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Measure for Measure Review – Maple Hayes Hall

Shakespeare in the Park

Opening Night, Tuesday 20 June 2018

After my first visit to Shakespeare in the Park in 2017 to see As You Like It I was really thrilled to make my second ‘appearance’ for their 2018 production of Measure for Measure.
The plays are performed in the woods of the Italian Gardens that surround Maple Hayes Hall, a stunning Georgian listed building, built in 1794 and now home to Maple Hayes School for Dyslexia.
The first Shakespeare in the Park (or SitP for short!) production was in 1986 and they performed The Taming of the Shrew. In 2005 Measure for Measure took its first bow at Maple Hayes and it now returns for 2018.

Measure for Measure is one of Shakespeare’s darker comedic plays and is certainly much darker than last year’s pastoral comedy As You Like It. Set in the city of Vienna, it does have many of the usual Shakespearean elements to it though: criss-crossed plot-lines; misunderstandings, characters masquerading as other characters; double entendres; drunks; ne’er-do-wells; jocular oafs and winsome wenches! But along with the comedy there is also a very dark moralistic plot that is undercut by violence, verbal and sexual abuse and even a (off screen luckily!) beheading.

The plot is quite convoluted and complicated and it is fairly difficult to keep up with so I’m going to attempt to provide a brief(ish) summary:

Vincentio, Duke of Vienna, is worried about the welfare of his city so sets up a ‘sting’ to find out what would happen if he left it to its own devices for a time and who would step into the power vacuum and try to fill it. So he announces he is leaving Vienna for a period but actually stays in the city to observe what unfolds, dressing himself in disguise as a monk. His deputy is Lord Angelo who sets out almost immediately to rid Vienna of all the ‘undesirables’ such as brothel keepers and people with loose sexual morals. His first victim is Claudio a young gentleman who has committed the cardinal sin of having sex pre-marriage with his girlfriend, Juliet. Claudio is sentenced to death to teach the rest of Vienna a lesson. His sister, Isabella, approaches Angelo to beg for mercy but Angelo will only agree to this in exchange for sexual ‘favours’ which appals Isabella and she refuses to cooperate. Duke Vincentio (aka the monk) intervenes, telling Isabella that evil Angelo was promised to marry an old lover, Mariana, but jilted her when she lost of all her dowry. Duke / Monk tells Isabella to meet with Angelo on the pretext of marrying him but will send Mariana in her place – Angelo will be hoist by his own petard as he will be forced to follow Viennese law and will have to agree to marry Mariana while at the same tine be blackmailed into pardoning death-row Claudio. However dirty tricks Angelo refuses to pardon the condemned man, fearing revenge and, after the beheading of a unfortunate pirate in a misguided attempt to fool the substitute city leader that it was the head of Claudio, the cross dressing Duke is forced to disrobe to reveal his true identity and attempt to resolve the whole sad, sorry mess. Will there be a happy ending – as almost always with a Will Shakespeare comedic play (even a dark one), you can probably guess the outcome!

Still with me? I would not blame you if you weren’t…

Although the play is quite difficult to keep up with it is definitely worth it as the script is very funny, very sharp and quite modern considering it was written (in all probability) in 1604! There is plenty of wordy witty sword play between the protagonists and there are the usual lovely bumbling, tumbling, meandering characters with comedy names that come straight out of The Two Ronnies Sketchbook –  Elbow, Mr Froth, Pompey and the wonderfully titled Mistress Overdone.

The flipside of the comedy interludes are some dramatic, caustic, violent and aggressive scenes where characters clash, men to men but also men to women. The scenes are very realistic and convincing, it certainly drew the attention of the audience last night where you could hear a pin (or a pine cone from one of the trees) drop at the critical, most physical, moments.

The SitP cast are all every experienced, either at previous Maple Hayes performances or other performances in and around Lichfield and I recognised several cast members from the Lichfield Players and the Lichfield Operatic Society and who have performed regularly at the Lichfield Garrick – we are in very safe hands here.

David Stonehouse had a twin role both on and off set, he was excellent playing the double-hander of the Duke Vincentio / Mysterious Monk and was also responsible for directing the show. The direction of this part comedy, part tragedy, part shock horror play must be handled very delicately as it would be easy to overbalance in one direction or the other but David achieves this in a very accomplished manner and it is quite easy for the audience to switch from being highly amused to highly shocked within a couple of scenes.

Robin Lewitt plays the haughty, double-standard loving, out for all he can get Angelo with brooding menace and Hannah Wyss is fabulous as Isabella, the concerned loving novice nun sister of the unfortunate Claudio who is torn between saving the life of her sibling against losing her virginity to an unrequited suitor. The angry and upsetting violent scenes between Isabella and Angelo are amazing, it generates real sparking chemistry and the violence and anger that Angelo unleashes on Isabella when he realises she will not surrender to his clutches is very realistic and very moving.

