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Posts Tagged ‘Neil Ditt’

A gold star to the Curve Theatre Leicester for putting a new British musical by a relatively unknown team on their main stage. The fact that both Sue Townsend, the writer of the original book, and her main character hail from their city means it truly belongs there, and there is much to enjoy in this world première.

Adrian tells us the story of one year of his life (most of the first of what became eight books!) from one New Years Eve to the next, during which his mum runs away with Mr Lucas, his dad gets together with Doreen Slater, he gets bullied by Barry Kent, he befriends left-wing pensioner Bert Baxter and he falls in love with Pandora Braithwaite. Oh, the trials of puberty and growing up, particularly when you’re an intellectual lost at sea in Leicester.

Adrian’s diary is now an iconic book and for those of us who read this first (and later) instalments in real time, this is all very nostalgic. It works well as a musical, with a book by Jake Brunger and a simple tuneful score by Pippa Cleary and lyrics by both which contribute to telling the story. The second half has more pace than the first, reaching its peak in an unforgettable scene where Adrian gives us his version of a Nativity play.

I very much liked Tom Rogers design of houses that open out to provide interiors and giant pens and pencils which nod to the source. The thirteen characters are played by four extraordinarily talented children (I don’t know which of the 3 / 4 of each we had on Saturday evening) and six adult actors including the excellent Neil Ditt and Kirsty Hoiles as Adrian’s dad and mum, Amy Booth-Steel tripling up brilliantly as teacher, Mrs Lucas and Doreen Slater and Rosemary Ashe no less as Grandma Mole. Some haven’t taken to the adults playing child ‘extras’ but I thought it was rather fun. Director Luke Sheppard marshals his resources well and MD Mark Collins 5-piece band played with zest.

It’s the first showing of the work, so we shouldn’t perhaps expect a fully finished piece, but it’s a welcome and successful musical adaptation which brings Adrian to a new generation and will no doubt improve with age.

 

 

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Time to reach for the superlatives thesaurus…..

This musical comedy is based on Alan Bennett’s film A Private Function which featured Maggie Smith & Michael Palin (that’s three national treasures in one sentence!). It’s set in post-war Britain, with rationing still in place and a royal wedding about to take place (sounds familiar?). The (mildly) corrupt local councilors and businessmen are fattening an illicit pig for a banquet to mark the occasion whilst normal folk (this is ‘up north’ after all) can’t even get a pork chop, partly due to an eager meat inspector who keeps closing down the butchers. It’s pretty faithful to the film (though it’s a long time since I saw it last) with the notable exception of the ending.

I can’t remember the last time I laughed and smiled so much at a musical. Americans Ron Cowan & Daniel Lipman have produced a thoroughly British and extremely funny book perfectly matched by Anthony Drew’s deliciously witty lyrics. George Stiles music is also thoroughly British – but also completely infectious (copious whistles from the audience as they left the theatre). Richard Eyre hasn’t directed that many musicals but his staging for this one is up there with his Olivier Guys & Dolls, still the definitive production of this show, this time with the benefit of Stephen Mears’ witty choreography – yes witty choreography! Tim Hatley’s simple sets allow the show to zip along.

You’d have thought Sarah Lancashire has spent her whole life on a West End stage, such is her confidence and presence, with knowing smiles that seem to be directed to you personally – but it’s actually only her third time in the West End. She has a great voice, moves fluidly with such grace and you just fall in love with her within minutes – for me, she’s got the 2011 awards in the bag already. One of those slips of paper fell out of the programme as we entered – leading man Reece Shearsmith wasn’t performing and it was to be understudy Neill Ditt first performance. Well, I refuse to believe Shearsmith is better; apart from a few minor glitches and with some discreet help from his colleagues, he delivered an extraordinary performance of great charm and distinction that perfectly matched his leading lady. This must surely be his career high – and he got the biggest ovation of the night!

Singling out others in this wonderful company is going to be tough, but I have to mention octogenarian Ann Emery delivering another gem to match her grandma in Billy Elliott, Adrian Scarborough’s delicious cartoon baddie meat inspector, Jack Edwards great turn as pig loving Allardyce and another brilliant baddie from David Bamber as local doctor and head of the council.

I’ve waited twenty years (since Just So at the Tricycle) for Stiles & Drew’s masterpiece and here it is. I consider Billy Elliott the greatest British musical of all time; I think this might be this is the greatest British musical comedy of all time. Though apparently not intentional, the timing of the opening couldn’t have been better and Cameron Mackintosh has a stonking great big hit on his hands. I’ve booked to go back and I’m already seriously over-excited. Bliss.

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