A Murder Is Announced | Theatre Review

Show: A Murder Is Announced
Venue: Perth Theatre
Date: 9th October 2019
Writer: Agatha Christie, adapted for the stage by Leslie Darbon
Director: Michael Lunney
Principal cast: Sarah Thomas (Miss Marple), Kazia Pelka (Letitia Blacklock), Tom Butcher (Inspector Craddock), & Jenny Funnell (Dora Bunner)

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I read the book this is based on a few weeks ago, and though it wasn’t my favourite of Christie’s work, it was actually surprisingly fun being able to watch this adaptation knowing the final outcome. Doing so allowed me to pick up on all the little clues that eventually add up to help Miss Marple figure out whodunnit. It was a great way to appreciate just how meticulous Christie’s approach to plotting was.

Reading the novel beforehand is certainly not a requirement, but given that it is one of Christie’s more convoluted yarns, I do think prior knowledge of the plot’s intricacies helped me follow the increasingly complicated dynamic between the fairly large cast of characters as various secrets were unravelled.

The adaptation itself is a largely faithful one, though it has been scaled back somewhat to accommodate the show’s run time and production requirements. Taking place across a few days, and all set within the same room, it’s a show scant on action (with the body count reduced to just two). Instead, it’s packed with wry humour, red herrings, and fast wordplay that hides the truth.

The cast included a number of recognisable faces from British stage and screen. Sarah Thomas was suitably charming and witty as Marple, but Lydia Piechowiak’s eccentric, paranoid, and hilarious Mitzi was definitely the scene stealer. As my first taste of Christie on the stage, this served as a good introduction. Well aware that she’s produced smarter, more thrilling plots, however, I’m excited to see how more of her work translates to a live setting.

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Frankenstein | Theatre Review

Show: Frankenstein
Venue: Perth Theatre
Date: 20^th September 2019
Director: Patricia Benecke
Writer: Rona Munro, adapted from the novel by Mary Shelley
Principal cast: Eilidh Loan (Mary Shelley), Ben Castle-Gibb (Victor Frankenstein), Michael Moreland (The Monster), & Natali McCleary (Elizabeth Lavenza)

This original and ambitious take on the classic horror novel places its creator, Mary Shelley, at the very heart of the action. Weaving together fact and fiction is a clever and creative way to retell a story we all know and love, whilst exploring its fascinating origins and real-world thematic parallels.

Amongst the novel’s core themes were of course the nature of creation, and the complex relationship between a creator and their work. This adaptation dissects that dynamic even further, with the struggle between Frankenstein and his Monster mirrored in the mix of fear, wonder, social rebellion, and emotional anguish that fuel Shelley’s writing process. Placing an eccentric and snarky Shelley in the midst of her own work, pen scratching furiously at her notebook as she guides the audience through her thinking – and dissects the actions of her characters – serves to remind us of her remarkable youth and pioneering vision with regards to science, society, and literature.

Eilidh Loan as Mary Shelley, Ben Castle-Gibb as Victor Frankenstein, and Michael Moreland as The Monster. Pictures courtesy of Capital Theatres.

The relatively small cast all put in solid performances, but the highlights were Moreland’s mix of grace and fury as The Monster, and Loan’s frantic energy as a writer coming to understand who the true monster of her work is. The striking set design was suitably gothic and haunting, and the excellent use of light and sound helped to deliver moments of genuine tension. More unexpected were the moments of humour peppered throughout; Shelley often relishing a sense of irony and omniscience as she toys with her characters’ fates. Whilst this means the play is engaging and entertaining throughout, it does lead to an inconsistency in tone. The show delivers both jumps and laughs with success, but it’s rarely quite as scary or as funny as it evidently wants to be.

You could argue that, since the play tries to balance both Shelley’s motivation behind the text, and the story of the book itself, neither half of the narrative is given the time it needs to breathe. This results in a whole that doesn’t quite deliver on the concept’s huge potential. Still, the production remains a playfully meta look at the creation process, a fresh take on an iconic story, and an inventive piece of theatre that is well worth experiencing.