Sarah Stanley, who directed 2017’s As You Like It, plays Vincentio’s wife Escala with calm assurance, Stevie Morgan plays Juliet while also performing double duties as the Stage Manager, Sam Chesses is the let off the hook Claudio and Ellie Galvin, Hannah Davies and Ryan Gault all show versatility with a number of roles.

The comedic roles are all wonderfully played by Adrian Venables as Lucio, Fiona Willimott and Gemma Irving as Bad Girls Mistress Overdone and Pompey and Brian Todd as Constable Elbow and Friar Peter.

The closing scene of the play is a joyful, cast ensemble River of the Dance-esque routine choreographed with typical skill and dexterity by Charlotte Middleton – and after the tribulations of the somewhat traumatic plotlines sends everyone home happy with broad smiles and a drum beat in their feet!

The other star of the performance is, of course, the wonderful Maple Hayes Woods, the colours of which change with the setting sun and with each closing scene, and provides a wonderful, natural, calming and atmospheric ambience to the whole of the performance, it is truly magical.

I had never read Measure for Measure before, did not know the plot or the main characters but, despite the at times pitch-black script and challenging plot-lines, I really enjoyed it, I am definitely going to draw the book from Lichfield Library and read it through, if only to confirm my understanding of the plot!

I said earlier that we were in safe hands with the cast and crew of SitP – they just will not let you down, and Measure for Measure is another glorious triumph in a glorious setting – they certainly have the measure of William Shakespeare.

Measure for Measure by Shakespeare in the Park is on at Maple Hayes Hall grounds from Thursday 21 June to Saturday 23 June at 7.45pm, with a Saturday matinee at 2pm. Tickets priced £15.00 are available from the Lichfield Garrick box office on Castle Dyke, ring 01543 412121 or book online (for Friday and Saturday) direct at:

www.lichfieldgarrick.com/whats-on/drama/shakespeare-in-the-park-measure-for-measure/2190#

Ain’t No Angels

Sutton Coldfield Town Hall

Dress Rehearsal Review – 4 June 2018

Al Jolson and Frank Sinatra are two of the most famous singers of the 20^th century and their stories are combined in this brilliant production in the impressive grandeur of Sutton Coldfield Town Hall. This musical was performed last year at the Lichfield Garrick and received rave reviews and it is easy to see why based on the dress rehearsal I went to last night.

The idea for Ain’t No Angels came from musical director Ken Wragg, it tells the story of the animosity between the veteran singer and performer Al Jolson and the legendary crooner Frank Sinatra. Rivals in life they are reunited in death when they are brought back together in a virtual waiting room, somewhere between heaven and hell, as they await their calling to one direction or the other. As they wait they bicker and argue about which of them was the greatest singer and who had more hits, while a heavenly mediator, Mr Wellbeloved, tries to keep the peace and shows them the error of their ways in their mortal lives.

As both men relive their past they provide the soundtrack of their lives through their songs, initially like a verbal ‘duelling banjos’ as they try to outscore each other, but then eventually as more harmonious duets. Woven into this tapestry of classic songs are the events, personalities and partners that they encounter on the way, from their mothers, their (many) partners, lovers, contemporaries and wives, to the ensemble cast of their fellow performers and artistes that they have worked with over the decades.

As both men, initially stubborn, unbending and unrepentant, see their previous lives unfold and see the hurt they have inflicted upon the people who loved and respected them, they start to realise the error of their ways and wish they had been more generous, supportive and forgiving. They also see, through the suffering and torment that their respective rival has gone through, that there is another side to them and both men gradually begin to respect and appreciate the other.

They now stand before an unseen and all-powerful jury who must decide if they have done enough to repent and move along the up, rather than down, escalator towards heaven rather than towards hell. But have they shown true repentance – or will the jury think that they are just putting on another showman award winning performance to avoid the fiery furnace of Hell? Just who is the rather mysterious Mr Wellbeloved – is he a friend or a foe? And will their much put-upon marital partners ever truly forgive them?

Although the animosity between the two men is exaggerated for dramatic effect, this musical is based upon a true falling out between Sinatra and Jolson. Jolson’s star was waning when Sinatra came on the scene and the bad feeling probably emanated from the fact that Sinatra was the new kind on the block while Frank  saw Jolson as the has-been still trying to steal his limelight. Regardless of the truth behind the rivalry the premise is still a convincing one – both men were known for being ruthless in their work, and home, lives and it would be very probably that two such huge stars of the stage and screen would not get on.

