Frisky and Mannish, Pop Centrelink, Speigeltent, Perth Fringe Festival, 5/2/12

Thought I would try a bit of holiday blogging!

I first saw Frisky and Mannish in Perth at the 2011Fringe. I came pretty late to the F & M party, before 2011 they had never been on my radar. My Australia based cousin Jen chose the show, and I had no idea what to expect. Anyway they were fantastic, and I googled them from Australia and discovered they were playing the Lowry in March, e mailed my pals and booked tickets to see them on my return home. I saw them twice in the UK in 2011, and was so excited when I found out that my trip to Australia this year was going to coincide with both the Perth Fringe and a repeat visit from F & M.

Whenever I try to describe F & M to others I struggle. Musical comedy duo seems to sell them short somewhat – I think the easiest way to see what they are all about is to check out their website which has plenty of examples of their work. What I can tell you is I have introduced a few people to them since I first saw them, and they have all become fans. They are talented, inventive, and very very funny.

This was their first date at the Fringe, having arrived in Australia less than 24 hours before, but despite what must have been horrendous jetlag they put on a hell of a show. Whilst this was a slightly truncated version of a show I had seen in the UK, they had added brand new material, including some stuff especially for the Australian audience (which cousin explained to me – and informed me that the Billie Piper reference may have been lost on most Australians!). The Speigeltent is a fantastically intimate venue and was packed on the night I was there which made for a great atmosphere. And F & M coped admirably with the small technical challenges that arose, incorporating them seamlessly into the show.

If anyone reads this in Perth during the Fringe then I strongly recommend you go and bag yourselves a ticket (and maybe discover a new career path in the process!). Also tell me, as I'm never convinced that anyone other than the 20 or so friends and family that have to read this blog ever read it! The rest of the festival programme is pretty amazing too, and I’m hoping I can get a couple more shows in before I have to return to the frozen wastelands of the UK.

The Crypt Project : New Depths Lowry Theatre, Salford 17/1/12

Well, Happystorm Theatre’s production of The Crypt Project turned out to be a fascinating night and one I will not forget in a hurry.

It was billed as a promenade performance, taking place under the Lowry Theatre, exploring elements of addiction and mental health. An email arrived on the day of the performance advising sensible shoes should be worn, adding to the anticipation and I really didn’t know what to expect.

Each performance was limited to an audience of 30. We met in the main foyer of the theatre and were then led back outside, round to the rear of the building and in through a service entrance. Our small group were then issued with hard hats, and further split into four teams who would be guided round the performance separately.

We spent the next hour being led through corridors, into under-stage spaces, into the theatre auditorium, onto and behind the stage. It was completely disorientating and an extremely intense experience. Sometimes we would pause to witness events, such as an exchange between two characters in a corridor, at other times you would catch glimpses of activity as you passed by. You could also hear other things happening that you never saw. From time to time characters would rush past you, or you would glimpse things happening in rooms or corners as you were led by, or sometimes the audience itself would become almost part of the performance. At one point I was sitting in the theatre, watching action on the stage, with an actor sitting next to me, observing and commenting on the events on the stage.

Each of the four groups went round separately but consecutively, occasionally joining with another group to witness elements of the piece, and all experiencing the ‘whole’ in a slightly differing order. It must have been a superhuman feat of logistics to organise, yet it ran like clockwork.

Because the groups were so small it was an incredibly intense experience, and a real privilege to be seeing quality performances at such close quarters.

There were four main characters – Daniel (Matthew Ganley) Frances (Susi Wrenshaw), Jeanette (Denise Kennedy) and William (Ian Curley) - as events unfolded you realised that all of them were dealing with mental health or addiction issues, some more immediately apparent than others, and you got glimpses into their lives, and what might have influenced those issues. But this wasn’t a linear story with a beginning, a middle and an end, and in my opinion it was all the more clever for that.

