person Singular (1972), Alan Ayckbourn
Almost, Maine (2004), John Cariani
Jeffrey Bernard is Unwell (1989), Keith Waterhouse
Not I (1972), Samuel Beckett
Breath (1969), Samuel Beckett

#ReadaPlayaWeek will continue in 2015.

Monday, 29 December 2014

Theatre highlights of 2015

Another exciting cultural year is ahead and even if The Guardian, Telegraph or Time Out have provided a more thorough, if not London centric, list of things to look forward to, here’s mine:

1 Adrian Mole the Musical, Curve, Leicester: After being in workshop stages for a few years, Luke Sheppard’s production of Jake Brunger’s and Pippa Cleary’s musical based on Sue Townsend’s novel opens in Leicester, where the story is set. Townsend sadly passed away in 2014, but her generosity and encouragement have set strong foundations. Earlier this year, I met the creative team who were at Bristol University together; it sounds like it will be a fun show with much promise. And in Nikolai Foster’s first year as Artistic Director, there are many other things to keep an eye on at Curve, including his production of Timberlake Wertenbaker’s Our Country’s Good, in association with De Montfort University.

2 The Nether, Duke of York’s, London: If you missed the short run of Jennifer Haley’s play at the Royal Court last Summer, Sonia Friedman is transferring it to the West End, which some may say is a creatively adventurous move. In the same sense that Jerusalem, Chimerica and King Charles III became the must see plays when they transferred to the West End, The Nether has the same potential. It’s an ambitious and topical play that is said to tackle difficult issues.

3 Death of a Salesman, RSC, Stratford-Upon-Avon: The RSC has a cracking season for 2015, including Othello and Volpone, but I’m pleased to say we have young person’s £5 tickets for Arthur Miller’s most popular play in the year of his centenary. There’s much Miller to be seen in 2015, including the World Premiere of The Hook in Northampton, and the West End transfer of the excellent A View from the Bridge, but Gregory Doran’s production starring Antony Sher is expected to be one to be remembered. It’s a fantastic play showing how the failure of the American Dream can affect the ambitions and efforts of a family, presented in an innovative way which displays the simultaneity of life.

4 Old Vic production possibly, but possibly not starring Kevin Spacey: The Old Vic continues its successful in-the-round season with Daniel Kitson’s Tree and Maria Friedman’s production of Cole Porter’s musical High Society, but there’s also a gap in the schedule which could allow for a highly-tipped play to star exiting Artistic Director Spacey. Death of a Salesman (which was suggested) is most likely now off, but there are also guesses of an Ibsen play. But whatever it will be, it will most likely sell fast.

5 Bend It Like Beckham, Phoenix, London: A new British successful musical has been long-awaited, and this also long-awaited Howard Goodall musical is finally going into the West End. After hearing great things about his work on The Hired Man, this could be a hit!

6 The Audience, Apollo, London: Peter Morgan’s 2013 play is being brought back to London with the inspired casting of Kristin Scott Thomas as the Queen. The play was, in parts, forgettable and a bit self-indulgent, but I revelled (from front row centre, no less) in its fine performances and theatricality. With a general election in the middle of the run, there is scope for topical satire and potentially an added character.

7 The Producers, UK tour: Jason Manford leads ‘an all-star cast’ in this revival of the Mel Brooks musical. They are hoping for a West End run in the Autumn but as it is a presumably smaller production than the one at Drury Lane, will it just be as impressive? And although the casting of comedians doesn’t guarantee a funnier evening of theatre, Manford has determination and theatre experience. Some might say that the show’s producers are practising what the producers in the show preach.

8 Harvey, Birmingham Rep and UK tour: Also hoping for a West End transfer is Mary Chase’s play Harvey. This is set to be a strong production even if it hasn’t opened yet: you’re in safe hands with Lindsay Posner (in a good way) and the casting of James Dreyfus sounds excellent.

9 The Importance of Being Earnest, UK tour and a Nimax Theatre, London: The great David Suchet returns to the London stage in 2015 playing Lady Bracknell in Oscar Wilde’s delicious comedy. He probably would’ve like to have played Willy Loman after his last two theatre outings in the UK but Adrian Noble’s production will certainly be something to anticipate.

10 Beautiful, Aldwych, London: With Broadway transfers in the works for Kinky Boots and A Gentleman’s Guide to Love and Murder, this musical based on the life and work of Carole King sounds like a juke-box musical with a kick.

11 Thriller Live, Lyric – joking – , The Vote, Donmar Warehouse, London: The Donmar is  broadcasting a new play by James Graham on Channel 4 (or a partner channel) about the general election. So, if you are unable to get tickets (which is more than likely for the Donmar run), you will be able to watch it on the TV. It’s only doing a short run so, perhaps unlike Great Britain, it might retain its topicality even when it closes.

And the rest:

There’s a yet unannounced Norman Wisdom project that looks set to tour, at least one Nicole Kidman-cast play according to the Daily Mail to look forward to, and an apparently West End-bound Sleepless in Seattle musical. Dirty Rotten Scoundrels is going on tour, there’s a new Mike Bartlett play at the Young Vic, a new Simon Stephens play at the Almeida, a new Tom Stoppard play at the National (where Rufus Norris takes over Nicholas Hytner as Artistic Director), and if he has enough time from working on the new James Bond screenplay I’d like to see a new Jez Butterworth play.
There will also be many new Artistic Directors in 2015 including Rufus Norris at the National, Matthew Warchus at the Old Vic and Nikolai Foster taking over Paul Kerryson at Curve.

Happy New Year!