The musical combines a fascinating background story of the early to late 20^th century, with key events, occasions and personalities with a pulsating soundtrack of the hits of Jolson and Sinatra providing dozens of singalong classics to the beat of a live, swing band. It is truly a show of hit after hit as Jolson sings Swanee. April Showers, Sonny Boy, I’m Sitting on Top of the World and When the Red Red Robin Comes Bob Bob Boppin Along, and Sinatra replies with I’ve Got You under My Skin, Birth of the Blues, Somethin’ Stupid and That’s Why The Lady is a Tramp.

It also includes lots of, perhaps, less well known facts about the lives of the two men including the personal tragedies that affected them both such as the death of Sinatra’s elderly and much loved mother, and the tragic story of one of Jolson’s adopted children. This provides a fascinating insight into both Jolson and Sinatra and perhaps explains some of their actions and personalities – this definitely adds to the production experience and enjoyment.

Paul Lumsden, who also produces and directs the show, and Paul Roberts play Sinatra and Jolson respectively to perfection, bouncing off each other as rivals in life-turned-friends in after life and have a great time singing the classic hits of these two greats with obvious relish and enjoyment. Great together as solo performers as well as on the duets, they are impressive throughout.

Charlotte Middleton and Sian Jones play the (long suffering) partners of the two greats as well as a host of other female personalities of the day – Ava Gardener, Marilyn Monroe, Judy Garland and Mia Farrow to name but a few. Both sing, dance and portray this wide range (and diverse age group from 18 year old to 82 year old) of characters with great gusto, aplomb and have a blurring array of costume changes – I really don’t know how they do all this and still remember their lines and song lyrics – amazing!

Chris Wolverson plays Mr Wellbeloved, the MC who links and weaves the story all together but also plays a number of other characters, stage managers, producers and other stars including crooners Dean Martin and Bing Crosby – complete with the obligatory pipe of course!

With a cast of only five it is incredible just how many famous and not-so-famous characters appear on stage in various guises – at the curtain call I kept on looking behind the curtains to see where the other performers were, it seemed almost impossible for a cast of five to play a cast of hundreds! Lots of hard work and behind the scenes clearly went into this, well done to the whole cast and all the backstage crew for achieving this so seamlessly and professionally.

Music is provided by a ‘proper’ swing live band, all ably controlled by the show’s creator and musical director, Ken Wragg, and it all sounds fantastic in the impressive auditorium of the Town Hall. Lively, fun and time-appropriate choreography is provided by Angie Astell.

This is a great production with a song track that most musicals would die for, that has two of the most iconic names of the 20^th century, a list of star names as long as your (fully extended) arm, witty one liners, historical accuracy with a musical and social timeline of the 1920s to 1980s, drama, pathos, tears of joy and of sadness and all performed with great heart, dedication and versatility.

Highly recommended, it is only on for two nights so please don’t miss out on this limited opportunity!

Ain’t No Angels is on at the Sutton Coldfield Town Hall, on Tuesday 5 and Wednesday 6 June 2018 starting at 7.30pm. Tickets priced at £16 and £14 for concessions, available from the Town Hall, ring 0121 2969 543 or book online at:
www.townhallsuttoncoldfield.co.uk/

Review from the dress rehearsal on Monday 4 June 2018

Avenue Q Review – Lichfield Garrick Theatre

Lichfield Operatic Society

Tuesday 8 to Saturday 12 May

Fawlty Towers Meets The Producers Meets Sesame Street on Avenue Q!

One of the most irreverent, challenging, outrageous and controversial movies (and later stage musical) of the 1960’s was Mel Brooks’ The Producers, which satirised the movie industry and featured several taboo subjects which split audience opinion on release – although now widely regarded as a film classic!

Avenue Q, the latest production from the talented cast and production team at the Lichfield Operatic Society, is from the same stable as The Producers (with flashes of both Basil Fawlty and Sesame Street thrown in to the mix!) as it features a number of sensitive and controversial subjects all wrapped up with catchy singalong numbers, a pointed and spikey script, bouncy and sexy dancing and an array of puppets who hide behind their masters’ voices and sound like a late night, x-rated version of The Muppets!

