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Victoria’s Knickers (Susan Elkin reviews)

Victoria’s Knickers
By Josh Azouz
society/company: National Youth Theatre of Great Britain
performance date: 01 Nov 2018
venue: Soho Theatre, London

If you want a show which showcases the many talents of your sixteen-strong ensemble in contrast to conventional or classic choices then Josh Azouz’s Victoria’s Knickers probably ticks the boxes. Sadly this self-conscious, self-indulgent piece doesn’t tick many of mine as an enjoyable 90 minutes of theatre – diligent laughter from supporters in the audience on press night, notwithstanding.

The story (such as it is) is based round the real life accounts of a serial intruder, a teenage boy, at Buckingham Palace in the first year or two of Victoria’s reign. Perhaps she and he became an item before she married Albert? It’s an entertaining enough idea but you can’t make convincing, sustained theatre predicated on nothing but incongruity and anachronism. Yes it’s quite fun to hear Alice Vilanculo using 21st Century street speak and addressing her mother as “Mum” while dressed as Queen Victoria – the first time. But an hour later the joke has long since palled as we flail about in a surreal world of rude, dancing servants, cock fighting, a chainsaw murder and suddenly, a wacky suggestion that the whole thing is a play within a play and that we’re really in the 21st Century but that’s not sustained.

And what about the songs composed by Chris Cookson with lyrics by Josh Azouz and devised by the company? In themselves they’re quite clever but they often feel gratuitous in a show which can’t seem to make up its mind what it’s trying to do. I liked the three onstage musicians (imported professionals), though, who flit about reappearing in different spots and making an intriguing sound on two violins and a cello.

Amidst all this jumble are, however, some highly accomplished well-directed performers whose ability shines through in spite of everything. Jamie Ankrah is outstanding as the intruder/boyfriend. He is very funny when he skips and jumps and does very expressive things with his face as well as having a really striking rich singing voice. He does his rap number splendidly too. Watch out for this one in the future. Vilanculo finds haughtiness, earthiness and assertiveness in Victoria and Simran Hunjun shines as her hysterical, controlling mother. Aidan Cheng is watchable as Victoria’s peculiar butcompelling servant too.

This is the second play in the 2018 National Youth Theatre’s West End Rep Season. Consensual last week [read here] was a hundred times better. I await Macbeth at the end of this month with open-minded interest.

 This review was first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-National%20Youth%20Theatre%20of%20Great%20Britain%20(NYT)-Victoria%27s%20Knickers&reviewsID=3370
Honour – ★★★
by Joanna Murray-Smith. Presented by Tiny Fires in association with Park Theatre.
society/company: Park Theatre
performance date: 30 Oct 2018
venue: Park200, Park Theatre, Clifton Terrace, Finsbury Park, London N4 3JP
Imogen Stubbs & Henry Goodman in Honour (Tiny Fires, Park Theatre). Photo by Alex Brenner

★★★

This well directed (Paul Robinson) piece features some of the most intelligent acting and articulate listening I’ve seen on stage in a while. Unfortunately that isn’t enough to make the evening as compellingly interesting as it should be because Joanna Murray-Smith’s 1995 play has too little narrative drive to sustain over two hours of theatre. And the ending is, frankly, a cop-out.

George (Henry Goodman) is an eminent, initially self-satisfied and always self-obsessed, journalist who falls for a younger woman (Katie Brayben) thereby terminating his outwardly successful, 32 year marriage to Honour (Imogen Stubbs). Their daughter (Natalie Simpson) is upset. Of course the new relationship is shortlived. It really isn’t much of a plot and the outcomes are entirely predictable.

However Murray-Smith writes dialogue beautifully and these four characters serve it well with lovely use made of pauses and beats – often to good comic effect. There are a surprising number of laughs amongst the cajoling, shouting, despair, desperation, anger and incredulity. It begins to feel samey, though, when you realise that almost every scene is a duologue. The rather wordy play needs more variety of interface. What would have happened, for instance, had all four characters found themselves in one room?

