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Interwiew Ashley Stillburn & Chris Peluso, The Woman in White at Charing Cross Theatre

 

It is during rehearsals between previews for The Woman in Whitethat I catch up with ASHLEY STILLBURN who plays Walter Hartright and CHRIS PELUSO who is Sir Percival Glyde. We’re in the bar at Charing Cross Theatre accompanied by Peluso’s rather engaging, very patient dog Peety.

“This is my favourite part of the process,” says Stillburn. “Each preview has – shall we say? – a character all of its own. Things happen sometimes spontaneously and then we rehearse them and work on them to see whether we’ll go on using them. Our director Thom Southerland is very relaxed and collaborative.”

Peluso agrees. “It keeps a show fresh if you’re innovative but …

Read the rest of Susan Elkin’s interview at Musical Theatre Review: http://musicaltheatrereview.com/interview-ashley-stillburn-and-chris-peluso-on-re-imagining-lloyd-webbers-the-woman-in-white-at-the-charing-cross-theatre/

 

If you’re looking for a present, bound to make your beloved theatre person giggle all Christmas morning, then West End Producer’s shiny new book is the obvious 2017 choice. Everything you always wanted to know about going to the theatre (*but were too sloshed to ask, dear)  (Nick Hern Books)  is funny because it’s so irreverently acute along the lines of “Shows often have more directors than performers”. If an actor forgets his lines in a Pinter play s/he will “say fuck and do an extra long pause” but if it’s Stoppard s/he has only to “spout some gibberish about quantum physics, the Russian Revolution or Nietzsche that makes less sense than usual”. Anyone who works in the industry, is training to do so, or would like to will recognise and smile. Buy several copies.

Or – (far)fewer laughs but lots of useful ideas –  try the second edition of Nick O’Brien’s Stanislavsky in Practice (Routledge). It contains dozens of exercises suitable for acting students at sixth form or first year undergraduate level.

For something more cerebral and historical Granville Barker on Theatre: Selected Essays edited by Colin Chambers and Richard Nelson ( Bloomsbury Methuen Drama) is a jolly good read. I especially enjoyed “Hints for Amateurs on Rehearsing a Play” and “The Coming of Ibsen”.

Directing with the Michael Chekhov Technique by Mark Monday (Bloomsbury Methuen Drama) is another practical textbook which would make an ideal gift for an aspirant director or one who is trying to broaden his or her approach.

Peter Brook, of course, writes as interestingly as he directs and his latest little book (it would fit in a jacket pocket so ideal for train journeys and so on) is a fascinating and illuminating set of reflections on language and meaning. Tip of the Tongue is published by Nick Hern Books.

Trying to earn your living by writing is not easy. Ron Hutchison’s Clinging to the Iceberg: Writing for a living on the stage and in Hollywood (Oberon Books) is ruefully funny. “A film maker is someone with a baseball cap on backwards who stands in a muddy field at five in the morning demanding to know where the generators are”. It’s a cheerful, readable mix of anecdote, information and advice.

And lastly, three more gems from Bloomsbury Methuen Drama.  Stephen Purcell’s Shakespeare in the Theatre: Mark Rylance at the Globe explores the first decade of productions after the opening of The Globe entertainingly and thoughtfully. A Critical Companion to the American Stage Musical by Elizabeth L Wollman is a factual gold mine for anyone who needs to know about the history of the genre. The Improv Handbook by Tom Salinsky and Deborah Frances-White is a new edition of their 2008 book. It is detailed and practical with lots of support for comedians, actors, public speakers and anyone else who needs to think or his or her feet in public.

Happy Christmas shopping!

PS:  A final pearl of theatrical wisdom from the deadpan West End Producer. This time on heavy drinkers: “ You can spot these people in the local Wetherspoons before, during and after a show. They find a stiff drink is the only thing that gets them through such a harrowing thing  as being at a theatre. Which is really quite worrying  – particularly as most of them are in the cast”

Alzheimer’s, they tell us, is progressive brain cell death. Over a course of time the total brain size shrinks because the tissue has a diminishing number  of nerve cells and connections. Funny, says she hollowly, how bloody blunt everyone is about Alzheimer’s while cancer, which kills far fewer people, is still often delicately euphemised.

So that revolting vulture, Miss A – actually that comparison is an insult to vultures which do at least wait until their dinner is dead before they tuck in – is picking off My Loved One’s brain cells one by one. Given that every Alzheimer’s patient lives with his or her own version of Ms A  then I suppose the effects are bound to vary between individuals depending which particular cells have been killed.

