They Came to a City, Southwark Playhouse

Editor’s Rating
Rating

I’m not all that familiar with ’s works, other than An Inspector Calls and, to a far lesser extent, The Good Companions. Apparently not many people have had the opportunity to get to know They Came to a City, as according to the programme it has only been staged three times since its original premiere in 1943.

After seeing this new production in the vaults at , I can quite understand why.

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They Came to a City, Southwark Playhouse2Scott Matthewman2011-07-27 12:43:33I’m not all that familiar with JB Priestley’s works, other than An Inspector Calls and, to a far lesser extent, The Good Companions. Apparently not ma…

A Rude Awakening, New End Theatre

An allegorical fantasy set in a far future where homosexuality has become the norm and straight people are barely tolerated as genetic freaks, what A Rude Awakening loses in subtlety it gains in some good performances and one or two killer one-liners.

Jonathan Woodward leads an able cast as the homophobic politician who, upon being revived in the far future, finds himself ostracised because of his heterosexuality. It is through his conviction that the early scenes, set in the present day, escape being regarded as a crudely drawn depiction of US politics in which even a gubernatorial candidate describes their part of America as “the South”.

The production is somewhat thrown off-kilter by video inserts which are by turns either preposterously surreal or hilariously comic. Sarah Wolff’s performance in the news parodies are especially noteworthy, but they sit oddly with the otherwise dramatic tone of the live performances.

Ultimately, though, Barry Peters’ first play is hamstrung by a lack of clarity of the satirical message he is attempting to convey. Rather than questioning modern-day prejudices, or even suggesting that a majority’s dominance over a minority is in itself the catalyst for bigotry, the impression the play leaves behind is that, whatever the century, you just can’t trust a politician.

Author:
Barry Peters
Management:
New End
Cast:
Genevieve Adam, Chris Barley, Sean Browne, Morgan Deare, James Le Feuvre, Lucy Newman-Williams, Sarah Wolff, Jonathan Woodward
Director:
Olivia Rowe

Knocked for Six – The End of the Line, Roadtrip Workshop

As someone who commutes every day, I become aware of the diverse range of people who use . With every opening and closing of the tube doors, the ethnic, socio-economic and dramatic mix of my fellow travellers can change in an instant.

As such, the Tube is the perfect setting for The End of the Line, a series of short playlets from young writing collective Knocked for Six which has just finished a three night run.

Piled into The Workshop, a club space in the basement of the Roadtrip Bar in Old Street, we were arranged on benches either side of a thin promenade space. Any fears that the arrangement meant there was not enough space for the actors were appeased when it became clear that the front benches were also the stage, with the central seats being occupied by a succession of interesting characters.

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Zip, Lion & Unicorn Theatre

Last night, I made my first ever visit to Kentish Town and the Lion & Unicorn . I was there to review a new musical, , written by a small team headed by the ’s artistic director, Ray Shell.

I wish I could say I liked it more than I did. Inspired by the increasing number of needless deaths due to knife and gun , there seemed to be a rage at the heart of the piece that needs an outlet. However, like all too much real rage, it was unfocussed and seemed to strike out in so many directions that there was no killer blow.

If it’s treated as a work in progress, some further refinement would make it all the stronger. As it is, the most emotional and affecting moment comes right at the end, after the cast have taken their bows, as they each dedicate their performance to one person who has been killed on ’s streets. Alongside Stephen Lawrence, Damilola Taylor and Ben Kinsella were names I did not recognise, people I will never know. When the list of names ends, I could sense the anger, the sorrow, the determination of the young people on stage to try and do something about it. I hadn’t felt that during the play, unfortunately.

My full review is on The Stage website now. For more information about the musical, see the Giant Olive Theatre Company website.

Calamity Jane, Upstairs at the Gatehouse

There’s a line in the show’s most famous number, Secret Love, about shouting from the highest hills. Maybe that should be Highgate’s hills, as director Thom Southerland’s latest ambitious musical production is one that deserves to be lauded at full volume.

As rambunctious tomboy ‘Calam’, Katherine Eames goes off like a firecracker, even when her gun frequently fails to do the same. The spitting image of Doris Day in her frontierswoman’s outfit, she is one of several cast members whose American accent wavers on occasion, but whose enthusiasm compensates in droves.

As Katie Brown, the maid whom Jane brings to Deadwood in the mistaken belief she is a star actress, Bonnie Hurst delivers much the best performance of the evening, providing a wholesome, warm counterpoint to Jane’s spikiness. Her transformation from reluctant singer to undoubted star during the performance of Keep it Under Your Heart is just one of several musical highlights.

Of the rest of the cast, David Anthony’s Wild Bill Hickock towers over the others just as he should. But this is not to deny the strength of the ensemble, of whom the males in particular exhibit some strong dance abilities during Phyllida Crowley Smith’s exuberant choreography.


Reviewed for The Stage

June 8-July 3
Authors: Charles K Freeman (book, based on the screenplay by James O’Hanlon), Sammy Fain (music), Paul Francis Webster (lyrics)
Director: Thom Southerland
Producer: Nick Robinson for Stage Taylor Ltd
Cast includes: Katherine Eames, David Anthony, Bonnie Hurst, Anthony Wise, Ted McMillan, Jonathan Vickers
Running time: 2hrs

Little Fish, Finborough Theatre

Escaping from a destructive relationship with her creative-writing tutor, Charlotte flees to to pursue a career as a writer – but rapidly finds herself a little fish in the Big Apple.

Michael John LaChiusa’s new musical follows Charlotte’s life in a freeform fashion, jumping backwards and forwards in time but cleverly using her changing relationship with cigarettes to help the audience keep track of the chronology. Maybe as a result of the source material (a series of short stories by writer Deborah Eisenberg), the overall effect is rather more of a series of interrelated vignettes than the strong narrative line that seems to be intended.

Julia Worsley’s accomplished central role adds much-needed cohesion to the various story strands. Around her, a strong cast is dominated by Laura Pitt-Pulford as the perky Kathy. Nick Cunningham’s choreography provides some impressive routines within the Finborough’s limited space, most notably as Ashley Campbell’s womanising John Paul adds heat to a which already feels more like an oven.

Bec Chippendale’s ingenious foldaway set, decorated in a range of aquatic blue hues, provides an elegant frame to a collection of technically accomplished, well-performed songs. Ultimately, though, the professionalism of cast and crew cannot dull the feeling that there is something missing where this show’s heart should be.


Reviewed for The Stage

Finborough, , October 29-November 21
Author: Michael John LaChiusa, based on short stories by Deborah Eisenberg
Director: Adam Lenson
Producer: JQ and Treasuretrove in association with Neil McPherson for the Finborough Theatre by arrangement with Josef Weinberger Limited
Cast: Ashley Campbell, Michael Cantwell, Katie Foster-Barnes, Nick Holder, Alana Maria, Laura Pitt-Pulford, Lee William-Davis, Julia Worsley
Running time: 1hr 35min

An overview of reviews

I’m about to enter full-on panto reviewing mode again, although given my out-of-town location and lack of driving ability the number of productions I get allocated is far fewer than some of our more hardy reviewers.

Before I do, I wanted to make sure that my own record of what I’ve reviewed for The Stage is up to date. Below is the list as it currently stands.

**Update: an up-to-date list is now on my Theatre Reviews index page.

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