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The Rise and Fall of Little Voice (Susan Elkin reviews)

The Rise and Fall of Little Voice continues at the Park Theatre, London until 15 September 2018.

Star rating: four stars ★ ★ ★ ★ ✩

This is a very funny show. It’s also deeply tragic. And director Tom Latter has made a remarkably good job of linking those elements so that it rarely feels disparate.

Mari, played by Sally George, is a total failure. She is a disastrous mother to her only child (played in this production by her real-life daughter Rafaella Hutchinson). She has driven her husband to an early grave. She’s an alcoholic living in a filthy house tartily trying to attract a man.

George finds all the right brittleness and vulnerability in Mari even as she delivers Jim Cartright’s hilarious one-liners and put-downs in a rich northern accent. The character is utterly pitiful and George – teetering about on her heels, falling out of her scrappy dresses laughing, shouting, weeping and more – ensures that we feel every single ounce of her underlying, unacknowledged despair.

Hutchinson’s character, Little Voice …

Read the rest of this review at Musical Theatre Review: http://musicaltheatrereview.com/the-rise-and-fall-of-little-voice-park-theatre/

 

Barrack Room Ballads was performed by Youth Music Theatre UK at the National Army Museum, London.

Star rating: four stars ★ ★ ★ ★ ✩

It’s an unlikely proposition – a musical version of a set of poems by (deeply unfashionable) Rudyard Kipling performed by 34 teenagers with a seven-piece live band in a tiny space not really designed for theatre. But it comes off in spades.

Timed to mark the centenary of the end of the Great War, this 60-minute show is as moving as it is slickly directed by Conor Mitchell who also composed it, with strong rhythmic choreography by Richard Chappell.

We open with a rallying, slightly defensive speech by Kipling himself …

Read the rest of this review at Musical Theatre review: http://musicaltheatrereview.com/barrack-room-ballads-youth-music-theatre-uk-national-army-museum/

 

Composer JAMES FORTUNE – who prefers to be known as Jim to avoid confusion with the well-known American jazz musician of the same name – and I are chatting in the National Theatre’s balcony interview room.

He has slipped out of Periclesrehearsals downstairs to meet me. “This Pericles is pretty special and unusual because it has a cast of 200 including seven cameo groups who represent the diversity of London.”

He then lists them for me: “They are Ascension Eagles, Faithworks Gospel Choir, London Bulgarian Choir, Manifest Nation, The Archetype Dance Team, The Bhavan and the Youthsayers.”

So how on earth do you incorporate all that into Pericles? …

Read the rest of this interview at Musical Theatre Review: http://musicaltheatrereview.com/the-whole-show-is-a-celebration-of-what-we-can-do-in-multicultural-london-composer-james-fortune-on-why-the-national-theatres-pericles-is-pretty-special/

St Petersburg Ballet Theatre

London Coliseum

Star rating: 4 ****

The Russians know how to do Tchaikovsky ballet. It’s in their blood just as Strauss waltzes live in the Vienese. So this version of Swan Lake – complete with happy ending which you don’t always get – from one of Russia’s foremost companies filled the lofty Coliseum to the gunwhales on press night. “Now sits expectation in the air” as Shakespeare put it.

And those expectations are amply fulfilled. Irina Kolesnikova, in the Odette/Odile role is one of the most celebrated dancers of her generation and it isn’t hard to see why. She has a liquid expansiveness in her movement through which she delivers charisma and imperiousness and she can pirouette continuously, apparently effortlessly for thirty bars or so. She has a very appealing, articulate grin too. Kolesnikova is one of those rare performers who commands a round of applause from the cognescenti on her first appearance before she dances a single step.

As Siegfried, Denis Rodkin (looking uncannily like Nureyev at times), languid and wistful with some excellent gravity-defying leaps, partners her elegantly in this strange fairy tale about a prince who falls in love with a swan princess and is then duped by a malevolent force into succumbing to her black twin.

There’s also a splendid performance from Sergei Fedorkov as the lithe and saucy jester. His acrobatic cartwheels, flips and long impressive spins are accomplished show stoppers and he packs plenty of sparky personality into the role too. Dmitriy Akulinin’s Rothbart, black, menacing and ubiquitous is pleasing too.