Natalie Simpson is outstanding as the daughter, Sophie, a Cambridge undergraduate trying, oh so naturalistically, first to grasp what her mother is trying to tell her and then confronting her errant father in immaculately observed youthful exasperation.

Brayben is strong as the very bright young journalist, focused on her own career and utterly certain that she is never, in any relationship going to take second place. She finds an unusual icy sexiness in Claudia.

And it goes almost without saying that there’s excellent work from Goodman and Stubbs, both fine actors at the top of their game. It’s a treat to watch them playing off each other here.

I haven’t seen Park200 configured completely in the round (seating on all four sides) before. It’s usually only three quarters but the fourth bank of seating helps to support the domestic intimacy of this play which is all done with half a dozen adaptable pale boxes and some minimal props (designed by Liz Cooke).

A lot to commend then. Just a pity the play’s a bit dull.

This review was first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Park%20Theatre%20(professional)-Honour%20-%20%E2%98%85%E2%98%85%E2%98%85&reviewsID=3366

I’ve been thinking a lot lately about my paternal grandparents, William and Dorothy Hillyer.  Universally known as Dolly and to me as  Grandma, she has been particularly in my thoughts because I’ve just realised I’ve morphed into her. History repeating itself, generational patterns and all that.

I was very close to Grandma, who lived on to her 92nd year by which time her cherished little granddaughter was over 40 and mother of two teenage boys. We lived with them when I was very small because my war-generation parents had nowhere to live after my father was demobbed from the RAF. Grandma looked after me (and her cantankerous old mother-in-law) as well as shopping, cooking and cleaning for the entire household of seven. No wonder she always nodded off when we “listened” to Mrs Dale’s Diary after lunch. Meanwhile my parents went out to work to try and amass enough money to get us a place of our own. When they eventually did, it was just 200 hundred yards up the road so I saw my grandparents almost every day for the rest of my childhood and adolescence. The result of all this was that Grandma and I always had a special bond – helped, I suppose, by my being the first grandchild.

Fast forward 20 years and she’s around the same age that I am now – dealing with major illness in her beloved spouse just as I am today. In their case it was throat cancer which finally killed my poor grandfather, aged 73 (My Loved One’s current age) in 1969 a few months after we were married. She coped magnificently with his illness, finding solutions to the hideous problems the disease threw at them. For a long time before he died he had a naso oesophageal tube to by-pass his trachyeostomy so that he could “eat”.  She made nourishing soups from the home grown vegetables in the garden and poured them cheerfully into him via the funnel. She was convinced that the good nourishment was helping him and with hindsight I suspect her 5 star care really did keep him going for a bit longer than might otherwise have been the case. She visited him in hospital daily when he was local and wrote him nice letters (a few of which I still have because he kept them and his papers eventually came to me) when he was in the Royal Marsden but home at weekends.

I just hope that I’m doing even a tenth as well as she did. My grandparents swore they’d never rowed in their 48 year marriage and I certainly never heard either of them utter a cross word – not even the mildest expression of irritation. I’m not remotely like her in that. I get really cross when I’ve said the same thing four (or six or ten) times and MLO still hasn’t retained it. Then I get loud, snappy and say lots of things I regret very soon afterwards. I get ratty when he doesn’t feel well enough to do what I think he should do too. Grandma would tell me off roundly if she were around to hear it. I often have her voice in my head saying “Don’t talk like that, Dear” or quoting one of her aphorisms, often Biblical or Book of Common Prayer. “In sickness and in health, Dear” she would probably say to me now.

I think I’ve got some of her practicality though. Suddenly, after sleeping flat on a single pillow for 50 years, MLO has started sleeping propped up like a Victorian gent and says that he’d like a second pillow. So I “borrowed” one temporarily from the spare bed and have now been out and bought a couple of additional ones. I’ve taken to writing down for him very clearly where I’m going and when I’ll be back when I have to go out too. I’ve sorted out his glasses and insist that he puts them in a particular place to try and minimise the number of times they get “lost”. And, like Grandma, I do my upmost to provide really healthy, nutritious food because that’s one of the few things that’s actually within my control.

