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Fewer stars and ovations please

“If you can keep your head when all about you are losing theirs …” Thanks, Kipling. Yes, I do try. Especially at the end of a mediocre show when mates of the cast are leaping to their feet in whooping, enthusiastic support which quickly spreads to most of the rest of the audience like a form of theatrical mass hysteria.  I also endeavour to hang on to my head when I know perfectly well that the bright eyed young blogger next to me is probably going to give this weak show several stars because he or she is getting carried away in the heat of the moment.  Keeping your head seems to be a fairly rare skill in theatre goers these days, even among the ones who are meant to be able to make a dispassionate judgment.

A standing ovation should be a rarity to be treasured. If nearly every show gets one then it means nothing. “When everybody’s somebody then no one’s anybody” as W S Gilbert neatly puts it in The Gondoliers. The very first standing ovation I was ever present at was at Royal Festival Hall in 1965 when Igor Stravinsky made his farewell visit to London. He came on stage to conduct the Firebird suite and, well, you can imagine what the audience as one, did. It was a very special moment and as a (very!) young music lover I felt deeply honoured to be there. These days shows nearly all seem to get standing ovations, or partial ones, and that’s a pity because it detracts from the value.

It’s exactly the same with the 5* review which is perhaps – or should be –  a considered, reasoned, written form of standing ovation. I think I have only ever given three or four in over 20 years of reviewing. It’s meant to indicate your view that this show is one of the best of its type ever produced – not that it was a pleasant evening out.

A single star, on the other hand means exactly the opposite: one of the worst shows of this sort ever staged. And oh dear, I’ve seen too many of those recently: Both Scooby-Doo! Live Musical Mysteries and last week’s Crime and Punishment: Rock Musical fell into that category. And I regard Hello Kitty Live, which I had the misfortune to review last year,  as the nadir of awfulness by which to measure all others. And those are just examples.

The truth is, of course, that the vast majority of shows should be 3* (if a star system is used at all and one of the publications I write for still resists it). It is an indication that the production under discussion is perfectly decent, quite good in fact, entertainment – and worth seeing if you have a free evening.  Unfortunately too many reviewers fail to keep their heads and waltz off into gush mode which means stars get scattered like confetti. It’s a bit like GCSE and A level grades which keep getting extra layers on the top to indicate excellence.  How long before we get six or seven star theatre reviews?

Margaret Thatcher, greyish fair hair neatly combed and her pointed school marm-ish face almost smiling, stood chirpily on the steps of 10 Downing Street in London. It was May 1979 and she had just become Britain’s first – and so far only – woman prime minister. She was, as always, triumphantly holding a handbag. This was none of your gray-suited, gray-haired, gray-minded males that Britain was accustomed to. Mrs T was a flesh and blood female.   Her face powder, perfume and lipstick-containing handbag – badge of a certain sort of womanly wiliness – proved it.

Democracy?

Not that she’d elected by the people like a US president.  Not a bit of it.  That’s not what the Brits mean by democracy. The Great British Public votes only once in each general election – for a member of parliament to represent their region in the House of Commons at Westminster. And each MP is a member of a political  party. Elected MPs decide who is going to lead their party. Then the leader of the party which has won the most ‘seats’ (actually they’re aren’t enough chairs to go round if they all turn up at once) in parliament at an election is invited by The Queen to form a government and to become Prime Minister.

Call to the Palace

Margaret Thatcher had become leader of the Conservative Party – traditionally the guys who want private enterprise and free choice – in February 1975. So when her lot romped home with a big parliamentary majority in the 1979 election, Margaret’s day had come. She and her handbag trotted gleefully off to the Palace for a heart-to-heart with Her Majesty and hey presto, Britain had its first woman prime minister. And it was clear from the beginning who was in charge. ‘I don’t mind how much my ministers talk, as long as they do what I say,’ she said in 1980.

Grocer’s daughter

Margaret Hilda Roberts was born in Grantham – a Lincolnshire town about 55 miles north-west of Cambridge – on 13 October 1925. Her dad was a grocer in the town, so she was no privileged product of the English class system.  But she was clever and knew it.  When, aged 9, she won a poetry reading competition and was told by her school’s principal that she was lucky to win she replied:  ‘I wasn’t lucky. I deserved it.’

