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Doodle The Musical (Susan Elkin reviews)

Waterloo East Theatre until 28 January 2018.

Star rating: Two stars

The Second World War is raging and we’re somewhere between Dad’s Army and Secret Army in a show which, directed by Jonathan Moore with book and lyrics by Jonathan Kydd, could have been a cheerful antidote to Joe Wright’s new, highly-acclaimed film The Darkest Hour. Its premiere coincided with Doodle’s press night.

Top brass get intelligence that the Germans are planning a fearsome new attack. Barnes Wallis (Reggie Oliver), inventor of the doodlebug in real life, is kidnapped by the Germans and persuaded to invent the new weapon for them. He is having a quasi gay relationship with a robot named Trevor …

Read the rest of this review at Musical Theatre Review: http://musicaltheatrereview.com/doodle-the-musical-waterloo-east-theatre/

Joshua Glenister and Harriet Clarke in Wine

Tristan Bates Theatre, 10 Jan 2018

It seems to be a first date as Sam (Harriet Clarke) and Mark (Joshua Glenister) meet, with a lot of nervous constraint in the scruffy flat he is temporarily sharing with his brother. We soon realise, however, that these two have a shared past. And some.

In one of the most thoughtful and powerful two handers I’ve seen in a while this 60-minute piece explores their relationship in depth and gradually reveals why, although each professes still to love the other, there remains an insurmountable barrier between them.

The dialogue is beautifully written. Jack West may still be a novice playwright but he’s highly talented and will soon be better known, I predict. And in the hands of two fine actors, expertly directed by West, the tension soars. Each finds a naturalism which makes both characters – she’s beginning to make a name as an actress and he is keeping himself by supply teaching while he tries to find a voice as a writer – totally believable as they plead, reason, argue, fence and shout with, and at, each other.

And by golly we feel their pain. I read somewhere recently that current statistics now mean that at some point in her life one woman in three will have an abortion. That means that at every performance there are probably several women in the audience sharing, from first hand experience, the anguish, agonising, passion, debate, guilt and blame which is being acted out before them. No wonder the totally engaged silence was so palpable. It’s rare to sense an audience listening quite so attentively as they were at the performance I saw.

LAGO theatre was formed by a group of LIPA graduates wanting to create their own work. This is their third production and, good as the others were, Wine is better still. Well done, guys.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-Wine&reviewsID=3076

When you talk to students, drama school staff and recent graduates the words on everyone’s lips these days are “making your own work”. Suddenly, in the last few years, a lot of people have woken up to the idea that being entrepreneurial and collaborating with people whose talents and skills complement yours – as well as keeping busy doing what you love – is a much better option than  passively waiting for your agent to ring. After all, these commitments are flexible. You can dovetail jobs with other companies in if they come your way. It isn’t a case of one or the other.

Many drama Schools now actively teach students how to create work of their own with the European Theatre Arts BA course  at Rose Bruford being particularly good at it. Time and again I meet young, active, creative practitioners who’ve formed their own companies. Then I ask them where they trained and I wait for them to tell me it was ETA at Rose Bruford. I’m nearly always right too.

Or take the group of young LAMDA graduates who thought of the The Play That Goes Wrong and ran with their idea. Quite a success story.

Another college which is very supportive of student and new graduate work is LIPA which will sometimes even help with small grants to help companies to realise their potential. Last week – for the third time – I saw LAGO theatre in action and they really are a talent to be watched. All LIPA graduates, they named their company after the pub in Liverpool where they used to hatch and mull over ideas.

This time they were at Tristan Bates for a short run with Wine, a two hander written and directed by the very talented Jack West. An exploration of the way in which a fundamental moral, ethical and social decision can block an otherwise very promising loving relationship, it is both powerful and painful. The quality of the acting – two LIPA graduates – was very high indeed with silence used to moving effect. This lot deserve to go much further and I’m sure they will.

I was touched too by a recent conversation with Steve Green. Steve is the founder director of the training company Fourth Monkey and we were chatting over a cup of tea at the “Monkey House” near Finsbury Park. “Of course I’m pleased if one of my graduates gets a job with the RSC or The Globe but, do you know what? I’m even more pleased if someone says ‘No I’m not signing with an agent because I’m going to make my own work’. That’s what our training prepares them to do”.

In a vibrant, growing but overcrowded industry which is also swamped with good young people desperate to be part of it, the ability to create work independently has never mattered more.

  • Last week I saw Doodle The Musical at Waterloo East. Not a happy experience – don’t bother. Even worse, though than the poor quality of the show was the inaccurate printed information given to the audience. One of the cast had been given completely the wrong surname and since she was one of the few things in this show which were worth commending she is likely to be mentioned in reviews – by the wrong name. You really would think, would you not, that producers would know the names of the actors they’re employing?