I am, of course, better educated than she was. Grandma left a Dorset village school, aged 14 although she was a whizz with words puzzles and she could add a column of figures faster than I’ve ever been able too. She was blessed with a lack of imagination too but it meant that she failed to face the inevitability of where she and my grandfather were headed. That denial meant that she fell apart totally when he died although she picked up again in time and went back to work in my uncle’s business for further 15 years. She didn’t “do” retirement any more than I do. I am, however, much more of a spade-is-a-spade realist, and more knowledgeable about illness, than she was. And I have Google. Perhaps it helps, bleak as the information is.

Meanwhile I look at myself and see Grandma every day. Some of MLO’s peripheral health problems now create an awful lot of washing. I seem to put big loads out daily. The neighbours probably think I’m taking it in as side line. Bit sad really because MLO used to be family laundry monitor. Twitter folk will remember how good he was at ironing and how we used to joke about it. Now he sits and watches me ironing his shirts.

But Grandma would have loved it. Washing was her passion in life. To her dying day when I rang once or twice a week for my regular chat  she’d say almost before she’d said hello: “It’s a lovely day. Have you got your washing out, Dear?” or “What shocking weather! What have you done about your washing, Dear?  When she stayed with us, as she often did, she’d be trotting into the garden every five minutes to feel the clothes on the line. Then there’d be much folding – without my ever asking her to do it – ready for ironing. I do all that and  more now and smile as I remember her

If she were alive (she’d have been 122 this month) we could compare notes about sick husbands.

 

I think variety is the best thing about my life and work. In the last two weeks I’ve seen a children’s show at Chichester, amateur takes on Our Country’s Good and Follies, three youth theatre shows (one of them in Cambridge and two by National Youth Theatre 2018 Rep Company)  one straight play, one for under 5s and a musical at Jermyn Street.

In the forthcoming week I shall be at Canterbury for Glyndebourne’s La Traviata and back at Chichester for The Watsons. Then there’s a local amateur staging of O What a Lovely War and I shall be off to Half Moon Theatre (two Saturdays running!) for Off The Grid at the end of the week.

The work takes me from big venues such as Chichester Festival Theatre, Marlowe Theatre Canterbury and the Olivier to niche spaces like Park Theatre or Jermyn Street and often pub theatres – dozens of them, of course, all over London.

And often – as a reviewer on press tickets –  I see shows I wouldn’t have dreamed of buying tickets for so there’s an element of personal learning curve as I see more and more work which is – maybe – outside my usual comfort zone. I was bowled over, for example, by Six at Arts Theatre after its doing so well in Edinburgh and I recommended it to lots of other people. I’m so glad it’s coming back in the new year. But my point is that I’m really not into hip hop and would never have imagined how much I’d like this show.

Sometimes it works the other way. I see something that I’ve dutifully trotted open-mindedly along to and loathe it. I sit there thinking how glad I am that I’m not actually paying for this experience – and please can I go home soon?  That was how I felt, I’m afraid at National Youth Theatre Rep Company’s Victoria’s Knickers last week although the cast are very talented.

Another thing I really enjoy and value about reviewing is that – and it’s a deliberate choice – I see shows by different sorts of company not all of them professional or commercial. It’s always a pleasure to see what Cambridge Theatre Company does with its local youth casts for example (Peter Pan next month) and I get a lot of pleasure from the work of  adult non-pro companies too. Sedos’s Our Country’s Good at the Bridewell  last month for instance was one of the best amateur straight plays I have ever seen. And I’m happy to support local (to me) south London companies such as West Wickham Operatic Society and ArtForm in their endeavours. Of course I shall like some shows better than others – and say so – but that’s simply how it works.