Well it’s a Tchaikovsky ballet so there are lots of set pieces to exploit the talents of the rest of the corps de ballet. The sparky Spanish dance – with the in-pit percussionist enjoying him (or her?) self on castanets is a high spot and the principal trumpet does a lovely job during the tambourine dance.

The sets and costumes are magnificent too. The fan vaulting with golden chandeliers for the party in Act 2 is very effective and every costume is spectacular although goodness knows why the six virginal girls paraded before Sigfried who’s meant to be choosing a bride, wear headdresses apparently borrowed from The Handmaid’s Tale. The king in act 1 looks off-puttingly like Oliver Ford Davis in one of his patrician roles too.

The real star of this show, however, is Tchaikovsky’s score – some of the most sublime and haunting music ever written. Here, with Vadim Nikitin conducting the Orchestra of English National Opera it mostly sings out and creates atmosphere as it should.

I wonder, though, how much rehearsal the orchestra had with the company? It took a while – too long really – for the music to settle at the beginning. Later there were too many wrong notes in the violin solo which accompanies Sigfried’s big pas de deux with Odile. Never mind, sitting at the stage left edge of the stalls I could hear the brass so clearly that I could, at times, have written out the trombone part. The Coliseum’s acoustics can sometimes be a bit skewed.

Oddest of all is the habit of the conductor’s taking his cues from the dancers rather than the other way round. It means frequent, quite long silent pauses before the appearance of the next dancer(s). A single step then acts like a conductor’s upbeat before Nikitin brings in the orchestra. Perhaps it’s how they do it in Russia but UK audiences are not used to this and it feels, repeatedly, as if something has gone momentarily wrong.

Minor gripes apart this is a very enjoyable production of one of the finest ballets of all time. It’s the third Swan Lake I’ve seen so far this year and I think it pips the other two (English National Ballet My First Swan Lake and Royal Opera House).

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-Swan%20Lake%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3307

Chichester Festival Theatre, Minerva

Four stars: ****

Yes, it’s a fine, thoughtful script for intelligent grown-ups but the most striking thing about this revival of Michael Frayn’s 1998 play is the stunning quality of the acting.

A three hander with all three characters on stage throughout, this play gives a smaller speaking part to Patricia Hodge than those of her two male colleagues (Charles Edwards and Paul Jesson). Yet, Hodge can communicate more by shifting one knee, refolding her hands or swivelling her eyes than many actors can manage in a paragraph-long speech. Her evident listening, reacting and visible thinking is masterly. Every drama student should see this.

Neils Bohr, a Dane (Jesson) was the world’s pre-eminent physicist before the second world war. A quasi Pope of the international world of physics he was flanked by younger “cardinals” who became friends. Werner Heisenberger, a German (Edwards) was one of them. The war changed things as physicists on all sides began to wonder whether the energy released by splitting the atom could be used to create devastating weapons. In 1941 Heisenberger visted Bohr who was living with his wife and children in what was, by then, enemy occupied Denmark. Their meetings, the reasons for them and what was said have been the subject of speculation ever since.

Played on Peter J Davison’s spare, empty set with plain grey tiled floor and three white chairs Copenhagen playfully suggests that now the three of them are long dead they can get together again to thrash out what actually happened in 1941 and why.

Hodge, in a grey 1930s suit with big clumpy shoes, as Bohr’s eloquent, knowing, cynical, accurate – and loving – wife acts as listener and sometimes narrator as several versions of the conversations are replayed. Jesson and Edwards play beautifully off each other as they spar, reminisce, shout in exasperation (“Mathematics IS sense. That’s what sense is!” declares Heisenberger furiously at one point) and yet regard each other with underlying affection and respect despite their finding themselves on opposite sides in 1941. “Physics not politics” they say several times but of course, in this context, they’re the same thing.

It’s a rare treat to see three actors at the top of their game working with such high quality material. Catch it if you can.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Chichester%20Festival%20Theatre%20(professional)-Copenhagen%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3306

Last week I went on a warm summer Sunday afternoon to The Scoop at More London near London Bridge to see The Wizard of Oz.

I’d been commissioned to review by one of my regular editors and booked in by a quite well known PR person from whom the last word I had was “All booked in. Thanks, Susan”. The release informed me that there were several press performances over the weekend and I chose which to attend. Notice I am not naming names although it’s tempting.