Clever clogs

She was awarded a scholarship to Kesteven and Grantham Girls High School which gave her a solid old fashioned education – lots of spelling, reckoning and reading.  Chemistry was her thing and in in 1943 she hurried off to Somerville College Oxford to study it.   And, maybe influenced by the biscuit selling father back home who was involved in local politics and had been Mayor of Grantham, it didn’t take her long to join the Oxford University Conservative Association. Ever one to be in charge of things, she soon became its president.

Workaholic?

Famously she had eons of  energy and needed very little sleep – which is just as well because she can’t have had much time for it in her 20s.   She worked for four years as a research chemist after graduation from Oxford, studying law at the same time with the intention of becoming a barrister. She stood unsuccessfully for parliament in 1950 and 1951 and married businessman Denis Thatcher in 1951. Then, in 1953 she managed to produce twins and to complete her law studies so that she was ‘called to the bar’ as a specialist taxation lawyer by Lincolns Inn in 1954.

Thatcher the milk snatcher

Her political career really took off in 1959 when she was elected Member of Parliament for Finchley, North London.  She held a whole string of offices within her party and became Secretary of State for Education and Science when her party was returned to Office in 1970. ‘Thatcher the milk snatcher,’ they called her because she stopped the long-established practice of offering British kids a daily dinky little bottle of free milk at school.

Rod of iron

As Prime Minister, despite the femininity of her handbag, she had a reputation for masculine toughness and determination. ‘The Iron lady’ firmly quashed the Argentine invasion of the (British) Falkland Islands in the South Atlantic in 1982 with plenty of troops and no shilly-shallying.  At home she refused to allow the trade unions to tell her and her government what they should do with the country’s money. She believed that money was the key to peace and prosperity. ‘Pennies don’t fall form heaven – they have to be earned on earth’ she told a newspaper in 1979   ‘No one would remember the Good Samaritan if he’d only had good intentions. He had money as well’ she said in a 1986 TV interview.

Royal we?

In 1989 she told the press that ‘We have become a grandmother’ – a slip of the tongue which led to delighted accusation of delusions or royal grandeur. The use of the royal  ‘we’ (she presumably meant herself and Denis)

sounded like the old royal custom of using ‘we’ instead of ‘I’. Had she got so carried away that she thought she was more important than the Queen?

Brighton bomb

During her 11 years at Downing Street she made a new record by becoming the only British prime minister ever to stay in office when her party won three consecutive elections.  But there were some very difficult times. In 1984 a terrorist planted a bomb in a Brighton hotel where the Conservative Party was holding its annual conference. Five senior members of the party were killed and several seriously injured. ‘Now it must be business of usual’ Mrs Thatcher told the world grimly a few hours later.

Treachery

She was eventually ousted as party leader (‘treachery with a smile on its face’ she said bitterly) in 1990. She was awarded the Order of Merit as a consolation prize by the Queen a month later. In 1992 she became Baroness Thatcher of Kesteven and, in 1995, a member of the Most Noble Order of the Garter. So you could say the class system caught up with her in the end.

The end

Margaret Thatcher died in 2013 after a long and lonely period as a widow with Alzheimer’s disease. Meryl Streep depicts this period very skilfully in the 2011 film The Iron Lady. Many Brits loathed Margaret Thatcher and her death was greeted with a strange mixture of glee and sadness.

 

 

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Crime and Punishment – A Rock Musical at The Scoop, as part of London’s Free Open Air Season, continues until 25 September.

Star rating: one star ★ ✩ ✩ ✩ ✩

St Petersburg in Tzarist Russia is the setting for Dostoyevsky’s famous story of moral (maybe) murder followed by remorse and redemption. In this instance we get it peppered with samey music, mostly by Toyah Willcox (with Simon Darlow), every number illuminated by pop concert-style spinning coloured spotlights – for no apparent narrative reason.

And that’s just one of the show’s incongruities….

Read the rest of this review http://musicaltheatrereview.com/crime-and-punishment-a-rock-musical-the-scoop/

Oxford School of Drama (featured image), one of the seven  which are no longer part of Drama UK

 

BOVTS 2016 graduating actors in front of new Link Building. Eleanor Jackson second row, far right. Credit Stewart McPherson

2016 graduates, Bristol Old Vic Theatre School, another of the seven which are no longer part of Drama UK

It claims to “provide a unique link between the theatre, media and broadcast industries and drama training providers in the UK.”  That’s Drama UK, the organisation founded in 2012 from a merger of the old Conference of Drama Schools and National Council of Drama Training.