It’s also good to have the opportunity, sometimes, to talk professionally, to the people involved in these shows. This week, for instance, I interviewd Moira Buffini who has adapted Macbeth (50/50 gender casting) for National Youth Theatre Rep Company which I shall see at the end of this month.

If only I could accept more invitations. But I have other work – features and so on – as well as reviewing. Four or five shows a week is usually about the limit of what I can manage. Except in December of course when life enters a manic phase. Sometimes, for a couple of  crazy weeks, I find myself seeing two or three in a day. Have notebook. Will travel.

The Midnight Gang. Chichester Festival Theatre. Photograph: Manuel Harlan

The Distance You Have Come continues at the Cockpit Theatre, London until 28 October 2018.

Star rating: three stars ★ ★ ★ ✩ ✩

Billed as a song cycle (by Scott Alan who also directs) this two-hour piece sits somewhere between musical theatre and a concert.

Six people interact in various roles as we explore, through song and drama, the messiness, anguish and happiness of human relationships ranging from parenthood to suicidal despair, dating and more.

The problem with it is that it needs a lot more narrative cohesion …

Read the rest of this review at Musical Theatre Review: http://musicaltheatrereview.com/the-distance-you-have-come-cockpit-theatre/

 

The opening concert in MSO’s 108th season really belonged to young cellist, Maxim Calver. Aged only 18, he was a finalist in this year’s BBC Young Musician of the Year and he stood in at short notice for the booked soloist.

Unusually he began, at conductor Brian Wright’s request, with a solo piece – a variation, from a work by Lutoslawski commissioned by Rostopovitch and pretty dramatic it was too. He played this ambitious piece, complete with glissandi and quarter tones with intense insouciance.

Then, in place of Shostakovich’s First Cello Concerto, it was on to a strikingly mature performance of Tchaikovsky’s Variations on a Rococo Theme with the legato variations leaned on for maximum romance and the faster ones delivered with crisp witty aplomb. His use of harmonics is spectacular too.

And as if that weren’t enough he then treated us to a richly nuanced encore – the very familiar but evergreen Sarabande from Bach’s First Cello Suite. Thus, this engaging, poised young man who smiles though the music when his rapier eyes aren’t staring into the distance, whizzed through the music of three centuries in less than an hour.

The concert began with Britten’s Sinfonia da Requiem which is getting a number of outings this year to mark the centenary of the 1918 Armistice. It’s a tricky work. You don’t often see MSO front desk players visibly counting but they carried it off. The Dies Irae movement with the relentless rhythms ably underpinned by weighty percussion  (seven in the section) was especially impressive and there was some lovely work from harpists, Milo Harper and Alex Tindall.

Pictures at an Exhibition, of course, as we now usually hear it owes as much to Ravel’s orchestration as it does to Mussorgsky’s original piano suite. In this intelligent performance Brian Wright allowed every soloist and solo section  – some excellent playing here – to ensure that we noticed their contribution but without ever letting the piece feel bitty. It sailed along with warmth, fireworks and lots of colour. At the end Wright stood tuba player, Andy Bridges up first and quite right too. His solo was splendid as was Mike Austin’s work on alto saxophone. And The Great Gate of Kiev, the final section, with those evocative tubular bells and cymbal clashes must have sent every member of the audience away with melody ringing in their heads.

Yes, the season is off to a fine start. Roll on 1st December.

This review was first published by Lark Reviews: http://www.larkreviews.co.uk/?cat=3

Middle Temple Hall – in all its Elizabethan glory with carving and stained glass – is a stunningly beautiful concert venue. It was, apparently, the venue in which Twelfth Night was premiered (earliest known performance, anyway) in 1602 so it’s rather delightful that the tradition continues.

This concert opened with a world premiere of Windows by Misha Mullov-Abbado. I’m not sure how fair it is to point out that he’s the son of Viktoria Mullova and Claudio Abbado but he is, obviously and literally, a born musician. This work in three unrelated movements (written originally as standalones) is unexpectedly tonal and lyrical as well as, at times, jazzy and lilting. The first movement is almost lush in places with some fine, very exposed string work. I also admired the quality of the trombone playing over lots of well controlled vamping in the middle syncopated movement.