 

I’ve been thinking about tablecloths. As you do on a dank, damp, dark January afternoon. Nowhere in any of the Alzheimer’s literature have I seen it mentioned but Ms Alzheimer’s has certainly hooked her claws into our napery.

Perhaps we’re old fashioned (OK – we are)  but we’ve always used a table cloth at every meal. Said item is then folded up and put away in nearby drawer in the dining room when not in use. The clean ones live in a different drawer.

In recent months I’ve noticed that My Loved One can no longer manage tablecloths. “Shall I lay the table?” he’ll say as he has done for 49 years when he can see dinner, lunch or whatever (I’m the family chef) is nearly ready. “Yes please” I reply and then, out of the corner of my eye, watch him confusedly trying to get the thing onto the table.

When we’re on our own we fold the cloth and cover half the (rectangular) table.  When anyone else is with us it goes over the whole table. The folding and the lining up – an oblong cloth which is larger than the table, I now realise, is a basic form of applied geometry. And geometrical concepts rely, at least partly, on spatial awareness – one of the things Ms A is attacking ruthlessly so that MLO can, for example, no longer drive or point towards Central London or Kent accurately. Who would have thought it would affect table laying as well?

In the dining room (contiguous with the kitchen in our house) it can take him as long as ten minutes flapping, laying, relaying and frustratedly trying it out in different ways to get the cloth neatly on the table. Often it’s all rumpled and lopsided even when he’s finished. And clearing away afterwards is worse because once the cloth is shaken he can never work out how to fold it.

In practice, of course, I try now not to let him do it at all because it is irritating and upsetting in equal parts for both of us. What usually happens is that – if, as I too often am, I’m in a cross-patch mood  – I snatch it from him and quickly do the laying or folding  with an impatient tut and toss of the head. If I manage to be kinder and gentler, I pop the cloth on before he appears or fold it up after a meal while he’s still drinking his coffee so that he doesn’t get the chance to fail.

The same thing happens, incidentally with sheets. The ones we use on our wonderful six foot bed are ten foot square. And – not having arms as long as Roger Hargreaves’s Mr Tickle – there is no way I can fold them on my own. MLO no longer understands how to help me without very detailed instructions along the lines of “Hold this corner in your left hand … lift your right hand to shake the creases out…fold towards me etc”. A year or two ago we would have done the job collaboratively, quickly and wordlessly, probably while chatting about something different.

I find it very interesting – when I can detach myself from the tragedy of it enough to make objective observations – to watch the concepts of space and geometry unravelling. His declining brain presumably now won’t allow him to visualise the shape and size of the table in relation to the cloth. And that’s a very obvious, minor, everyday thing so goodness knows what other more important faculties the same decline is affecting in a less evident way.

In very young children – our youngest granddaughter, Libby, who is 3, for example – you watch these concepts developing steadily and there was a lot of stuff about Piaget’s work on perceptions of volume when I trained as a teacher in the 1960s. Once Ms A moves into your life the process goes into reverse as you head back towards infancy. At present, if MLO and Libby try to set the table together, they’re about even in the tablecloth stakes.  But their brains are changing in opposite directions. Within weeks she’ll be streets ahead of him and saying knowingly “I’ll do it for you, Grandpa”.

I’ve just attended the press conference at which Michelle Terry revealed her first season at The Globe. And the dynamics in the room were fascinating.

Terry is in a strange position as the new Artistic Director following Emma Rice’s brief, flamboyant, controversial tenure and “hiatus” (the word used by Globe Chief Executive, Neil Constable) the Globe has been through. Rice’s “standing down” was announced only five months after she started in post although she led the Globe for two full seasons.

The changeover took place on 1 October so – looking at the forthcoming programme –  a great deal has been achieved in a short time. We have ensemble productions of Hamlet and  As You Like It to look forward to along with a tour which will – somehow or other – allow the audience to choose which play they see that particular night from a menu of three. New plays include Emilia and Eyam. “The original; Globe was always dedicated to new writing and it still is” declared Terry.

And, among other delights (such as Mark Rylance playing Iago to André Holland’s Othello) I’m excited about the Playing Shakespeare with Deutsche Bank project now in its twelfth year. For 2018 there will be 18,000 free tickets for state school students in London and Birmingham to see Much Ado About Nothing directed by Michael Oakley. These schools performances and the remarkable level of vibrant engagement they generate are, without doubt one of the best things I attend anywhere all year.

Terry was understandably nervous at facing the press – most of the big names from across the media were ranged in front of her and she must have known they’d push her hard. Railway idiosyncrasies meant I was there half an hour early so I sat quietly in the foyer for a while beforehand. I saw Terry arrive and engage in a long conversation with a man I later realised was her husband, actor Paul Ready.  He was evidently providing the reassurance and support she needed.

