Feeds:
Posts
Comments

Posts Tagged ‘Joanna Hickman’

The 1971 film was a flop, as was the 1980 English language stage adaptation, though the film went on to become a cult hit and turned a profit twelve years later. There was also a French TV adaptation, which itself was adapted for the stage in Canada. It’s been described as a romantic black comedy, the romance being between an eighteen year old boy, with a bit of an obsession about death, and an eccentric 79-year-old woman.

Harold lives with his widowed mother in middle-class American suburbia. She’s a social climber who is set on finding Harold a wife using computer dating. He stages fake suicides and attends real funerals where he meets Maude, an Austrian Countess who lives a Bohemian lifestyle seemingly without money. Cautious at first, Harold is drawn in by her infectious love of life and they become good friends. After rejecting the three suitors his mother introduces, he realises Maude is the love of his life and plans to propose at the 80th birthday party he is planning for her, but she has other plans.

Michael Bruce has added musical accompaniment which the actors play live on instruments including double -bass, cello and accordion, in character, just like those actor-musician musicals, though it isn’t a musical. It gives it the feel of one of those charming French films. Francis O’Conner’s set has an equally lovely other-worldly quality and Jonathan Lipman’s costumes are a delight, Harold in seventies style, Maude in Bohemiana and Harold’s mother power dressed.

Sheila Hancock is perfectly cast as Maude, a beautifully judged, delicate performance, as light as air. Bill Milner’s transition from existential angst to love-struck teen is navigated superbly, with real chemistry with Hancock. Rebecca Caine is excellent as the controlling mother and Joanna Hickman is a delight as all three suitors. in an outstanding supporting cast, Samuel Townsend makes a great seal, as well as a cop.

Thom Southerland’s production is as quirky as the material, which is a touch absurd, a bit surreal, but rather captivating. I wasn’t entirely sold on the story but it’s hard to imagine a better production or better performances. Well worth a visit.

Read Full Post »

The premiere of this musical in 2000 was a high-profile affair for a relatively unknown American musicals team, Dana P Rowe & John Dempsey – the Theatre Royal Drury Lane no less (they had Cameron Mackintosh as godfather). It wasn’t a bad show, but the theatre was way too big for it. It moved to the Prince of Wales, but didn’t survive the tumultuous summer of 2001. This revival is at the opposite end of the scale, in a theatre about 10% of the size (in truth, a bit too small now) but its good to take a second look and it scrubs up well.

The first adaptation of John Updike’s novel was the stellar cast film with Jack Nicholson, Susan Sarandon, Michelle Pfeiffer & Cher. It works as well as a musical, though the first half is a touch too long. Bored housewives Alexandra, Jane & Sukie get more than they bargained for when devil-like Daryl Van Horne arrives in suburban New England to spice up their lives and wreak havoc on the conservative community. Local do-gooder Felicia and her sometime philandering husband Clyde become casualties, leaving daughter Jennifer (Alexandra’s son Michael’s estranged girlfriend) exposed to the advances of Daryl now that he’s bored with the trio he’s been bedding.

It’s done in the now customary Watermill actor-musician style and it’s exceptionally well cast. Poppy Tierney, Joanna Hickman and Tiffany Graves are a fine trio of ‘witches’ and Alex Bourne makes a great ‘devil’. Rosemary Ashe reprises her world premiere role as Felicia and though her singing is sometimes too ‘operatic’, her ability to regurgitate anything and everything is impressive! Tom Rogers’ design takes your breath away; he brings American suburbia to a converted 19th century Berkshire mill with a grey clapboard house and beds and bars that emerge from nowhere.

This is Craig Revel Horwood’s sixth Watermill show and his staging and choreography is as witty and playful as ever. I felt it was a bit crowded and loud (with inaudible lyrics) occasionally, and there’s so much going on it takes a while to settle, but by the second half its steaming (in more ways than one). There aren’t that many musical black comedies, and it’s well adapted for the form, even if it isn’t that memorable a score. Still, a good enough reason for the annual pilgrimage to Newbury and to be recommended.

 

Read Full Post »