Feeds:
Posts
Comments

Posts Tagged ‘Colin Stinton’

I didn’t plan on seeing two 20th century German plays on consecutive nights, but the first was booked ages ago and this is about to close, so it had to be. My view of this (much better) play may be enhanced even more by the pairing.

Brecht’s parody of the rise of Hitler was written in 1941 but not seen until 1958, after his death, which is a bit of a puzzle. 50-70 years on, the satire seems a bit heavy-handed (I would have expected reviser Alistair Beaton to have done something about that) but its ‘we let this happen, don’t let it happen again’ point still packs a punch. Set in gangster-era Chicago, Arturo Ui develops his protection racket in the vegetable trade (!), becoming more and more brutal in his relentless rise to power. Individual scenes have parallels in pre-war Germany, though those are a bit lost on a modern audience, but by the end the message isn’t lost. In the long 95 min first half, the scenes are somewhat laboured and it could do with some cuts, but the second half has much better pacing. The end is chilling and the epilogue a thought-provoking wake-up call.

The Duchess is a small theatre for a big play with a cast of 18, but it benefits from the intimacy, with a new middle aisle used for entrances and exits and characters occasionally appearing in the auditorium. Director Jonathan Church’s staging, with great use of live music, draws you in to the gangster story then sharply reminds you of its metaphor. Designer Simon Higlett effectively creates warehouses and mansions in this small space and the arrival of a car is a coup d’theatre. Though I’ve seen a couple of good actors play the title role (Anthony Sher & Griff Rhys Jones!) Henry Goodman is the best match for it. He is particularly good at conveying Ui ‘s transition as the power drug makes him more and more manic. It’s an excellent supporting cast, with fine actors like Colin Stinton, William Gaunt and Michael Feast in relatively small roles.

Another successful transfer for the indispensable Chichester Festival Theatre.

Read Full Post »

For a man who gave us one of the greatest musical productions ever (Guys & Dolls at the NT in 1982 and 1996), Richard Eyre hasn’t directed many musicals. I can only remember two more before this (Mary Poppins & Betty Blue Eyes) and both were great. The question you have to ask after a fourth gem is Why?

There haven’t been many ‘blue collar’ musicals either, so this one, about a labour dispute in the Sleep Tite pyjama factory, is unusual. It hasn’t had many productions (another Why?), the last in London at the indispensable Union Theatre five years ago. With a track record of four musical transfers in the last 2.5 years, I’ll be surprised if this terrific Chichester production doesn’t follow.

The factory is run by tyrant Hasler (an excellent Colin Stinton, who doubles up as the leading lady’s dad) who has employed new superintendent Sid, a go-getter from Chicago, the third in next to no time. His Time & Motion man Vernon (a superb Peter Polycarpou, back for his third Chichester musical in as many years) stalks the shop floor. Union president Prez and union rep Babe are pushing for a 7.5c rise and it looks like they’ll have to strike to get it. Then Babe falls for Sid and it all gets a lot more complicated.

From the opening number, Racing with the Clock, it goes from one showstopper to another. There are a couple of standards – Hey There (You With the Stars in Your Eyes) & Hernando’s Hideaway – but the whole score’s good. We move swiftly and slickly from factory to office to picnic to nightclub to Babe’s home with little time to catch your breath in-between. Designer Tim Hatley puts a two-story building at the back of the space, from which sewing and pressing work stations emerge for the shop floor, desks for the offices and a kitchen for the home. Stephen Mear’s choreography is bright and fresh and with Gareth Valentine in charge of the music it all sounds great.

For a musicals obsessive like me, it’s a bit of a shock to come across a leading man I’m not sure I’ve seen before and Hadley Fraser is simply terrific as Sid, with a particularly fine voice. Joanna Riding is a delight as icy, feisty Babe who melts in the hands of Sid. Alexis Owen-Hobbs is great as secretary Gladys, and Vernon’s unlikely love interest, who follows Hasler everywhere except when she struts her stuff in the Act II opener Steam Heat (with actual steam!) and there’s a delightful cameo from Claire Machin as Sid’s secretary Mabel.

An uplifting delight from start to finish, which benefits from the smaller space if the Minerva Theatre, and well worth the trip south.

Read Full Post »