Well if Drama UK doesn’t blow its own trumpet then I doubt that anyone else will. It goes on to assert that it gives “a united, public voice to this sector.” It offers “help and advice to drama students of all ages” and awards “a quality kite mark to the very best drama training available”.

Really? The “very best drama training available”? And yet that doesn’t include the three Conservatoires for Dance and Drama schools – RADA, LAMDA and Bristol Old Vic – who pulled out en masse last year. The Guildhall and Oxford School of Drama also withdrew in 2015 and Royal Conservatoire of Scotland and Royal Welsh College of Dance and Drama have long since decided to do their own thing. “United” isn’t, therefore, the adjective I’d have chosen for Drama UK’s voice.

Anyone who knows the first thing about drama training is aware that the seven schools who have quit really are offering world class training and it is nonsense for Drama UK to pretend they work with the “very best” without these jewels in the crown. That is not to say – of course – that the 13 schools which have, so far, chosen to remain in Drama UK (I’m puzzled about why) are not doing good work. It’s simply that, as things are, they can’t truthfully be described as the totality of the best.

And it’s a small point but Drama UK really shouldn’t use the expression “Kitemark” which is copyright to the British Standards Institution (BSI Group) and may not legally be used by anyone else. You have to say “badge of approval” or think of some snappy new term of your own. Ask a journalist. Most of us have made this mistake at some point in the past and been pulled up for it.

But back to the woes of the arguably pointless Drama UK. It currently accredits its core13 schools and “recognises” seven university departments. The accredited 13 each pay £6.000 per year membership and an additional accreditation fee.  Accreditation requires a great deal of paper work which small schools cannot afford the resources to do so it’s hardly an inclusive organisation. Moreover the accreditation visits, I was recently reminded by a principal who asked not to be named, are conducted by three fellow principals. Yes – that’s right. How can that possibly be truly dispassionate when all these schools are, at the end of the audition process, competing for the best students – in effect, their credibility and livelihood?

Given the numbers, Drama UK’s income is now very low. But never mind. They’re making a good fist of establishing “the brand” in China which means plenty of jetting to and fro.  Don’t ask me to work out how that is supposed to benefit the dwindling group of paying members  and their students back here in the UK.

Last December, Ian Kellgren and Jude Tisdall who run Drama UK asked me out to lunch to discuss all this, largely I think because they’re irritated by reading articles like this one. They seemed in pretty low spirits although the lunch was tasty) and asked me what I would do in their position. I told then I’d go right back to the beginning, unwind and ask schools exactly what they want from an “umbrella” or linking organisation. They said they’d already done that but nonetheless joked that I had “earned my lunch”.

Well from the outside I’ve seen no change of any sort in the last eight months. And if they asked me that question today I think I’d tell them to disband it and go back to their day jobs. The training industry – or much of it – seems to be able to function perfectly well  without a “united public voice” and I think the remaining schools could (should) save their students’ money by quitting.

Meanwhile, at the beginning of another academic year, I’m having private bets with myself – and anyone else who’s interested – about which of those 13 will be the next to leave.

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A small audience of teenagers and adults with profound and multiple learning difficulties (PMLD) gather with their carers in a magically dressed studio space at the University of Canterbury. Everything is cream or brown because the city we’re in has been devastated by a dust storm. Two newly homeless young women are left behind in the evacuation. They struggle, of course, but eventually there’s a resolution and hope for the future.

It’s a surprisingly robust narrative for a multi-sensory show of this sort. More often than not creative work for people with PMLD tends to be stronger on theme and sensation than on story. Home manages to do it all. We feel the wind, touch the dust, smell the clothes abandoned on the floor, watch water being filtered, blow foam and bubbles and much more as well as hearing the live music played on set by the versatile, talented Alistair Watts who can play guitar in a wide range of styles and make a saxophone talk. It’s both immersive and interactive. And we wonder with Olive (Amber Onat Gregory) and Scarlet (Lucy Garland) whether they really will ever get the promised news on the radio announcing that they are to be rescued.

Garland and Onat Gregory rhythmically repeat many of their lines and, unobtrusively, sign their words in BSL at the same time. The story is very clearly spelled out. On the other hand – and it’s another thing I liked very much about this show – none of the dialogue, or the plot is remotely patronising. “The dust became oppressive” they say at one point. Garland sings beautifully and has a lovely chuckling laugh which she uses to encourage audience members to relate to her. Onat Gregory is equally engaging. She sometimes struggles to sing in tune but that’s a minor gripe and I doubt very much that anyone in the target audience noticed. One of the episodes involves the two of them singing a song directly to individual audience members using his or her name. The delight on the face of an adult with PMLD named Matthew when he heard this was a wonderful moment.