I am noticing two things in My Loved One which I suppose are down to lost brain cells although I’ve not seen either of them mentioned in Alzheimer’s literature.

The first is the ability to spell.  Now this is a man who was exhaustively drilled in spelling in a funny little private primary school, almost a dame school recast for the mid-20th century, and then by the legendary Dr Giles at Alleyns. He’s always been a sharper speller than I, despite my many years of English teaching. If you were stuck in a crossword wondering whether “aplomb” has a double p, whether there’s a second h somewhere in “Chekhov” or how to spell “mnemonic”,  MLO would have been your man. Not any longer.

Last week I said, without thinking “Can you add Weetabix to the cumulative shopping list over there, please”.  When I later noticed that he’d carefully written “Wittabix” I really did have to swallow hard to get rid of that lump in my throat. He wrote a note for our son asking him to check a “wonkey” (like “donkey”?)  electrical connection the other day too and there have been other instances. So whichever bit of the brain it is that’s responsible for spelling, it’s on the way out, courtesy of Ms A.

It seems to be an unravelling of education as if the learning process is reversing itself. Children will have a stab at writing words they don’t know how to spell – usually because they’ve never seen or noticed them written – and come up with a phonetic approximation such as “Wittabix”. Now I see a man who’s coming full circle, increasingly unable to spell words he’s had under control since he was five or six years old. He’s sliding backwards.  How accurate Shakespeare’s  “second childishness” is as a description of senility.

The second thing I find odd, but which presumably is down to the demise of a different set of brain cells, is the increasing ability to finish a job. MLO now never closes any of the dresser drawers when he takes out cutlery or a tablecloth. He’ll start to put his laundered clothes away, then wander off and leave half of them on the bed. He rarely switches the bathroom light off or puts the yard broom away after using it and so it goes on.

They’re trivial things in themselves. And some people behave like this all their lives, which must drive those who live with them bonkers, but in MLO’s case they’re new. I presume this behaviour indicates that his short term memory is cutting out very quickly and it used not to. He doesn’t, after a few minutes, remember what he’d started doing so of course he forgets to finish it. It’s handy to have Ms A to blame because I could get very irritated otherwise. As it is, I just finish every little job I see left undone – countless times every day. Mostly he doesn’t even notice. I do try not to comment or get cross but I’m afraid I’m human …

 

 

The world’s largest Shakespeare Festival ends this week after 292 performance nights in theatres all over the country. I refer, of course, to Shakespeare Schools Foundation which, every year gets 30,000 or so school students on their feet performing Shakespeare, usually to full houses. This is the 17th festival.

I try to attend at least one performance each year. This time I went, a couple of weeks ago, to Shaw Theatre at Kings Cross to see four schools in action: Harris Academy Battersea with Henry V, Parayhouse School with Romeo and Juliet, St Marylebone CE School with Hamlet and St Stephen’s CE Primary School with Much Ado About Nothing. Quite an evening.

The plays are cut down to about a half an hour running time and it works. Who needs the traitors, the English lesson and stuff about leeks in Henry V ? And in the hands of Parayhouse, a school for children with moderate learning difficulties as well as those with speech, language and communication needs, Romeo and Juliet ran barely 20 minutes. The point is that the story telling is direct and accessible but the language is all Shakespeare’s. The participants are learning huge amounts about Shakespeare and about drama. They are also gaining all sorts of useful transferable skills of which confidence is probably top of the list.

Ruth Brock, SSF Chief Executive, once told me that when she was a primary school teacher she worked with a little girl, of previously limited ambition, whose eyes shone when she said to Ms Brock: “Now I’ve done Shakespeare Schools Festival, I can be a doctor can’t I?” Or, take Yusuf, aged 10, who’s quoted in this year’s programme: “In the future it helps you with a job. If you didn’t do this you may not have the guts.”

However hard we try, there are still plenty of people out there who perceive Shakespeare, or even live theatre, as elitist. “Our survey data shows that nearly half the parents of SSF participants have never been to their local theatre” says Helene Hasse, spokesperson for SSF. As a cultural education charity, SSF is making a splendid job of helping to break that down.

Part of the excitement is the opportunity for children from all sorts of backgrounds and schools to work in a professional theatre for a day. And there’s a lot of gain in four schools being on one programme because they get the chance to mix which is excellent especially for special school pupils who tend, sometimes, to be a bit isolated.