When I got there the manager told me that all the press performances had been cancelled. What? Why had no one let me know? Neither my editor nor I had been informed although, to be fair, the PR thought he had told us and later apologised.

Well the manager let me in – not that he had much choice. This is free theatre open to anyone, after all.  He told me that there had been technical issues and gave me a free a programme. One of the cast explained the problems to the audience before the show started too.

So I saw it and, being the commensurate professional that I try to be, I ignored the technical issues and wrote a reasonably favourable 3 star review praising some of the performances.

Sparks flew when the PR found out about this. Oh no, no no. The company definitely did not want the show reviewed as I had seen it. I was furious and he said my attitude was “disappointing”.

Really? I think the disappointment was all mine.  It was an entire Sunday afternoon wasted. I left home at 2.30 and got back there at 6.30 and I’d  sat for a whole hour in the most uncomfortable venue in London, worse even than the Globe.

Anyone who knows me in real life or through social media knows that I am an extremely busy diary juggler. I  simply do not have four hours to throw away because someone else has been inefficient and, to be honest, a bit prima donna-ish.

Anybody could have walked into that venue last Sunday and written anything, anywhere they chose to about the show. That is why I have now published the spiked review on my website. http://susanelkin.co.uk/articles/wizard-oz-susan-elkin-reviews/ It salvages a tiny bit of my wasted effort. Production companies and PRs are not actually able to control who writes about what, how and where. And quite right too.

There’s a more general lesson here though. Most companies and the marketing staff they employ, or work with, are desperate to get critics through the door. I probably receive ten invitations for every one I can accept and as it is I cover a show of some sort almost every day. Probably best, therefore, not to alienate me.

Like every other critic/reviewer/journalist I also have, or try to have, a life and mine is not without its personal problems as many readers will know. I really didn’t feel like traipsing up to London Bridge last Sunday but of course I went because I’m a pro.  Had I been informed of the situation I could have got the ironing done, written a feature, mowed the grass or simply sat in the garden with a book and a G&T or had a much needed kip – all much more attractive  options than going out to be treated with such casual disdain.

The message of course – and, thank goodness, most companies are already well aware of it – is that if you want your show reviewed, both this one and the ones you’ll produce in the future, then you need to treat critics with basic courtesy. “If you prick us do we not bleed?”

Faintly, automatically, through two open doors she registered the low murmurings from the baby’s bedroom across the hall. Pianissimo. Crescendo would soon follow. She must prevent him reaching fortissimo or even mezzo forte. Working hard to push upwards, out of the still dreamless sleep which had held her, like a deep-sea diver she broke free of the surface. Her husband lay quietly behind her, locked away in sleep. Shirley got out of bed, put on a dressing gown and went to feed Jonas. It was just after two in the morning.

She switched on the hall light and used its beam to find the switch on the little side lamp in Jonas’s room. Sudden bright lights, she had read somewhere, were very traumatic for a young baby fresh from the warm aromatic darkness of the womb. Jonas blinked and waved tiny pink paws. His mouth was moving. He reminded her of a hungry kitten.

Shirley picked him up. His white crocheted shawl, the proud gift of a school friend in the excitement following the birth, had loosened. She re-wrapped him against the February chill. There had been a hard frost when she and her husband had gone to bed four hours earlier and it still felt very cold. Their rented Edwardian mansion flat was redolent with faded splendour. It had never occurred to the landlord, in appearance and manner as old as his properties, to install central heating.  She switched on a small electric fire and sat down in the arm chair with Jonas.

Already she could feel anticipatory spurting in her enlarged, tight breasts. As she opened the top of her dressing gown  dark streaks of milk began to shoot down the front of her blue night dress. Holding Jonas on her lap with her left hand she used her free hand to lift her left breast clear of the damp fabric. It rested heavily and stiffly in her palm, pale and criss-crossed by a map of small hard bluish veins.  She lifted her son and carefully guided  the large brown nipple into Jonas’s eager  mouth.  He drew deeply and ecstatically  on it, this: his source of nourishment and security. Shirley settled back, the tension in her breast subsiding as the distending milk was sucked steadily away.

