One Man Two Guvnors, 12/1/13, Lowry

Finally I got to see the much talked about One Man Two Guvnors when it visited the Lowry for the second time. I had tried and failed to get a ticket for its first visit to Salford, when James Corden was at the helm, so when I saw it was returning I was straight on the phone to snaffle myself a good ticket. ‘Good’ turned out to be second row stalls so I was well placed to see the action unfold, although it did make for slightly restricted views on occasion.

There has been so much hype about this show since its first outing at the National Theatre in 2011. It has since had two lengthy West End runs (one still ongoing), a Broadway transfer and this visit is part of its latest UK and international tour. Despite this, I had pretty much managed to avoid any detail of what the show was all about so arrived with no preconceptions, but expectations of some much needed fun, and it certainly didn’t disappoint in that respect.

The play is actually based on another piece , The Servant of Two Masters by Italian playwright Carlo Goldino from 1746, but writer Richard Bean, sets the action in 1960s Brighton. Frances Henshall, an out of work chancer, manages to secure jobs with two Guvnors, and there follows a series of hilarious and increasingly complex set pieces as Frances attempts to fulfil his responsibilities whilst hiding the existence of his dual role to each boss. 

This play doesn’t so much break the fourth wall, as do a pratfall onto it, send it crashing to the ground and then do a tap dance on it. The audience interaction is delivered to engaging and hilarious effect, however, I won’t expand on this aspect as, if, like me, you had managed to avoid all key details of the events of the play, the surprises are delightfully done.

At Salford Rufus Hound takes the central role of Frances Henshall, and does not disappoint. The character is on stage almost constantly, and his energy, timing and engagement with the audience is exemplary.  Edward Bennett, as the foppish ‘Guvnor’ Stanley Stubbers, also gives a wonderful comic performance. I last saw Bennett playing Hamlet in London, as understudy for David Tennant who was out of action with a back problem. He proved himself to be a fine classical lead actor there, and it is great to see he is just as fantastic in an all out comedy role. 

The other role that is worthy of a special mention, although the whole cast is excellent, is the character of Alfie, the ageing waiter. But here is where the programme lets me down as I’m not entirely sure who plays him! Whilst I was aware, due to a note on the Lowry website, that Amy Booth- Steele was taking the role of Dolly for the Saturday performances (rather than the heavily marketed casting of Jodie Prenger for the Salford run), I glimpsed as I was leaving one pinned up notice by the box office suggesting that the role of Alfie may have been covered by a member of the ensemble. So let’s just say that this portrayal, which may or may not have been by Peter Caulfield, was an hilarious highlight of the show, done with exemplary timing and skill. Poor show on the National Theatre though on being too stingy to photocopy a ‘cast for this performance’ insert for the pricey programmes.

There are excellent musical interludes from the start (in fact, don’t be too tardy taking your seats as this starts a good ten minutes before the play) from band ‘The Craze’, whose witty and lively songs, by Grant Olding, set the mood of the piece excellently, have the audience on board from the start. This element also ensures that no momentum or audience engagement is lost during scene changes. I especially loved the way the main characters were incorporated into some of these musical pieces to brilliant effect.

All in all, this is a show that definitely deserves the hype, and ensured the audience had a wonderful time. Whilst it was full of surprises for a first timer, I’m sure that it would take repeated viewings and I would definitely go and see it again.

Hidden, Lowry Studio, 19/1/2013

I certainly chose well for my first 2013 visit to the Lowry Studio. Hidden, written and performed by Laura Lindsay and Peter Carruthers was a gem of a show and very worthy of the capacity audience that it had attracted on this cold January night. Programmed as part of The Library Theatre’s Re:Playfestival, which brings together the best fringe productions from across the region in the previous 12 months, this piece, a writing debut from both creators, was originally performed in 2011 at Joshua Brooks, and has been further developed, with the help of Director Martin Jameson, for this outing.

The piece is a dark comedy revolving around six characters, and through a series of monologues and duologues, we share their inner worries, insecurities, obsessions and dreams, the parts of us that are normally kept hidden behind our public face. 

The writing is very strong, with very finely observed detail that was easy to identify with, extremely funny at times, such as the e mail that all of us have really wanted to send to our boss, which had the audience in stitches, but also incorporating some darker themes and extremely touching moments.  The way the lives of the characters interconnect in various direct and indirect ways is also nicely done, and as an audience member it is intriguing making the connections as the piece progresses. 

 Laura Lindsay and Peter Carruthers give impressive performances, each taking on three characters. Each character performance is well defined, and finely crafted, with some lovely subtle details. Whilst the characters are varied, they never fall into the trap of becoming caricatures, and there is plenty to identify with in each of the portrayals. It’s quite awe inspiring to see how good actors can transform themselves before your eyes to take on different personas, and it’s done excellently here. 

All of the characters were engaging, but I think my favourites were James, the sharp businessman, breaking the rules of commuting on the 8.10 to Victoria to quite hilarious effect, Nina, the efficient strategist hiding her inner conflict regarding parenthood (as a childless auntie / godmum myself I particularly identified with the section on being good with kids, but also finding them a bit tiresome after a while and glad they could be given back! Go on, we all think it, but no-one is allowed to say it!). My absolute favourite though was the Scottish supermarket worker Claire – outwardly all brash, hilarious good time girl, but covering up some darker insecurities and a troubled past.