In the event she did brilliantly, having clearly thought hard about the angle she would take on the predictable questions. “Do you see yourself as a safe pair of hands?” One journalist asked. “is there only one answer to that question?” she parried, laughing” before adding “The whole production team is in this room and I can assure you that I feel very safe in their hands.”

Of course she was also asked about use of technology (which was one of the things Rice was criticised for) and eventually directly about how she feels about Rice. She told us that the Globe will use lighting because, unlike the original Globe, it wants to go on staging evening shows as well as matinees. But, she said firmly, there will be no sound system to amplify voices.

And here’s Terry, clearly a mistress of diplomacy, on Rice herself. “I think Emma was the best thing that’s ever happened to The Globe. It was a fantastic two years which forced the Globe to stop and work what it’s really for. And that’s a real bonus”.

I can’t have been the only person present who noticed the sentence which began “As someone who loves Shakespeare …” either. Rice, rather oddly, intimated that it wasn’t really her thing.

No wonder Terry was apprehensive. I hope that afterwards she realised just how well she’d handled it. And for myself I’m delighted that we have an actor at the helm again – back to the modus operandi Mark Rylance used when the (new) Globe first opened 21 years ago. Terry is in the ensemble for Hamlet and As You Like It. “But we shall work out who plays what when we get into rehearsals” she said.

“Will you play Hamlet?” someone asked her. “We don’t know yet” she reiterated. “Would you like to play Hamlet?” the questioner persisted. “Sure as shit, I’d like to play Hamlet” Terry returned with a huge smile and without missing a beat. “I couldn’t be a director of The Globe who didn’t want to play Hamlet, now could I?”

Well played, Michelle. I think you and the Globe are going to do very well together.

 

2017 was quite a year and, for once, I don’t mean Brexit and Trump. My turn-of-the-year reflections are rooted closer to home. In April Ms Alzheimer’s moved in for good. Well I suppose she’d been here for a while actually, but it was on 29 April – Diagnosis Day – that we were told firmly, finally and unequivocally that My Loved One’s brain scan showed that he has Alzheimer’s. A stop-you-in-your-tracks game changer to put in mildly. Eight months on and we are, in a rackety, rickety kind of way learning to live with Ms A – as we must.

During the same period, we’ve done a lot of pretty radical work to the house we bought in autumn 2016 which has meant dozens of tradesman busily, but disruptively, working their magic on our premises and, every morning, a rather plaintive question from MLO “Is anyone coming today?”.

We also had a couple of pretty fabulous holidays – first in Malaysia where MLO really wasn’t well for much of the time and then in Corfu where he seemed much more “with it” and gave me hope that perhaps the medication really is having some effect.

Meanwhile – busy working arts/education journalist as I am –  I have seen 109 theatre shows and been to 25 classical music concerts, mostly to review. Recurrent tiredness means that MLO doesn’t come to quite as many of these with me as he once did but he’s been to a good few. All the Alzheimer’s advice tells you to do as many brain stimulating activities as you can and theatre is good for that. So is the Polygon in The Times which he does most days. He used to do the Code Word too but bloody Ms A seems to have destroyed that little pleasure.

Goodness knows there has been plenty of anger, sadness and frustration during the last twelve months but we also laugh which feels like the sun coming out and Ms A retreating temporarily into the shadows.

So that’s what we have to focus on as the new year gets underway – laughing and counting our blessings. After all, we have each other, two brilliant sons and their equally brilliant families and a nice home in a very convenient location as well as half a century of shared happy memories. Without those things dealing with Ms A would be an awful lot worse – and it is for many people.

And I’ve said before, people are very kind. For example, one night last week I overheard the lifelong friend, almost another sister, who stays with us twice a year,  gently helping MLO run his bath because he’d momentarily forgotten which tap was which and how the bath and shower taps relate to each other. Then there are people who leap to their feet on trains so that he can sit down or patiently assist him in shops when he takes an unconscionably long time to find his money and organise his purchases. There’s nothing like illness for bringing out the best in people and making you pause for a bit of blessing counting – especially as one year gives way to the next.

2017 was rich in Alzheimer’s cure/prevention stories too. Almost every day, for the last eight months during which I’ve been especially attuned, there’s some sort of medical research report which makes the national media. Most of them come down to eating whole foods and getting plenty of exercise because it seems to work for mice. And that’s pretty irritating because MLO has always lived like that. He and I were eating whole grains, pulses and nuts with lots of vegetables and fruit on a daily basis before most of the researchers were born.