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Frankenstein’s opening run at Perth Theatre kicks off an extensive UK tour. Tickets and details can be found here.

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The Crucible | Theatre Review

Show: The Crucible
Venue: Pitlochry Festival Theatre
Date: 4th September 2019
Director: Elizabeth Newman
Writer: Arthur Miller
Principal cast: Harry Long (John Proctor), Barbara Hockaday (Mary Warren), Claire Dargo (Elizabeth Proctor), Fiona Wood (Abigail Williams), Ali Watt (Reverend Parris), Marc Small (Reverend Hale), & Deirdre Davis (Danforth)

If there’s a play that manages to transcend time and repeatedly find new forms of resonance, it’s surely The Crucible. Inspired by the events of the Salem witch trials of the 1690s, in which a culture of fear, mistrust, and othering led to false accusations of witchcraft, it was written to serve as allegory for McCarthyism, under which the US government of the 1950s persecuted those suspected of being communists without relevant evidence. Today, in the era of Fake News, rising nationalism, and pushback against the #MeToo movement, the play’s themes of accusation, truth, justice, and power strike a chord yet again.

For those unfamiliar with the setup, the strange and unruly behaviour of a group of young girls draws the attention of their Puritan neighbours. Accused of witchcraft and facing persecution, the girls claim to be under the influence of The Devil, pointing the finger at various members of the community they say are possessed. As accusations run rife, buried secrets rise to the fore, the girls become ensnared ever deeper in their own lies, and those falsely accused face an impossible decision: Invite the death penalty by maintaining their innocence, or condemn their families to a life in exile by admitting to a crime they didn’t commit.

Claire Dargo as Elizabeth Proctor (left), and Barbara Hockaday as Mary Warren (right). Picture courtesy of Pitlochry Festival Theatre

The ensemble cast all gave great performances, but the real standouts were Barbara Hockaday and Claire Dargo as Mary and Elizabeth respectively. Elizabeth’s calm yet passionate commitment to the truth when she herself falls under suspicion, and Mary’s mental disintegration as she crumbles under the weight of her lies were portrayed with real punch.

Though this was a largely faithful adaptation of Miller’s original script, a few stylistic choices really enhanced its impact. The set design included a dominating partial replica of a well-known bridge found not far from the theatre. This disconcertingly familiar sight from the local area somehow served to make the story feel closer to home. Whilst still set in Salem, the actors deliberately spoke in a broad range of accents from across the UK. This was done to once again ground the story in something more familiar, but also to reflect the melting pot of different cultures and backgrounds that make a community, enhancing the theme of othering and mistrust. On top of this, the chief judge of the court, Danforth, was played by a woman. Though historically inaccurate, the gender swap instantly casts a fascinating new perspective on the story, by shifting the power dynamic. Here we have women accusing women, presided over by an all-powerful woman. The story and dialogue may have remained the same, but it’s amazing how profoundly such a small change can alter the implications of the narrative and its take on the notion of sisterhood.

Masterfully plotted and powerfully delivered, it’s easy to see why The Crucible has become a classic of the theatre. By exploring the most selfish and selfless reasons people lie, it shows us that, whilst telling the truth in the face of hardship is rarely the easiest option, it’s almost always the right one.

***

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Beauty and the Beast | Theatre Review

Show: Beauty and the Beast
Venue: Festival Theatre, Edinburgh
Date: 14^th March 2019
Company: Birmingham Royal Ballet
Choreography: David Bintley
Music: Composed by Glenn Buhr, performed by Royal Ballet Sinfonia
Principal dancers: Maureya Lebowitz (Belle), Yasuo Atsuji (The Beast), & Beatrice Parma (Wild Girl)

Based on the classic story we all know and love, Birmingham Royal Ballet’s take on Beauty and the Beast made for a rich and visually captivating performance. The show really is a feast for the eyes, its greatest strength being the sumptuous costume design, ornate set pieces, and moody lighting; all of which come together to create an atmosphere that feels entirely in-keeping with the story’s fairy tale origins.