The musical is based on the American Broadway Tony Award winning smash hit, first produced in 2003 with words and music by Lopez and Marx and from a book written by Jeff Whitty. The cast is a mix of humans and humans ‘armed’ with puppets, the puppets resembling cast members from Sesame Street and The Muppets and the storyline is how these humans and their puppet friends interact with each other, as they bicker, fall out, argue, encourage, sympathise and encourage each other. Set in a downtown section of New York (Avenue Q) the audience is introduced to the main characters when young college boy Princeton moves into a cheap and cheerful tenement block and meets all of the other tenants. The flats’ supervisor is Gary Coleman, a real life (and ill-fated) actor who starred in the hit 1980s comedy ‘Diff’rent Strokes’ as Arnold Jackson and who had the oft repeated catchphrase (and repeated in this production!) of: ‘Whady’a talking bout Willis’ to his long suffering brother. Also in residence is Brian and Christmas Eve a young about to be married couple, Rod who is struggling with openly declaring his homosexuality, his straight friend Nicky, the lovely Kate Monster (who is…er…a monster…) and another of the monster clan, Trekkie, who is very outspoken and yells out ‘Porn’ at every opportunity.

The new kind on the block, Princeton, falls in love with the fairy monster Kate, Rod falls out with his best friend Nicky when he accidentally ‘outs’ him in public and Brian and Christmas Eve bicker and make up as ‘about to be wed’s’ often do. When the lovely Kate gets sacked from her job everything seems to be falling apart for the monsters, puppets and humans on Avenue Q – but then an unexpected source comes to their rescue, they experience a gift dropped in from the heavens and suddenly there appears to be a silver lining in the clouds above the street where they live!

The musical has some very catchy (if not wholly politically correct) numbers including ‘Everyone’s a Little Bit Racist’, ‘The Internet is for Porn’ and ‘If You Were Gay’ and the show is very fast paced. It is one of the shorter musicals, and so the action rattles along which means that there are very few lapses, so is very easy on the eye and the concentration! The interaction between the puppets and their human counterparts is very engaging and, with the clever placement of the puppets in relation to their ‘controllers’ (who are dressed in black to merge with the backdrop) it is very easy to find yourself believing completely in the puppets, cheering them on and totally dismissing the Brian Conley catchphrase of ‘It’s Just a Puppet!’.

Acting – difficult. Acting and singing – very difficult. Acting, singing and controlling a puppet while doing the first two – extremely difficult! The talented cast and production teams of the Lichfield Operatic make these three things look very easy to the audience. Newcomer to the team (though not to Lichfield) Anil Patel makes a very assured debut in the leading role as Princeton – a lovely, consistent American accent and a very easy style which allows us to truly believe that he is the love struck puppet and not his human master. Fellow newcomer Lucy Follows is very sweet, vulnerable and tender as the love struck Katie Monster (and it’s hard to achieve a sweet monster I guess!), Pat Jervis and  Pete Beck provide terrific support as ‘desperate to stay in the cupboard’ Rod and best mate Nicky respectively, Adam Lacey plays Brian with verve and is every inch the typical New Yorker  and Kate Pinell puts in a great , funny and talented performance as the Chinese / Japanese wife of Brian ‘Christmas Eve’ who with her black bob and Chinese patois is a world away from her recent role as Nellie Forbush in South Pacific. Lucy Surtees plays Lucy The Slut, love rival to Kate Monster, with man eating sexy charm and a hair toss that would rival Miss Piggy, Aaron Morris is excellent as Gary ‘Arnold’ Coleman and Ben Foulds (who many Lichfeldians will know from his singing at various Lichfield venues) is great as the outrageously outspoken Trekkie Monster!
The ensemble cast are all amazing and, as I always say, some of my favourite moments are when al 40+ of the cast are on stage, going for it like their lives depended on it and you can just see their enthusiasm and enjoyment tumbling out over the stage and into the audience – just fantastic!

I watched the dress rehearsal on Monday night and the production was razor sharp, it ran like clockwork with everyone switched on and raring to go for the opening night, very impressive. Direction from James Pugh is spot on, it all runs at a fantastic energetic pace and he draws some excellent performances for the cast. The musical numbers are directed by David Easto and have real ‘Muppetesque’ feel to them, you can almost imagine The Animal in the orchestra pit beating away on the drums! Lively, sexy and ‘combined human and puppet’ choreography is expertly looked after by Charlotte Middleton (seen on the stage as well!) and Steve Rainsford controls the lighting, showing off the puppets and the actors in equal measure.

The show does contain some strong language, adult themes and some views that some may feel are not entirely politically correct or in keeping with their own. But remember, just like Fawlty Towers and The Producers, this is a satire, the writers are trying to show us that if we make fun of these outspoken views and beliefs that we can make them look foolish and insignificant. At the end of the day the characters of Avenue Q show that if everyone works together – humans, puppets and monsters all work together in harmony then they can achieve great things, overcoming racism, sexism and gender issues.

I loved the performance: its funny (you have to listen closely to get all of the jokes!), sharp, ironic, spikey, outrageous, controversial and definitely makes you think. Definitely recommended, if you come along with an open mind I think you will really enjoy it – but try not to come out of the Garrick yelling Trekkie’s favourite line – ‘PORN’ – you may attract some attention!