The topicality of the subject matter is another way in which this show really reaches its audience. Refugees, usually with devastating stories behind them, are very much with us. Home is powerful piece of theatre about loss,separation, fear, loneliness, reconciliation, hope and rebuilding relationships – human life, in fact. And those things matter to people with PMLD as much as they do to anyone else.

First published by Sardines http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Frozen%20Light%20(professional)-Home&reviewsID=2547

 

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It isn’t often you emerge from a relatively modern musical with sumptuous melodies ringing in your ears. Children of Eden (25 years old and bearing up well) was new to me but I shall long treasure the glorious three four number at the end of the first act beautifully sung by the talented Natasha O’Brien who has enough stage poise for a whole troupe of actors. Then there’s the jolly six eight music as the animals come tripping in merrily and engagingly on the way to the ark. And best of all is O’Brien’s delicious, tantalisingly well paced slow jazz number Ain’t It Good – which owes something to The House of the Rising Sun – before it segues into a catchy swing number with chorus. Yes, Stephen Schwartz’s score is well worth a revival.

The piece is based on Genesis and the creation/destruction stories around Adam and Noah upon which Judaism, Christianity and Islam are based. The reason it works so well today, ancient as these myths are is first that the John Caird’s book and the song lyrics (also by Schwartz) firmly make this a very recognisable family saga and second because there are so many topical resonances. We are still, in 2016, dealing with historic feuds, discrimination and prejudice just as these Biblical characters do in condemning all the descendants of the fratricide Cain. “Our hearts can choose to stop the hatred” is a line in one of Schwartz’s songs. Quite: now as well as then.

There is some fine singing in this show especially from Stephen Barry as Adam and Noah and Daniel Miles who doubles Abel and Ham. It is very much an ensemble piece and there are some imaginative uses of the accomplished cast of eleven by choreographer Lucie Pankhurst who has a way of making her actors perform synchronised circular body sweeps which help to create both atmosphere and character. Also admirable is the strong bold puppetry particularly the swans who fly into the ark (after visiting a few audience members) and the dove who eventually returns with her time honoured olive branch, the symbol of hope for the future.

Congratulations to the four-piece band under Inga Davis-Rutter. They play complex music with hardly a break because the work is almost sung though. There is a little spoken dialogue but it really is a tiny part of the whole. On a personal note I was surprised and delighted to see that three of the band members are women. That’s a 75% representation and unusual in musical theatre.

This was my first visit to the new Union Theatre in its OTR (“Over The Road”) location and I must say it’s a great improvement. Good lavatories, decent foyer area for the café, bar and box office, roomy courtyard outside and pleasing performance space inside the auditorium. I was sorry, therefore, to see it less than half full for the Saturday matinee. I do hope houses are better at other performances because this show deserves to be seem.

First published by Sardines http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-Children%20of%20Eden&reviewsID=2546

Flying squirrel

Most birds fly. So do insects and bats. But did you know that some squirrels, lizards,  frogs  and snakes have also taken to the air?

Remember Dumbo the flying elephant? And we all know about all those wonderful things which might happen when pigs fly. Well, take a stroll in the jungles of Borneo next time you’re passing that way.  You won’t – unless you’ve had a drop too much of the local date brandy or palm wine  –  see pigs and elephants defying gravity  but you could well see a squirrel gliding thought the air.

Soaring squirrels

The aeronautical squirrel – address him as Petauristinae if you’re feeling formal – lives with his mate in a hole high up  in some tall tropical tree. He’s a handsome guy wearing a rich russet fur coat which looks as if was bought for a bigger chap.  In the late afternoon he and his wife scamper out for a bit of exercise – running along the bark  using their needle sharp claws like rock climbers’ pitons.

Then they begin to circle the tree trunk frenetically, Suddenly and quite unexpectedly the pair of them take off, first one and then the other  like a two part squadron.  Together they glide effortlessly and silently up to 35 yards through the air toward the next tree.  During the flight all four limbs are stretched out tightly and  the baggy overcoat  reveals itself as a useful  flat membrane attached at  wrist and ankle.