Sonically, the show is also a hit. Buhr’s specially composed score is seamlessly performed by the Royal Ballet Sinfonia. Intricate and textured, the music has a timeless, whimsical quality, honouring the extensive history of the narrative. As for injecting something new into proceedings, that’s where the choreography comes in. Though it is playful and original, the heavy leaning towards storytelling over conventional dance means there are a few moments in which the pace drags. When the show hits its stride, however, it’s an arresting experience, the second Act in particular really showing off the quality of the production across all departments.

Production shots, courtesy of Birmingham Royal Ballet.

Each member of the company did a good job with what they were given, and a couple of the big group routines were excellent. The standout individual performer was undoubtedly Beatrice Parma as the vixen-turned-woman. Her movement fused classical ballet with a strange vulpine quality. Her entire presence on stage was enigmatic and compelling.

Having seen a fair few ballets in my time, I can’t say this one ranks amongst the best, but it’s well worth catching during its UK tour if you have the chance. The recognisable story and approachable presentation make it accessible for enthusiasts and newcomers alike.

War Horse | Theatre Review

Show: War Horse
Venue: SEC Armadillo, Glasgow
Date: 19^th January 2019
Director: Marianne Elliot & Tom Morris
Writer: Nick Stafford, adapted from the book by Michael Morpurgo
Music: Adrian Sutton
Principal cast: Thomas Dennis (Albert Narracott), Jo Castleton (Rose Narracott), Gwilym Lloyd (Ted Narracott), Joelle Brabban (Emilie), & Peter Becker (Friedrich)

The iconic West End show finally made its way to Glasgow as part of a three year UK tour, celebrating the play’s 10th anniversary. Having booked tickets to see it more than two years ago, it’s been a long wait, but I can wholeheartedly say it was worth every moment.

This is easily one of the best and most powerful theatre shows I’ve ever seen. The stunning puppetry work brought the animals to life in a way that was far more captivating that I could ever have imagined. It’s a cliché line, but it really is something that has to be seen to be believed – or at least to be fully appreciated. Really, I can’t praise the horse designers (Adrian Kohler and Basil Jones) or the team of performers that animated them highly enough. It’s of no disservice to the performances of the rest of the cast to say that Joey and his fellow war horse, Topthorn, were far and away the most expressive, enigmatic presences on stage. To pull that off, and to have them provoke genuine pathos, sympathy, fear, and elation during almost every emotional beat of the story (of which there are many), is an incredible achievement.

Production stills, courtesy of War Horse on Stage.

The show is loyal to the general arc of the book’s narrative, which I was pleased to see. Any changes they made felt entirely justified for a visual medium, and worked well to drive home the play’s themes of the futility of war, and the human capacity for both immense cruelty and genuine kindness in times of conflict.

The quality and attention to detail across all departments enhanced the immersive nature of the production, with perhaps the best use of lighting and sound design I’ve seen; impeccably implemented music; clever projection work; and truly haunting imagery. It really is a feast for the senses; the piercing crack of bullets, the terrified shrieks of horses, and every ominous wisp of fog drawing the viewer further in. Indeed, the brutality of World War I is captured with such intense clarity that it can’t fail to resonate on an emotional level. The Armadillo is a sizable venue, but you could practically feel the tension in the air; every member of the audience equally enthralled by what was playing out on stage.

I could keep gushing, but suffice to say that War Horse is more than just a play; it’s an experience. One I would urge everyone to try for themselves if and when they can.

***

You can find details about the current tour here, or you can pick up a copy of the book that inspired it here. If you’ve already seen the show, I’d love to hear your thoughts!