She looked at the suckling boy who was now the centre of her universe. Yet, only three weeks ago he’d been a condition not a person. The events of an early morning in late January had changed everything, her feelings, her relationship with her husband, her attitude to her parents and friends. It was as if she had woken one morning to find that she had been unaccountably transformed, like Gregor Samsa in Metamorphosis. She had gone to bed one Sunday night after listening to a jolly performance The Pirates of Penzance on LP records and eating a peanut butter sandwich for supper. The next day everything changed, permanently.

Of course she had prepared. For months she had knitted. She and her husband had redecorated  the spare room. Her father-in-law had repainted and restored the family cot and erected it in  loving readiness for his first grandchild. She had grown used to the novelty of  being at home after leaving her teaching job in November. Nothing, however, had or could show her how she herself would be permanently, irrevocably transmuted.

Each time she got up to attend to Jonas in the small hours was a miniature re-enactment of the day of his birth. As now she had awoken at about two. She felt the mildest of fluttering in her abdomen. It was hardly noticeable but it disturbed her.  Wide awake almost immediately – no slow pull out of sleepiness on this occasion – she got up, leaving her husband obliviously asleep. Was this it? What should she do? Nothing  dramatic was happening. Perhaps she would sit up for a while and monitor the situation. She made tea and sat, cat on what was left of her lap, hunched over the kitchen table and read The Forsyte Saga.  It seemed a vague and unreal possiblity that her life was about to be torn apart and remade.

At about four her husband appeared, his questioning face still dark with sleep. He had woken to find her place in bed empty. Anxious, loving, concerned, responsible but out of his depth, he wanted to put on hot water for the planned home delivery. Should he phone the midwife to alert her?  A very young man, he struggled bravely with the magnitude of the uniquely grown-up situation in which he found himself. The squeezing of Shirley’s womb was growing more urgent. As the last hours of the long winter night  slowly dissolved into cold grey dawn, Shirley was gasping in regular, seering pain, beyond reading, eating or even talking.

How innocent and foolish we were, the metamorphosed  Shirley wisely mused now as she shifted Jonas gently to her right breast which he began to drain steadily. The eighty year old building  sighed around her in the still darkness, protective of its occupants, resisting the icy cold outside. The baby, snugly solid and warm against her  body, sucked more slowly. Nearly satiated he was becoming drowsy. His mouth lost its grip as his eyes closed. Shirley lifted the sagging breast by placing her first and second fingers flat on either side of the softly wet nipple, now elongated by pulling. Softly, she brushed the child’s mouth with it, in invitation.  Aroused, he took it and  began gently to take a little more milk.

She had given him her breast for the first time within a few minutes of his birth on that extraordinary Monday morning. When the midwife had finally bustled into the flat it was too late for any of the primitive rituals with razors and syringes  which medical science usually forces upon women in labour. It was also too late for anaesthesia.  Shirley lay, naked from the waist down, writhing on the sheeted mattress of the single bed in the room she had so painstakingly got ready for the baby.  All the midwife really had to do was to encourage Shirley through  the final few tortured minutes of the delivery. Invaded by gigantic ragged waves of pain which shook her whole body and forced her to cry out in agony, Shirley, so calm in real life, felt, in the tiny corner of her mind with which she could still think, as if she were trapped in some appalling nightmare. ‘I can see the head,’  the midwife declared encouragingly, ‘Push as hard as you can now’. Shirley needed telling only once. She wanted more than anything else in the world at that moment to escape from the clutches of this pain. She flexed her supple young pelvic muscles and held on. The baby was violently and suddenly ejected in one slithery wailing rush.

It was over. The pain stopped. It was quiet. She relaxed. During the hours of anti-climax there followed washing, cups of tea, stitches, a late breakfast, phone calls and the first visitors. Shirley had a changed identity. She was now mother first and everything else second. Instantly, in less than twelve hours.