Then, on New Year’s Day I read (in a small The Daily Telegraph side panel) about a University of Lancashire study. It found that a “triple receptor drug” created to treat type 2 diabetes helped – in more of those unfortunate mice at any rate –  to reduce memory loss and the hateful amyloid plaques which are what Ms A really is. The scientists who published their findings in the journal Brain Research argue that their “very promising outcomes” could bring new hope to thousands of Alzheimer’s sufferers.

I wonder …? Onwards and upwards into 2018.

 

 

Ms Alzheimer’s is an especially unwelcome presence at Christmas but our first festive season with her recognised in our midst has been and gone without too much angst. There was confusion about what day of the week it was and which day was actually Christmas Eve and Christmas Day but otherwise it went fairly smoothly largely because I was around all the time to troubleshoot.  And as Christmases go, it certainly had its moments.

The best one was at our younger son’s on Boxing Day. It’s a delight for both my loved one and me to have all four of our granddaughters (ranging in age from nineteen to two) in one room and given, geography, logistics, jobs and education it doesn’t happen too often. But there we all were ripping open presents, yelping in delight, chatting, catching up and eating too much in a homely Brighton sitting room.

Then the younger children, excited about a download of action songs someone had found for them, decided that they simply had to do the Hokey Cokey with their Dad. So he moved some chairs to create a tiny dance floor and I stood up to join them – unthinkingly assuming that My Loved One would remain paterfamilias on the sofa where he’d already sat most of the day opening his old codger’s presents such as a Down Your Way calendar and Very Warm Gloves.

But one of our quasi daughters-in-law and the elder granddaughters weren’t having that. Much more thoughtful than I, they helped him to his feet and held his hands in our little circle. So the Hokey Cokey turned into a whole gathering activity – amidst lots and lots of laughter because we must have looked awfully silly. And I had to throw myself into it with an undignified level of energy because I was so moved to see MLO opposite me, trying very hard, feeling loved and enjoying himself but looking an awful lot older and frailer than he did this time last year. Had I not forced myself to  concentrate hard on hopping about I would have broken down and howled.

As it was I’d selfishly spent most of the day rejoicing at being able to have proper, grown up conversations with people. I’m a lifelong professional communicator – first as a teacher and now as a writer. I find it almost intolerably frustrating when I can’t get though to people. And at the moment I seem to be failing to communicate with both MLO and the lovely friend who’s staying with us (hearing problems) about 75% of the time. Yes, I know I’m bad-tempered but I really do try hard to be patient and kind – and then hate myself for failing.

Our younger son thinks the Hokey Cokey should be a new Elkin family tradition and is already looking forward to a repeat run at his brother’s house next year. And I’m sure his daughters will be up for it.  As for me, I dare not think a whole year ahead and reflect on what the ever-present and increasing invasive Ms A will be allowing us to do by then.

 

Cambridge Theatre Company  is a very young company which, for a non-pro outfit, manages to be pleasingly professional and I admire the range of work it is beginning to present.

This enjoyable show uses a cast of five adults, one juvenile lead (James Malpas at the performance I saw) plus a thoughtfully directed young ensemble. It’s a jolly, upbeat piece – not least because veteran playwright, David Woold adapts Roald Dahl’s irreverent grotesqueness and child centred warmth so very well.

The story is so familiar to the children in the audience that they can chorus back the right answers for the cast at the beginning. Orphaned James escapes from his two appalling gaurdian aunts by whizzing off to America inside a giant peach with the five creatures he meets therein. As the titular James, James Malpas develops the character well during the action. This is a bereft child who grows into a enterprising team leader and James Malpas catches that very deftly.

All five adults are good value with Adam Bond standing out as Centipede. He is a charismatically versatile actor. His centipede is gor-blimey and lovably self important. Bond also doubles as the completely different outrageously awful Aunt Spiker and then as a rather delicious ship’s captain voiced like Kenneth More in heightened RP. He really is very talented. Alan Hay’s dour Scottish Earthworm is delightful too – eventually triumphing in an act of bravery which suddenly humanises him.

There’s also some lovely work from the eight children in the ensemble. They have small speaking parts as narrators and they work well as a shoal of marauding sharks and a flock of seagulls – among other things.

Jasmine Haskell’s set is impressive. The stage is dominated by the framing peach and she makes interesting use of the revolve when it swings to reveal the open fruit. There are some sparky songs too (original music by James Ingram) ably accompanied on keyboard from one of the Great Hall’s galleries.

You couldn’t fail to be entertained by this show. It encapsulates all the requisite Dahl-esque quirkiness and is a lot of fun.

This review was first published by Sardines:http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Cambridge%20Theatre%20Company%20-James%20and%20the%20Giant%20Peach&reviewsID=3072