Avenue Q by the Lichfield Operatic Society is on at the Lichfield Garrick Main Theatre from:
Tuesday 8 May until Saturday 12 May 7.30pm each day, 2.30pm Matinee on Saturday only.

Ticket prices from £18 per person, book at the Lichfield Garrick Box Office on Castle Dyke, Lichfield, ring 01543 412121 email: garrick@lichfieldgarrick.com or visit their website to book online:
https://www.lichfieldgarrick.com/whats-on/musicals/avenue-q/114#schedules

Blood Money – Lichfield Players

Lichfield Garrick Studio Theatre

Tuesday 1 May 2018

The latest production from the Lichfield Players is ‘Blood Money’, a dark thriller written by The Heather Brothers and performed in the Studio Theatre at the Garrick.
I’d not heard of this play before but that was a bonus as it has lots of twists, turns and ‘jump out at you’ surprises so trying to play Hercule Poirot and guess the end was all part of the performance.

The action was all set in the home of Mike and Liz Mason, a warring couple on the edge of a marriage break-up (or on the edge of strangling each other) who only keep their rocky relationship above water due to a deadly secret that they both share – seven years ago they were involved in a drunken hit and run car accident when they killed a young girl, Carol Mitchell. Mike is a host of a long running cheesy TV show, Bargain Basement, and was on the way back from a TV Awards ceremony when the accident happened and although it is a distant memory that they have tried to keep to themselves it looks as though someone wants to uncover their shameful secret.
Thrown into the marital ‘bliss’ is sexy next door neighbour Sue who has a crush on Mike, despite being half his age and also the slightly mysterious Julie who, initially,  is heard on the phone and not seen but clearly has the hots for Mike too.
As Mike prepares to attend the latest Awards Ceremony accompanied by a drunk and potentially reputation-destroying Liz the presumed deceased Carol Mitchell seems to step out of the grave and come back to haunt Mike and Liz through phone calls and messages scrawled on walls. When Julie finally appears on the scene as the doctor looking after the emotionally scarred and therapy-seeking Liz all of the key players are thrown into the mix. Jealousy, revenge, mental torture and blood lust all combine in a frenzy of cross and double cross, twist and turn, done it and whodunit until the final, shocking, nerve jangling denouement – but will anyone survive? Who is the victim and who is the killer – and will Carol Mitchell really come back from the grave?

Blood Money is firmly split into two acts, Act One sets the scene of the warring, and philandering, husband and wife, explaining why the couple hate each other and why Mike is so keen to rush into the arms of any woman he meets. It’s clearly a thriller but has lots of dark humour running through it as Mike and Liz spar with each other relentlessly – with shades of ‘Who’s Afraid of Virginia Woolf’ there are plenty of tart retorts and observational humour to admire.
Act Two is much darker as the plot and mood thicken and it becomes a taut physiological thriller with cat-and-mouse plot manoeuvres, threats, violence and edge of the seat ‘he’s behind you’ moments. Gunshots, bangs, crashes, screams and lights ‘off and on’ add to the menacing mood and the nerves jangle both on the stage and in the audience.
The four performers are all excellent with Andy Jones (last seen as a policeman in The Lady Killers) superb as the bitter, world weary, stuck in a rut TV host looking for his next break and looking to break his marriage to the increasingly paranoid Liz. Sue Evans, who was also in The Lady Killers, is fantastic as the caustic emotionally battered wife Liz, fed up with the multiple affair-seeking Mike and determined to ruin both his big night out at the Awards Ceremony and ruin his extra-marital relationships. Lichfield Players debutant Alex Dziegiel plays the next door neighbour that every philandering male would want living next to him with aplomb and Sarah Stanley (last seen in the anti-Christmas play ‘A Kick in the Baubles’) as the seemingly caring and compassionate family doctor is superb as her doctor’s mask slips to reveal something much more sinister.
Special mention must be given to the performances of Sue Evans and Sarah Stanley in Act Two as the tension ramps up and the plot, and their characters’ minds, gradually unravel and it descends into a nightmare cocktail of accusation, revelation and recrimination. Their performances dominate the stage and the feelings of frustration, anger, fear and hatred that they show in what are very demanding, both emotionally and physically, circumstances are very moving and truly believable – full five star marks to both actors.

The production values are up to the usual high standard at the Garrick Theatre and the lighting, sound effects and set all help the Studio audience enjoy the almost ‘on stage with the actors’ experience. Director Charlie Barker draws fantastic performances from all four actors and provides the perfect balance from the drama mixed with humour of Act One to the dark and brooding menace of Act Two with great skill.