The Wizard of Oz | Theatre Review

Show: The Wizard of Oz
Venue: Pitlochry Festival Theatre
Date: 19^th December 2018
Director: Gemma Fairlie
Writer: L. Frank Baum, adapted by John Kane
Music & lyrics: Harold Arlen & E. Y. Harburg
Musical director: Dougie Flower
Principal cast: Rachel Flynn (Dorothy), Daniel Bailey (Scarecrow), Will Knights (Tin Man), Marc Akinfolarin (Cowardly Lion), & Camille Marmié (Wicked Witch of the West)

The Wizard of Oz

Based on the classic film adaptation of L. Frank Baum’s iconic tale, and originally adapted for the RSC, this stage version of The Wizard of Oz was every bit as magical as I could have hoped. Despite not being specifically Christmassy, the inherent magic and charm of the show was more than appropriate for the festive season. You only had to look around the theatre, and take in the vast age range present, to see how universal and timeless the story’s appeal really is.

Enigmatic performances from all the main cast, and slick backing from the ensemble meant there wasn’t a note missed or a toe out of line. The presence of a 10-piece live band was also very welcome. The soundtrack itself seamlessly weaved together original background material and all the big, familiar, crowd-pleasing numbers from the MGM film that you would expect.

The principal cast; picture courtesy of Pitlochry Festival Theatre.

The attention to detail in the costumes and set design was excellent, really enhancing the immersive and enchanting nature of the show. The use of colour contrast between the real world (drab and neutral) and Oz (rich and vibrant) was particularly effective. Similarly, the superb choreography, clever puppetry, and dazzling aerial displays really elevated the visual impact of the production.

Indeed, I know a couple of people who have also seen it at some point during its month-long run, and I’ve read a few professional reviews: all share the sentiment that the production would not feel out of place on Broadway or the West End, such is the quality across all departments. Having now seen it myself, I quite agree. To pull such a feat off at local theatre level is testament to the hard work of all involved.

The Nutcracker | Theatre Review

Show: The Nutcracker
Venue: Perth Concert Hall
Date: 19^th November 2018
Company: Russian State Ballet
Director & choreographer: Konstantin Uralsky
Music: Composed by Tchaikovsky; performed by the Russian State Symphony
Principal dancers: Karina Likhanova (Marie), Igor Likhanov (The Nutcracker), Marina Nomyrova (Sugar Plum Fairy), & Anton Piasteskhin (Prince Coqueluche)

***

The Nutcracker

Based on the classic tale by E.T.A. Hoffmann, the ballet adaptation of The Nutcracker has become a staple of the theatre scene during the festive period. This touring production by The Russian State Ballet and Opera House is every bit as magical and enchanting as you’d want it to be.

The story is one of timeless whimsy that embraces the wonder of Christmas, the power of childhood imagination, and the beauty of dreams come true. A young girl’s Christmas gift – an unassuming nutcracker doll – comes to life as the clock strikes midnight on Christmas morning. He and the other toys must overcome the Mouse King, before travelling through snowy climbs to The Land of Sweets, where they celebrate their victory with all manner of weird and wonderful characters.

First-off, I have to give special mention to the three dancers who performed the Arabian Dance (the second Act sees a number of ‘dolls’ from around the world come to life to perform a balletic interpretation of their national dance). I’ve been lucky enough to see a fair few ballets in my time, including another company’s production of The Nutcracker, but this was quite possibly the most intricate, stylised, precise, and visually arresting sequence I’ve ever seen on stage. The production would have been worth seeing for this, and the snowflake scene, alone.

Production photos, courtesy of the Russian State Ballet and Opera House.