Of course you don’t go to SSF performance nights looking for the next Branagh or Dench. The learning process which gets the young casts to this point is actually far more important than what the audience sees on stage on “the night”. Nonetheless I really enjoyed Lewis Legge’s Benedick. I suspect he’s a natural comic and now that he’s tasted the theatrical drug of hearing laughter I bet he’ll want to do lots more.  And watch out – one day, maybe – for Kelsey Rorison. Her Henry V was surprisingly mature and strong.

Students perform on a professional stage as part of the Shakespeare Schools Festival

Students perform on a professional stage as part of the Shakespeare Schools Festival

Following the success of Pied Piper Theatre’s Burglar Bill last year, this new two hander for very young children follows a similar format. There is little dialogue in Hare and Tortoise, lots of physicality and gentle joking, a neat narrative shape and some catchy songs. And it all sits very happily in the Yvonne Arnaud’s child-friendly studio space.

Catherine Chapman’s designs – flowers, snow, carrots, russet leaves, and more – underpin the seasonal progression, once Tortoise has emerged from hibernation and we await the famous race …

(Read the rest of this review in The Stage)

Traditional can often mean stale but Paul Hendy knows panto too well for that. His latest, immaculately well-targeted pantomime for the Marlowe is a fresh and energetic affair.

The trad bits include some magnificently silly costumes, lots of flying, a smashing crocodile, plenty of shouting out and a good old singsong. But this Peter Pan also includes ‘synchronised swimming’ in lieu of a slosh scene, some high camp mermaids and, a Hendy invention, the “spurious comedy routine”,  a pun sequence based on the items in a wheelbarrow …

First published in The Stage. Read the rest of it here: https://www.thestage.co.uk/reviews/2017/peter-pan-review-marlowe-theatre-canterbury/?login_to=https%3A%2F%2Fwww.thestage.co.uk%2Faccounts%2Fusers%2Fsign_up.popup

The Gruffalo’s Child continues at the Lyric Theatre, London until 7 January 2018.

Star rating: four stars ★ ★ ★ ★ ✩

Show an endearing, caring dad trying to set boundaries for a wayward child. Add a bit of comfortable, pretend scary stuff and place it on a simple but versatile set. Spice it up with some upbeat music and you’ve got the Tall Stories engaging version of The Gruffalo’s Child

Read the rest of this review at http://musicaltheatrereview.com/the-gruffalos-child-lyric-theatre/

The idea of four modern-ish children improvising a story is not particularly original but it works splendidly in Mike Kenny’s adapatation of The Snow Queen for a cast of four. From the moment you see Nettie Scriven’s evocative opening set – an attic with peeling, faded wallpaper and filmy white dustsheets covering interesting shapes and rippling in the breeze – you know you’re in for a treat. Seven episodes are acted out as Gerda sets out on her quest with all the attic clutter used by the children as they take different parts. Thus we get lampshades for hats, a velvet curtain for a cloak, parasols for wheels and a hobby horse to pull a coach. And it’s all accompanied by accessible, appropriate music by the ubiquitous Julian Butler – I suppose it is possible to stage a children’s show without his fine work but I don’t seem to see many.

Isabelle Chiam delights as innocent but brave Gerda, determined to find and rescue Kai. She comes from Singapore and this is her first main stage show in the UK. I’m sure we shall see more of her. She has presence and charm without ever seeming excessive. It’s a warm, well judged and directed (by Roman Stefanski) performance.

Everyone else plays multiple roles. Sam Hoye is especially memorable as the child who doesn’t want to play all the old lady parts but does and is very funny. His flapping, carking, saucy crow is fun too. Tigger Blaise creates some enjoyable characters including a not-very-scary Robber Queen and a proper queen in a scarlet plaits wig. And George Wigzell is strong as the lost, kidnapped Kai. His reindeer is good value too.

Having failed, as usual, to organise any of my “own” children to take to this rather lovely show, I was nonetheless pleased to notice almost 100 per cent audience engagement and very little fidgeting or muttering from dozens of children out for a Sunday afternoon family treat. The boy next to me, who told me was six, and the girl, 4, behind us he struck up a conversation with, were both utterly engrossed throughout which is fine testament. Highlights which really grabbed them included some nifty shadow puppetry with wrap-round sound effects, the use of projection to evoke the breaking of the mirror and the arrival of the presence of the Snow Queen just before the end which is quite a theatrical moment.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Polka%20Theatre%20(professional%20productions)-The%20Snow%20Queen&reviewsID=3054