This is a great way to spend an evening at your local theatre – the cast, direction and production are all first class and the play is moving, funny, dark, sad, dangerous and emotionally charged. I won’t spoil the ending for you but it will make you sit up in your seats – it left me with genuine goose bumps and I had to calm the nerves with a strong drink at a local hostelry.

Blood Money will, at times, chill your blood and is definitely great value for money – I would definitely recommend that you give it a run for your money!

Blood Money is on at the Studio at The Lichfield Garrick, on from Wednesday 2 May to Saturday 5 May at 7.45pm, with a matinee on Saturday 5 May at 2.30pm**

Tickets priced at £13.50, to book visit the Lichfield Garrick Box Office during usual opening hours, ring 01543 412121  email: garrick@lichfieldgarrick.comor book online at: www.lichfieldgarrick.com

** Performance contains strong language, violence, loud sounds and visual effects

Manners, Mirth and Muffins!

‘The Importance of Being Earnest’
Lichfield Garrick Main Theatre Tuesday 27 March

The Importance of Being Earnest is not only one of the most famous of Oscar Wilde’s plays but also has one of the most famous retorts in the British Theatre…’A Haaanndbaaag’ has been uttered on many occasions, by many leading actresses and by thousands of theatre-goers over the decades!
This production is playing at the main theatre at the Lichfield Garrick this week, until Saturday 31 March and has a delightful cast with a host of well-known television, theatre and movie stars including Gwen Taylor (Duty Free, Coronation Street), Susan Penhaligon (Bouquet of Barbed Wire, A Fine Romance) and Thomas Howes (Downton Abbey).
Earnest was first performed on stage in 1895 but it not old fashioned or staid, it may be from the Victorian era but I am certain it definitely would have amused Queen Victoria! The play is part comedy, part farce and part Wilde lampooning the classes, morals and manners of the strict code of the day.
In terms of the plot, both leading men, Jack (Ernest) and Algernon (Bunbury) have two sets of christian names which they use to their advantage when they want to ‘disappear’ from the straitjacket of their responsibilities. When their respective aliases are uncovered this causes confusion, misunderstandings, faux-pas and double-takes. However, the tangled lives become untangled and there is a ‘happily ever after’ ending where Jack-Ernest discovers the true importance of being earnest!
As is customary with Wilde there are a whole host of fabulous, witty, pithy, caustic lines and has a veritable fountain fall of double-entendres that it is difficult to keep up with them all!
Coupled with these fantastic lines the very strong cast form a formidable partnership, Gwen Taylor is just fantastic as Lady Bracknell, her experience and stage craft shine through, Susan Penhaligon and Geoff Aymer are very funny as ‘are-they-aren’t-they’ potential lovers and Peter Sandys-Clarke and Thomas Howes as Jack and Algy make great sparring partners as they both accuse each other of abusing their twin Christian name privileges, chase each other round the stage and fire off wonderful muffin-encrusted one line insults! Howes’ interpretation of the upper class Algernon is reminiscent of part Billy Bunter, part Mr Pickwick and it is definitely worth looking at his expressions and mannerisms whenever he is on stage. Hannah Louise Howell plays feisty, stand up for herself Gwendolen (you can imagine her as a potential suffragette!) and Louise Coulthard is ditzy, kooky Cicely Cardew who pops and fizzes across the stage, leaping and bouncing about and has a fabulous Miranda Richardson-esque squeal! Judith Rae and Simon Shackleton complete the cast providing strong support as the mischievous maid and long suffering hang-dog expression butler.
This is the latest of a number of performances of the play around the country and it shows – this is a slick, polished and razor sharp production, both from the cast and the ‘behind the scenes’ team, the play is produced by The Original Theatre Company. It’s got a stellar cast whose sheer professionalism comes to the fore, a witty, sharp-as-a-tack script from the brilliant, albeit ill-fated Oscar Wilde, with enough classic comedy lines to last you a lifetime let alone one evening.
If you go and see one show this year then I’d make it The Importance of Being Earnest – I guarantee you won’t be disappointed!