This play worked for me on many levels, it had plenty of laugh out loud moments, many of the observations were very easy to identify with, there were some darker themes, not everything was neatly resolved, and it stays with you long after the actors have taken their final bow. Combine that with stonking performances and it made for an excellent night out.

Re:Play festival continues into next week and if you are in the area I’d highly recommend checking it out, especially my 2012 fringe highlight, the wonderful All The Bens.

My Fair Lady, Sheffield Crucible, 29/12/12

A trip over to Sheffield to see their Christmas offering at the Crucible appears to be my new Christmas tradition. Last year it was the wonderful Company, and this year I managed to snaffle one of the few remaining seats for a matinee performance of My Fair Lady (note to self – book early for 2013!), which was equally special and an excellent way to round off the festive season.

As I entered the auditorium the hard working cast were already on stage conjuring up the atmosphere of Covent Garden market. There was hustle and bustle, life and laughter, and I could tell I was going to be in for a treat. Obviously the story, and the musical, are well known, although like many people I know it solely through the film version with Audrey Hepburn and Rex Harrison. But seeing it on the stage, with such an excellent cast, gorgeous design and exuberant choreography really brought new life to it.

Dominic West is perfectly cast as the cantankerous and condescending Professor Higgins, exasperating to the extreme, but I can definitely see why Eliza fell for him! He’s got amazing stage presence and a wonderfully powerful voice, and gives a cleverly judged performance that gives rise to some lovely comic moments but is never overplayed. I have seen him once before on stage, doing Shakespeare at the Wyndhams (where he quite literally fell at my feet as he tumbled off the stage into the front row – scripted I think, but certainly one of my most memorable audience experiences!), so I knew he was a great classical actor, but it seems there is no end to his talents.

Carly Bawden, as Eliza Doolittle, was a perfect partnering to West. She gave an outstanding performance – feisty yet vulnerable and you completely believed the relationship between the two of them. Her singing voice is simply stunning, so amazingly powerful and with such range she takes your breath away.

The ensemble cast work brilliantly together, and there are as you’d expect some great song and dance numbers with fabulous and extremely energetic choreography, ‘Get Me to the Church on Time’ being a particular highlight. The design of the show is gorgeous, a clever revolve allows seamless changes between the various scenes and the set is beautiful and filled with detail. As you’d expect the costumes, particularly in the Ball scene and Ascot are divine, and the direction makes great use of the space, ensuring there is no such thing as a bad seat for the audience.

The performance gained a well-deserved ovation and there were lots of smiling faces as I left the auditorium and floated back to the station quietly singing! A fabulous production on every level. Who needs the West End when we have talent like this in the North!

Arabian Nights, Library Theatre Company, Lowry 28/12/12

After the stressful run up to Christmas, and the inevitable post-Christmas dip, a trip to the Lowry to see the much lauded Arabian Nights was in order. A last minute booking saw me, my two young companions G (9) and R (6) and their dad (well we needed one responsible adult) travel over to Salford to be hopefully transported to more exotic lands. 

When I checked the running time before the show, and found it was almost two and a half hours, I did wonder how the younger guests would deal with it, and when we took our seats, right up in the top tier of the theatre, peering down at the stage below, there were a few initial moans (I internalised mine!) about how far we were going to be from the action and whether we would be able to see, but I needn’t have worried as this entrancing  tale had all of us completely caught up in it from start to finish, and clever design and staging meant that every member of the audience felt involved as the tales wove their magic.

A King is wronged by his wife, and after having her put to death, declares that no lady can be trusted, and so in future he will only keep each wife for one night, after which she will be slain. One young girl, Shaharazad, an expert storyteller, requests to be his bride, and each night spins magical stories for the King, postponing her death sentence and gradually teaching him important lessons about life, ultimately leading to a joyous conclusion.

The atmosphere conjured from the start for this production is wonderful. The programme tells me that the aim was to create the feeling of traditional storytelling, with tales being passed on by market traders who travelled across the Middle East, Northern Africa and India, and the ‘in the round’ staging and wonderful set design, coupled with live music, certainly adds to this feeling of being gathered round after dark to hear the tales unfold. There is even the faint smell of incense wafting through the space and as the lighting dims, and the lanterns suspended from the ceiling glow, from my lofty seat I almost feel I am peering down from a secret hiding place in the palace, eavesdropping on the stories.

The cast are fantastic, nine actors portraying over one hundred roles seamlessly, and the use of minimal props leads to imaginative and clever touches such as the cave / thieves transition in Ali Baba and the forty thieves, and the scene stealing singing tree! I think particular mention should go to Tachia Newall, who impressed me very much in Manchester Lines earlier this year. Here his energy, effortless physicality and audience engagement are used to great effect, the highlight for me being his wonderful portrayals of both the beggar and the man bewitched into the form of a dog.

There are some lovely and comedic touches in the script, which, as well as reflecting the multicultural origins of the tales, give a nod to the multiculturalism of the UK, and the home place of the Library Theatre, and they even manage to slip in a bit of audience call and answer as a nod to the seasonal panto tradition.

As for my initial worries about the staying power of younger members of our party, these were completely unfounded as they were enthralled throughout and declared the show a resounding success (especially the fart joke!). Not a single whinge was heard, even the sweets were forgotten temporarily, and the lofty viewpoint was declared a big success in the scarier moments (thieves can’t get us up here!). As for this somewhat older audience member, well I too was completely entranced and for a short while felt like a kid again. Well done all, a perfect non panto treat for all ages.