And then it was Schubert’s Eighth Symphony. Outcry Ensemble claims to approach modern music with the passion and rigour you’d expect to experience when hearing mainstream repertoire and to apply the explorative-analytical approach normally required for contemporary music when they play standard repertoire. And in this work you could hear exactly that from the dramatic dynamics to the well pointed general pauses which made it feel very crisp and fresh. In the andante Henshaw balanced the sonority with the alternating lightness, and the percussive pizzicato came through with notable precision. Yes, there was an occasional wrong note but that’s the joy of live performance.

The acoustic of Middle Temple Hall is perfect for Schubert. It worked much less well for the Brahms Violin Concerto. In the opening and closing movements the orchestra was often too loud so that accomplished soloist Oscar Perks seemed almost competing aurally and losing. Henshaw really should have been aware of this and damped his orchestra down. The gentler passages and the whole of the middle movement worked well though and it was a real treat to hear Perks play his own cadenza which explored the themes of the first movement with imaginative virtuosity.

This review was first published by Lark Reviews: http://www.larkreviews.co.uk/?cat=3

This fine play asks a lot of very searching questions and answers none of them. The complexities of sexual consent were topical in 2015 when the National Youth Theatre first staged the play it had commissioned from Evan Placey. They’re even edgier now so the revival is timely.

The long first act takes us to a school where married, pregnant teacher Diane (Marilyn Nnadebe) who has already has a child is trying to “deliver” sexual relationships education to a cheerfully unruly group. At the same time she must deal with Freddie (Fred Hughes-Stanton) a student from seven years back who has reappeared in her life with an agenda. The very intense second act is a flashback which reveals what actually happened seven years earlier. It’s a neat way of exploring the central issue from a range of angles.

You can’t legally consent to sex under 16. Should it be otherwise? Can a male old enough to have a full erection actually be abused by a woman given that he has to take the more active role for sex to happen? (An issue which has always puzzled me but perhaps I’ve led a sheltered life). What about consent to sex between a married couple? What responsibilties does a teacher have if a pupil confides abuse by a sexual partner the same age? Oh yes, there’s an awful lot to think about in this play.

Nnadebe is a fabulous actor. She is totally natural as the teacher struggling to control a volatile classroom liberally but appropriately. She is convincing at home as the troubled wife and mother. Her awkward body language – partly the pregnancy and partly social discomfort – is beautifully observed. Then she sheds seven years and is suddenly lithe, long haired and drunk sobering up quickly and bantering with the teenage Freddie. Any teacher watching this will wince and want to call her away to safety. It’s a really terrific performance.

And Hughes-Stanton matches her, appearing first as the inadequate, flawed 20-something who works in a bank and who contacts his former teacher. There’s a fine, perfectly written scene with his brother (Jay Mailer) too in which the two actors play off each other with real truthfulness so that the acting is invisible. And I shall long treasure the image of Hughes-Stanton sitting on the sofa eating biscuits in Diane’s flat when she is utterly devastated but he’s too young and crassly unaware to understand.

The ensemble work in the first half is pretty electric although, well directed (by Pia Furtado) as it is, I think the song dance interludes are gratuitous. They do them very well but they don’t add much to the effect of the play. The classroom scenes are a delight though with a lot of humour gleaming through the issues. So are the conversations between Laurie Ogden as Mary, a young teacher and Georgia (Alice Vilanculo) an apparently confident student whose life is actually pretty troubled.

The Rep company is the top tier of NYT’s work. It offers funded professional training, predicated on a West End rep season for an ensemble selected from the membership. Consensual is the opening play in the 2018 season. Victoria’s Knickers and Macbeth are still to come.

This review was first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-National%20Youth%20Theatre%20of%20Great%20Britain%20(Rep%20Company)-Consensual&reviewsID=3363