Now, three weeks later her youthful body felt almost healed.  Jonas, a smooth skinned and attractive baby even at birth was filling out and very healthy. His head fell back as he finished his feed. Shirley lifted him and stood up, yawning.  She held the fragrant, milky boy against her shoulder and tenderly rubbed his back. She waited until she had felt and heard a large belch jerk abruptly out of his small body. Then deftly with all the practised expertise of three weeks’ experience, she laid him face up on a coloured plastic changing mat. The mat was decorated with Beatrix Potter figures. How she had enjoyed the silliness of choosing it a few weeks before. It had seemed like a childish game of mothers and fathers then.  Holding Jonas with one hand she unpopped his sleeping suit and unpinned and lifted out a steaming  nappy. After cleaning his  tiny, hot, red bottom, bathing his little bud of a penis and wiping beneath his miniature scrotum  she quickly, folded and pinned a fresh dry white nappy in place. Odd that she had dreaded this part of being a mother for there was nothing to it. This child was a product of her own body. It was part of her. The umbilical cord couldn’t be severed by a midwife’s scissors. Looking after Jonas’s body and cleaning it was no more unpleasant than taking care of her own of which it was an extension.

There were rustles from the overgrown communal gardens at the front of the flats. Cats, hedgehogs and rats and foxes lived a few feet from the windows in this small rural patch of inner London. Even knowing this,  noises in the dead of night always made her feel ill at ease and very much alone apart from the sleepy Jonas. Then a sudden loud knock from the flat above assaulted the quiet. Shirley often heard this sound. A very elderly lady with poor eyesight lived upstairs. Only the day before Shirley had taken Jonas for a visit, a matter of inspection on the old lady’s part and of showing off her lovely son on Shirley’s. The old lady read  heavy large-print library books which habitually fell noisily off her bed in the small hours. Irrationally jumpy now, Shirley  cuddled Jonas more closely. Perhaps for once she would take him back with her into the bed she shared with her husband instead of putting him in his cot in another room.

She turned off the lights and slipped into the delicious heat of the double bed. Her feet and legs had grown cold in the three quarters of an hour that she had been up. Her husband, radiating warmth and dependability stirred, grunted and resettled in his sleep. Shirley, her empty breasts now lying slack and comfortable, settled on her back with her side pressed companionably against her man. He sleepily and protectively threw a relaxed arm across her.  In the crook of her left elbow Jonas slept as peacefully as his father. She lay awake in the frame of their bodies: the two males who had both occupied her body. The one penetrating her in passionate appetite; the other in a nine-month long occupancy and dependency. In their different ways both still relied on her body. She could satisfy them both.

Peacefully fulfilled in motherhood and marriage Shirley drifted off to sleep. It wouldn’t always be like this.

Susan Elkin

 

The Wonderful Wizard of Oz

Summer by the River

Iris Theatre and For Gods & Monsters Theatre

Star rating: ***

The most striking thing about “London’s Free Open Air Theatre” led by Phil Wilmott and now in its 15th year at Scoop by City Hall is the diverse audience it attracts.

I shared a Sunday afternoon performance in warm sunshine with children, families, tourists from all over the world,  curious passers-by and several babies.

The problem with free theatre is that doesn’t command the respect it should (and usually does from ticket buyers) and there was a lot of coming and going and chatting but perhaps this isn’t the place to discuss that.

Adapted by Wilmott and directed by Justin Murray, this is The Wizard of Oz reduced to one hour. We start with Dorothy (Emma Hoey – excellent voice work and suitably childlike) somewhat troubled in Oz.

Then comes a flashback – using the ensemble cast of eight whizzing about with model houses, puppets and the like – to the famous Kansas cyclone, called a “hurricane” in this version.

Because this company doesn’t have the rights from MGM it doesn’t use the well known film songs and Wilmott has returned to Frank L Baum’s original 1900 book for some of the dialogue and ideas.

The result, sadly, is rather wordy especially when the unmasked wizard (PK Taylor) finally takes centre stage. And why on earth is Eva Fontaine as the Witch of the North dressed like a nineteen thirties nurse in lilac gingham and hammily made to sound like Joyce Grenfell in nursery school mode?

This show could do with more songs. There’s a repeated heading-for-Oz song based on “She’ll be coming round the mountain” and a substitute for “Some Day over the Rainbow”  based on “Red River Valley”  but in general there’s far more talking than singing.

PK Taylor brings the show glitteringly to life as the Wicked Witch of the West which he plays as a cross between a pantomime baddie and dame.

Adrian Decosta delights as the Tin Woodsman for whom he finds a nice creaky gait and a very convincing  mid South accent.

The very best thing in this show, however is Sarah Agha as Toto, She bounds and barks about as a tail-wagging dog who likes her ears tickled, She is also a very human dog with a lot of in-your-face London attitude. It’s a fine performance.