The Importance of Being Earnest is on until Saturday 31 March, tickets are priced from £23.50 to £27.50 and available from the Garrick Box Office on Castle Dyke, ring 01543 412121 or from their website:
www.lichfieldgarrick.com/whats-on/drama/the-importance-of-being-earnest/111

The Full Monty by the Sutton Coldfield Musical Theatre Company – Monday 20 to Saturday 24 March 2018

This year the Sutton Coldfield Musical Theatre Company celebrate their 85th birthday – and there’s no better way to see what they’ve achieved over the last 85 years than with their latest production of The Full Monty!
Formed in 1933 its opening performance was Maritana, a three part Victorian opera by William Wallace, the company has performed at the old Civic Hall in Lichfield as well as, more recently, the Garrick theatre but this performance was back in its spiritual home of the Sutton Coldfield Town Hall.
Their 2018 production of The Full Monty is, I’m sure, a massive change from their first production and would have undoubtedly shocked their 1933 audiences but, judging by the reaction of the audience at Tuesday’s opening night, they were shocked with delight and not outrage!
The stage play is based upon the British film of 1997 but this is the American stage version of it, initially performed on Broadway – so the action (and the accents!) moves from the steel city of Sheffield to the steel city of Buffalo, New York State.
The story should be well known to most, partly because of the famous time that Prince Charles joined the cast in the unemployment queue in the film version. It’s about 6 unemployed steel workers who decide to become male strippers to raise some much needed cash – and agree to bare everything as they claim to go ‘full monty’ at their one and only performance in front of 1000 screaming women!
The closing ‘reveal’ is what most people know this play and film for – but it’s definitely more than that as it’s a story of broken dreams, lost love, friendship, romance, inner peace, frustration and joy. There are several plots and sub-plots running through the play as we see these amateur strippers-to-be struggle to learn their moves and struggle with the very idea that they will reveal their manhood in the most public of places.
The cast is led by Phil Bourn as Jerry Lukowksi, the chief engineer of the plan, who I last saw in South Pacific at the Garrick, who has a strong, melodic voice and displays both strength as the leader of the gang but also has some very tender moments with his young son Nathan played with impish charm by Ethan Bowley.  Ben Green is loveable lug Dave Bukatinsky (Buffalo has a large population of Polish immigrants) who has a number of great self-deprecating lines and throw-away gags and who struggles deciding whether to take part in the show at all or continue his new career as a deeply unhappy night security guard. Ben Adams, another stalwart of the Garrick shows who I saw in Our House, plays Ethan Girard who has a fascination with the character Donald O’Connor played in Singin in the Rain and who flipped backwards while running up a wall – a feat which Ethan tries to replicate…and fails…and fails…and fails…it’s a great running gag and one which would certainly leave Ben a bit bruised and bashed about this morning! Patrick Jervis plays nerdy loner and mother’s boy Malcolm McGregor who has some fabulous ‘moves and grooves’ in a knitted cardy but who also displays great warmth and sensitivity when his elderly ma dies and in a touching fledgling relationship with best pal Ethan. The steelers’ six are completed by ageing hoofer Noah T Simmons whose unrequited nickname is ‘Horse’, played by a very agile Fidel Lloyd and finally the guys’ old boss, Harold Nichols, played by Rob Fusco who has keeps the news of his redundancy secret from his wife for six months!  As usual with the SCMTC there is a really strong ensemble cast and they all perform with their customary verve and enthusiasm – and one of my highlights of any of their shows is when everyone is on stage ‘going for it’ and you can see the very clear family bond that they all have – that 85 years’ background of local theatre heritage and experience is very much on display here.
The show songs are perhaps not well known but there is a lovely mix of upbeat singalong numbers such as the closing Let it Go and It’s a Woman’s World to moving duets You Rule My World (two handers here, the men with Dave and Harold and then their female partners reprise the song in Act Two with Georgie and Vicki) and then to the very emotional Breeze Off the River by Jerry and You Walk With Me by Malcolm and Ethan, both of which definitely touch the heartstrings.
There are lovely inventive dance routines, with choreography by Jenny Morris, very assured directing from Paul Lumsden (and having seen the dress rehearsal on Monday night I can bear witness to the skill of the director in tweaking and changing certain routines and scenes in just 24 hours) and a pulsating score from the ‘behind the scenes’ orchestra with musical direction by Sheila Pearson.
The Full Monty should not be thought of as just a one trick pony (or Horse!) of the final reveal (though it is great fun and skilfully executed here) – it’ a comedy, a tragedy, a love story, a story of friendship and heartache, it’s funny, it’s uplifting and inspiring. It’s much more about the relationships of everyday people struggling to get by another day than it is about the dropping of boxer shorts.

85 years on the Sutton Coldfield Musical Theatre Company are still entertaining audiences with their love for the theatre – values change, standards change, cast members change and show locations change but one thing remains constant…you will always see an entertaining, enjoyable and professional show at the SCMTC.
*Please note that as well as the ‘reveal’ scenes there is some strong, adult, language in the show.