But if those moments set a precedent for the quality of the show at large, I was in no way disappointed. Hearing the iconic Tchaikovsky score performed live by a 30-piece orchestra made all the difference. Utterly transporting, there are several pieces in the suite that everyone will recognise the moment they hear them, even if they have no interest in ballet whatsoever – and all were performed flawlessly. The set design and props were excellent, and the costumes some of the most sumptuous and detailed I’ve seen in a ballet. It was this kind of attention to detail that elevated the show to the next level – but then the Russians are famous for their ballet, of course. After seeing this production, I have no doubt as to why.

The company is currently touring the UK, with a rotating repertoire of The Nutcracker, Giselle, and Swan Lake. I highly recommend catching them if you can – especially in a showing of The Nutcracker. Its playfulness, and accessible, family-friendly story make it ideal for newcomers and lovers of the form alike. Not to mention that it’s a perfect early Christmas treat to get you in the festive spirit.

Dracula | Theatre Review

Show: Dracula
Venue: King’s Theatre, Edinburgh
Date: 3^rd November 2018
Director: Eduard Lewis
Writer: Jenny King, based on the novel by Bram Stoker
Principal cast: Olivia Swann (Mina), Andrew Horton (Jonathan), Glen Fox (Dracula), Jessica Webber (Lucy), Evan Milton (Doctor Seward), Cheryl Campbell (Lady Renfield), & Philip Bretherton (Professor Van Helsing)

Dracula

The gorgeous King’s Theatre played host to a new take on Bram Stoker’s classic tale of horror, produced by a team from Broadway and London’s West End. The calibre of the creative team behind the adaptation certainly showed in the quality of the production. Brilliantly convincing practical illusions and special effects helped to convey the otherworldliness of the eponymous Count, whilst clever use of set, sound and lighting design delivered some genuine scares (there were shrieks and nervous giggles aplenty from the audience).

Writer Jenny King’s interpretation of the original text was faithful at large, hitting most of the major plot points, but I must concede that some of the subtext and subtlety were lost in the translation to the stage; the queer coding and reversal of gender expectations much less apparent. Ironically, given how well I thought they handled the visual aspect of the play (it really is a visceral production), some of the most striking and memorable moments from the book were left out (that is the curse we bookworms must often bear). I understand that certain cuts are necessary for the sake of time, pacing, and practicality on stage, but any short-fallings in comparison to the text were always going to be more apparent given how recently I read and loved it.

Though it was generally tense and atmospheric in tone, and captivating from a sensory perspective, it did play a little with the audience’s assumed knowledge of the titular character, allowing for moments of tongue-in-cheek humour. This was fun, and necessary to break the tension, perhaps, but it did lend some of the lines a slightly hammy feel.

Top row: Jessica Webber as Lucy, & Glen Fox as Dracula. Bottom row: Cheryl Campbell as Lady Renfield, & Olivia Swann as Mina. Pictures courtesy of King’s Theatre.

The stand-out performance was definitely that of Cheryl Campbell. Her Lady Renfield (a gender swapped version of the book’s asylum inmate) was delightfully eccentric and enigmatic. Whilst some of the others did slip into brief bouts of the aforementioned hamminess at times, all did a fine job. It really was an ensemble piece, and I appreciated the way they managed to reflect the book’s multiple perspectives, even finding a way to give a nod to its epistolary style.

It may have been an imperfect production, but it was an enjoyable, immersive, and unique viewing experience that captured the enigma of a timeless villain, and the corrupt and uncomfortable sensuality of vampirism. A fine way to round off the Halloween season.

Macbeth | Theatre Review

Macbeth

Show: Macbeth
Venue: Festival Theatre, Edinburgh
Date: 25^th October 2018
Director: Rufus Norris
Composer: Orlando Gough
Principal cast: Michael Nardone (Macbeth), Kirsty Besterman (Lady Macbeth), Ross Waiton (Macduff), & Patrick Robinson (Banquo)

***

This was a unique and striking take on Shakespeare’s Macbeth. With a story as iconic as they come, it can be difficult to create something that feels fresh, without deviating from the source material, but I think The National Theatre managed to do so here with aplomb. Though it very much honours the original script (of course, changing Shakespeare’s words would be tantamount to treason in most circles), the setting and timeframe have been completely reimagined. Forget sumptuous castles and sweeping heaths. This production is set in a bleak, modern, post-apocalyptic landscape that has been ravaged by civil war; cloaks and crowns ditched in favour of torn jeans and army fatigues; grand halls replaced by battered bunkers and whatever shabby supplies can be scraped together.

