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Posts Tagged ‘Christopher Fulford’

Shortly after I saw the 1984 revival of this play in the West End, Leonard Rossiter, who played Inspector Truscott, died in the wings waiting to go on. All very Ortonesque, but I do hope Christopher Fulford survives this run! It’s around fifty years since it’s premiere and playwright Joe Orton’s death at the hands of his partner Kenneth Halliwell. This excellent revival is a superb opportunity to see it again, or for Loot virgins to see it for the first time.

It’s set in a room in the McLeavy home, where the recently deceased Mrs McLeavy lies in her coffin while her husband and nurse mourn her. Her son Hal and his friend, junior undertaker Dennis, have robbed a bank. What follows is a farcical, manic, absurd and surreal caper revolving around them hiding the money. Originally mounted before censorship was scrapped, the Lord Chamberlain insisted on a number of cuts and changes, including a dummy for the deceased, but here a brilliant Anah Ruddin lies in, and is removed from the coffin, relocated and thrown around.

This is apparently the first time the uncensored script has been staged. I don’t know the play well enough to spot the differences, but there are parts that still shock today. It satirises the police and the catholic church and sends up all sorts of societal norms. Michael Femtiman’s fast-paced production never lets up, and the play sparkles more that it has done before. I loved Gabriella Slade’s glossy black set (though the high level stained glass windows are a bit of a puzzle given we’re in a room in a home the whole time). It’s an outstanding cast, with both Sam Frenchum and Calvin Demba terrific as the sexually ambiguous Hal & Dennis respectively. I sometimes find Sinead Matthews overacts, but she can let go here as the predatory nurse with a past. Christopher Fulford has brilliant timing as Inspector Truscott and Ian Redford a suitable put upon McLeavy.

Well worth catching.

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When I heard that the Open Air Theatre were going to break with tradition and stage this intense drama, I thought they were very misguided. How wrong was I?!

Arthur Miller’s timeless piece about the late 17th century Salem witch trials with parallels to the 1952 McCarthy witch hunt is a cracking drama, particularly in the second half when the trials are taking place. It’s simply staged on an elevated platform which represents the wall of a house on its side, characters entering upwards through it’s doors & windows. Surrounded by trees which last night were moving eerily in the chill June wind and much of the time by a silent ‘chorus’ of girls who become the hysterical force which convicts many innocents.

They’ve assembled a very impressive cast for this short run. You want to give Christopher Fulford’s Reverend Parris a slap across the face for being so foolish. Oliver Ford Davies has real authority and gravitas as the Deputy-Governor. Emily Taffe is a very creepy Abigail with revealing changes of expression you think only you can see. Susan Engel’s Rebecca starts as a respected matriarch and ends dignified despite her erroneous conviction. You want to cheer Patrick Godfrey’s defiant Giles as he beats the system, even in death. Philip Cumbus’ Hale makes a very believable transition from honest broker to angry champion of justice. Emma Cuniffe and Patrick O’Kane both have shaky starts but come into their own in the second half’s tragedy.

As the sun sets and the air becomes more chilly, the drama becomes much more intense and by the end you’re not sure if you’re shivering because of the weather or the drama or both. This is a triumph for Timothy Sheader and the Open Air Theatre, best known for comedy and musicals, and opens up all sorts of possibilities for the future. I’m thinking Greek Tragedy. Medea please!

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