Help the SCMTC celebrate their 85^th birthday by going to see The Full Monty at the Sutton Coldfield Town Hall, running until Saturday 24 March 2018. For ticket details please see the Town Hall website: www.townhallsuttoncoldfield.co.uk

Deliciously Dark and Delightfully Deadly

The Ladykillers at the Lichfield Garrick

31 January 2018 – Main Auditorium

When I was growing up one of my favourite films was The Ladykillers, one of the last great Ealing Studio comedies from the 1950s and starring Herbert Lom, Katie Johnson (who won a BAFTA best actress award for her role), the sublime Alec Guinness and a young Peter Sellers, it was a fabulously dark comedy about a naïve little old lady (Johnson) who unwittingly despatches a gang of madcap robbers led by the cultured, but increasingly ruffled, Guinness.

Ignoring the 2004 film remake by the Coen brothers (and it’s best too!) the TV writer Graham Linehan (of Father Ted fame) has written a version for the stage and it is this version that the Lichfield Players have put on as their latest play at the Lichfield Garrick.

Set in the early 1950s, the plot revolves around a sweet little old lady, the widowed Mrs Wilberforce, who lives in a crumbling house right next to Kings Cross railway station and who only has a diseased macaw parrot and her paranoia about Nazi war criminals living across the street to keep her company.

She is visited by the smooth, urbane ‘Professor’ Marcus who wants to hire her spare room while he and his string quartet practice for a concert they are giving in a couple of weeks’ time. Unbeknown to Mrs Wilberforce Marcus and his rag-tag gang are in actual fact serial robbers, plotting their latest heist, a raid on a security van that will net them a cool £20,000 in shiny new £5 notes.  

Mrs Wilberforce gladly makes them tea and sandwiches while a radiogram mimics their violin and cello concert practice and is so impressed by their playing she even ‘books’ them to play to her afternoon tea soiree with her elderly friends.

With the heist completed, and their true identities and motives finally revealed to Mrs Wilberforce, they plot to silence her for good, but there is no honour amongst thieves and they manage to bump off each other rather than their intended victim until there is only one man left standing to face off against the octogenarian OAP. But who will win the final showdown – and who will be left with the money?

Linehan’s script has brought the play up to date but it still retains that lovely old Ealing Studio feel to it and, if you have seen the original 1955 film, then you will definitely empathise with the nature and character of it. It’s funny, with plenty of witty lines and snappy dialogue, it has some slapstick elements but it is mainly the word-play and interaction between the diverse range of characters that entertains. Ian Davies as the Professor is tall, refined, smooth and charming as he battles both with Mrs Wilberforce, played with delicate and genteel charm by Lynne Young, and his bungling band of hapless robbers. Greg Spencer is excellent as the twitching, pill-popping, convulsing cockney spiv ‘Arry (think George Cole in St Trinians!), Adrian Venables is menacing, but also vulnerable, as hired hitman Louis while Peter Carrington-Porter plays ex-Army man Major Courtney, who has a love for wearing a pretty dress as well as an army tunic. Ian Parkes is loveable lug Mr Lawson, alias One Round, an ex boxer who has clearly had what little brains he had punched out of him in the ring and unintentionally gives the plot away to Mrs Wilberforce at regular intervals. He has some great lines as well as a great presence and is the only character who feels generally sorry for, and affectionate towards, Mrs Wilberforce – despite this he meets with a most gruesome end! Andy Jones as the long suffering neighbourhood beat bobby Constable Macdonald provides good support and Mrs Wilbeforces’ Society of Ladies get a great laugh as they rush the faux string quartet at their tea party ‘performance’ as though they are One Direction!

The set design by Andrew Bodger is clever and imaginative as it depicts three levels of a house, as well as a train track and station and swivels round to show both the inside and outside of the house – and all with a few ‘swings’ of scenery boards!

Director Chris Stanley, last seen playing Frank in the hilarious A Kick in the Baubles ‘anti’ Christmas play, keeps the pace flowing very nicely, and there are lots of comedic touches and visual running gags.

The Ladykillers is a nostalgic nod to the time when British comedy films ruled the cinema and dominated the awards’ ceremonies, with a clever, witty script and played with obvious enjoyment and enthusiasm by the cast. For myself it brought back happy memories of sitting round the family black and white TV and watching the original film which is a testament to how well the Lichfield Players have captured the spirit of the original. A sustained and vibrant round of applause at the curtain call showed that the very knowledgeable Garrick audience definitely enjoyed it too!

Ladykillers is on at the Lichfield Garrick main auditorium from Thursday 1 February to Saturday 3 February at 7.30pm with a matinee on Saturday at 2.30pm. Tickets, priced £15-16, are available from the Garrick Box Office (during opening hours) on Castle Dyke, ring 01543 42121 or email: garrick@lichfieldgarrick.com
Alternatively book direct at:

www.lichfieldgarrick.com/whats-on/all-shows/the-ladykillers/70