The first thing this does is add a heightened sense of desperation to the characters. The impression is that they are the figureheads of the decimated few that remain, making their insatiable hunger for power seem all the more frivolous and misguided. Strong performances from the lead cast allow this theme to really resonate. It’s a very visceral production, however, and it’s the sensory elements that become the real stars of the show. Imposing set design, great lighting, and a score that is at times unsettlingly eerie, all add real atmosphere; with haunting imagery and sound design during the witches’ scenes proving particularly effective.

Michael Nardone as Macbeth; the three witches; and Kirsty Besterman as Lady Macbeth. Pictures courtesy of National Theatre.

Some may find the contrast between archaic Shakespearean language and alarmingly modern visuals somewhat jarring, but to me it instantly highlighted how timeless the show’s themes of power, greed, and corruption in times of conflict truly are. By making the narrative feel more immediate and recognisable, it adds a layer of discomfort to the story, allowing it to hit a little closer to home. We live in a time of fear and paranoia; political point scoring, and angry border disputes. By reimagining Macbeth’s story in a world frighteningly like the one we’re descending into (the staging not unlike scenes unfolding in places like Syria), it takes on a new sense of urgency, and perhaps even poignancy; all without altering The Bard’s actual words. This is a Macbeth for the modern age; its cautionary message about the pitfalls of selfishly chasing supremacy more familiar than ever.

The show is currently touring the UK and Ireland with a new cast, following a sold-out run in London. Here’s a trailer of the original production to give you a flavour of what it’s like.

Chicago | Theatre Review

Show: Chicago
Venue: Pitlochry Festival Theatre
Date: 27^th September 2018
Director: Richard Baron
Musical director: David Higham
Principal Cast: Lucie-Mae Sumner (Roxie Hart), Niamh Bracken (Velma Kelly), Carl Patrick (Billy Flynn), & Irene-Myrtle Forrester (Mama Morton).

Chicago

Allow me to indulge in a painfully obvious though no less pleasing pun, by telling you that this show had a whole lot of razzle dazzle. Going into this, I was as aware of the basic concept of Chicago as the next person (two women awaiting trial for murder, competing to achieve the greatest level of fame so that they may avoid execution), but had never previously seen any screen or stage versions. Now that you’ve finished gasping, I can gladly confirm that I loved it.

Lucie-Mae Sumner as Roxie Hart (left); Niamh Bracken and Irene-Myrtle Forrester as Velma Kelly and Mama Morton (right). Pictures courtesy of Pitlochry Festival Theatre.

The story is a brilliant satire of ‘celebrity’ culture and corruption in the American justice system, with this particular production packed full of wicked wit, slick routines, and knock-out performances. Bracken was incredibly charismatic in the role of Velma Kelly, but Sumner’s Roxie Hart was the star of the show for me, pitching the blend of twisted humour and captivating magnetism required for the role perfectly.

The presence of a live 10-piece jazz band was very welcome, allowing the iconic soundtrack to really shine, whilst further evoking the sultry 20s vibe. The choreography, staging, costumes, and lighting were all equally on par, and by the end, the atmosphere amongst the crowd was practically tangible. I feel very lucky to have had a production with all the quality of a West End show see out the summer season at my local theatre.

Though I go to the theatre in general as often as I can, I’m still relatively new to musicals (this being only the third that I’ve seen in person). It’s safe to say that Chicago has certainly bolstered my love and appreciation for the medium, and fuelled my eagerness to explore more of it.