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Posts Tagged ‘Simon Higlett’

The show must go on spirit was alive at the Rose Theatre in Kingston last night when the actress playing Milady – a rather significant role – was taken ill at short notice. Their novel solution was for director Francis Matthews to read the part, script in hand, whilst composer George Stiles sang the part from the side of the stage.  The only braver stand-in I’ve ever seen was when writer / director Terry Johnson stood in for David Haig during the original run of Dead Funny at Hampstead Theatre – a part the writer / director had decided needed full-frontal nudity!

It was only the second preview, but the show is in good shape. The book by Peter Raby & the director and the lyrics of Paul Leigh tell the story well, with a good balance between serious story-telling and tongue-in-cheek humour. I’ve never understood why a composer as talented as George Stiles hasn’t had the success Just So and Honk suggested he would; his score for this is very good indeed. Simon Higlett has erected a multi-layered set with lots of entrances and exits which facilitates a pacy staging with plenty of swash and buckle. It’s choreographed by someone more experienced in plays than musicals and most of the time this helps, but the actors aren’t yet comfortable with the movement required of them. I think the best way to describe it is Les Mis Light – and that’s not a criticism!

I really liked Michael Pickering’s D’Artagnan, a combination of fearlessness and naivety. Hal Folwer, Paul Thornly and Matt Rawle are all excellent as the musketeers (the latter is clearly specialising in swash-buckling roles having given us Zorro fairly recently). Kaisa Hammarlund, with four Menier musicals under her belt, is perfect as the love interest, and Iain Fletcher and Kirsty Hoiles (straight out of Spend Spend Spend) make a fine King & Queen. In fact, it’s a great company with a great seven piece band.

This show will clearly grow; based on this showing I think the Rose have a hit on their hands and I hope the proposed West End transfer comes off. More than great seasonal fare, but great seasonal fare nonetheless.

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I studied this play for something that used to be called ‘O’ level. At the time, all I got to see was an amateur production. It was 15 years before I saw a professional one, but it was an extraordinary one; John Gunter seemed to have actually built part of Bath’s Royal Crescent on the Olivier stage (the life-size houses could be turned around and opened out to reveal their interiors) and Michael Hordern turned eating a boiled egg into a comic masterclass.

There’s a lot going on in Sheridan’s restoration comedy and it’s fun – preposterous fun, but fun all the same. The character names are particularly delicious and there are lots of parts, big and small, which actors relish. It’s impossible to dislike, but it doesn’t change your life.

This Peter Hall production comes off the Theatre Royal Bath quality-classics-staged-for-a-song production line. It fits the Theatre Royal Haymarket like a glove. Simon Higlett’s set isn’t as grand as Gunter’s but it does the job perfectly well. The cast is uniformly good, with Penelope Keith an imposing enough Mrs Malaprop and Peter Bowles a fine Sir Jack Absolute. There are great comic turns from Gerard Murphy as Sir Lucius and Keiron Self as Bob Acres and a lovely cameo from Ian Connington as Fag.

As much as I enjoyed seeing it again, it didn’t sparkle that much though and I’m afraid it falls into the category of ‘another Rivals’. Still, there are worse nights out to be had.

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