They  have evolved  fairly  light bones and  their ‘flight’ is a way  of moving from tree to tree in a dark  forest hundreds of feet below the leafy canopy  where the long trunks are  straight and lower branches are few and far between.   It’s really more  of a supported  jump – similar to hang gliding – than to true flight.

The aerodynamics are effective The fat furry tail is  a good rudder. So steering looks after itself. Once Mr and Mrs Squirrel are  within striking distance of the landing stage they  swoop sharply  upwards. Thus they hit the trunk running and can gallop away into the forest canopy  like aircraft touching down on  a vertical  runway.

Gliding  lizards

In the same forest you might chance on Draco, the flying lizard. His hang-gliding mechanism consists of a couple of neat  of flaps  of skin which  stick out from either flank, furled in like roller blinds against his body. They are stiffened  by  bony rib extensions evolved for the purpose.

When he gets the flying urge he pulls his ribs forward. That yanks the ribs apart and  distends the flaps like and aircraft swivelling its wing flaps. Take-off sends Draco  gliding cheerfully from liana to liana and from branch to branch. From underneath the flying flaps  look like huge diaphanous insect wings.  It’s a lot quicker – and safer because most predators can’t get at you if you’re air-borne – than landing  on the forest  floor and skittering across  to another tree.

Frogs aloft 

Keep an eye 0ut for flying frogs too. Not many frogs have parachutes on their feet but Rhacophorus does.  Extra long toes mean that the webbing he generally uses for fast swimming has evolved to be  much larger than that of his common-or-garden froggy cousins.

When he leaps  he can cover considerable  distances  because his mega-webbing keeps him air-borne.  It means that  he can get from leaf to leaf without putting himself  at risk or using too much energy as he goes about his amphibian  business in the tropical forests of Borneo.

Volitant (now there’s a nice word!) snakes

Chrysopelea, the flying snake,  is such a strange beast that for a long time no one believed in him. He was dismissed as a delusion invented by over enthusiastic early  explorers. But he’s real enough.

He’s a small, thin, quietish sort of serpent, although very beautiful with greenish- blue scales flecked with gold and red. Most of the time he whizzes skilfully  up and down vertical tree trunks at top speed.

When he fancies  piloting  himself across to another tree for a change of scenery  he races along a branch and throws himself off.  In the air he flattens his body like a piece of  ribbon which catches the air and enables  it to travel  much further than if it just fell.  The physics are neatly evolved because  most snakes’  bodies are cylindrically rounded.  In ‘flight’ or glide the snake wriggles his  flat length into a series of curly coils which gives him a bit of control  over direction and landing site.

 

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Faction Theatre

Part of Refashioned season at Selfridges

Caroline Langrishe is a pleasure to watch as Leonata in this pared down, reordered 90-minute Much Ado About Nothing. Every inch a strong woman, Langrishe portrays an authoritative head of her household when she needs to be but in other moods her Leonata is quite capable of girly laughter behind the scenes. It’s a neat feminist take on Leonato, usually played by a man as Leonato.

The famous sparring scenes between Daniel Boyd’s charismatically funny Benedick and Alison McDonnell’s Scottish, angry, sad but witty Beatrice work pretty well too. Director Mark Lepacher makes sure that everyone, except the two of them, knows they’re in love from the outset – and that doesn’t always come through in productions of this play.

There are two main plot strands in Much Ado. There’s the setting up of Hero (Lowri Izzard – nice debut) as a loose woman who is therefore jilted at the altar by Claudio (Harvey Lister Smith – boyish and he does distress well) alongside the getting together of Beatrice and Benedick. This production, set in the present, balances the two well enough but the malevolence of Don Jon doesn’t make sense in a modern setting. Simply being the bastard brother and therefore evil doesn’t feel truthful in 2016.

In principle it’s a good idea to use great actors (Meera Syal, Simon Callow and Rufus Hound) as news reporters and commentators on over stage TV screens. But if you don’t (can’t?) synch the sound track then it’s best not to do it. In the event this is the weakest part of this production and makes it feel very amateurish. It’s a shameful waste of the talents of the actors concerned and I should think they’ll be horrified if they get along to Selfridges to see the show.

The temporary space on Selfridges lower ground floor is a thoughtfully designed traverse playing space with 122 seats and it is an interesting idea for a Shakespeare festival, I suppose, although I can’t help wondering quite what it’s setting out to achieve other than publicising an already famous department store.

First published by Sardineshttp://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-Much%20Ado%20About%20Nothing&reviewsID=2545