Daniel’s issues are the most immediately apparent, the kind of person you might avoid in the street, but as events unfold you start to see the complexities of his character and the interactions between him and Frances are extremely touching. The intensity and energy of Matthew Ganley’s performance was amazing to witness. Frances and Jeanette on initial impression are both confident professionals, but as the event progresses you see they are both extremely complex and vulnerable people. Susi Wrenshaw’s portrayal of Frances was extremely moving, especially in the ‘bathroom scene’ as her issues and vulnerabilities become clear. Ian Curley as William shows us a lonely man, struggling with life and past regrets, and of all the characters his left me with the most questions.

But the highlight performance of the night for me was Denise Kennedy’s Jeanette. When we first properly meet her, as part of her project team meeting, it was an extremely humorous performance, and one that I recognise all too well from my day job. However, when we next see her, as silent observers in her hotel room, her dramatic unravelling is shown in a quite breathtaking portrayal that had the audience gripped.

When we eventually emerged back out into the theatre foyer I had the sense of having experienced something very special that had my mind in complete overdrive for long after I had left the building. The cast, crew and creative team should be very proud of themselves, it was an extraordinary night out and I consider myself very lucky to have been part of.

A Round Heeled Woman, Aldwych Theatre London 14/1/12

“Alcohol doesn’t solve any problems………….but then again, neither does milk”

The above quote was one of my favourite lines from A Round Heeled Woman, which we went to see on its last night at the Aldwych Theatre in London, but it’s from a play littered with memorable moments.

The booking was a last minute thing, I was down in London for the Christening of my lovely niece and nephew, and we decided to go down to the half-price ticket booth at Leicester Square to see what was available. I had seen lots of people complimenting Sharon Gless’ performance, and I knew the play had good reviews, but other than that I really didn’t know anything about it. As the play started, and the lead character, Jane, is starting to engage in phone sex, whilst I sat next to my parents and brother and cringed, I did get a bit worried! But the tension was quickly broken with a very funny breaking of the 4^th wall and I was able to relax and enjoy what turned out to be a fabulous night out.

The play is based on a true story of Jane Juska, a lady heading for her 67^th birthday who takes out a personal ad in the New York Times Literary Review saying that she would like to have ‘a lot of sex with a man I like’. We then follow some of her encounters, whilst also learning more about her life now and in the past, her damaged relationship with her son, and a clever twist where her experiences are compared with those of her favourite Anthony Trollope character Miss Mackenzie through interactions with the lady herself and some of her suitors.

Sharon Gless was outstanding in the role. I have to admit I only really knew of her as Christine Cagney and wasn’t aware of what a varied and accomplished career she has had to date. Her character is the central focus of the play and is on stage the whole time. She’s got great comic timing, but that’s only one aspect of a complex role. She gave a very ‘real’ performance which was in turns funny, touching and heart-breaking, and which had the audience completely taken along on Jane’s journey, particularly as they were regularly addressed which lead to a very intimate feel to the play.

The rest of the cast take on a number of roles during the course of the play and were all excellent. Beth Cordingly’s Miss Mackenzie in particular managed to engage the audience so well that there were shouts of encouragement and cheers when life finally started looking up for her!

All in all this was a well-constructed and ultimately life affirming piece of theatre, that I’m sure spoke to many people, not just 66 year old women. It was lovely to go to see a play I have no preconceptions about, and for it to turn out to be such an unexpected treat.

You Can't Take It With You - Royal Exchange, Manchester 7/1/12

The Royal Exchange in Manchester can usually be relied upon to stage some seasonal cheer of the non-panto variety that will help to shake off any winter blues, and this year was no exception.

You Can't Take it with You is a revival of a 1930's American farce, centring on the eccentric Vanderhof household. Alice, the sanest of the bunch and the only one who appears to do real work for a living (as opposed to other family activities which include studying ballet - for a very long time!, playwriting, keeping snakes, making fireworks, painting, printing and sweet making ) falls in love with the bosses son Toby Kirby, and a party is arranged for the two families to meet. All the Vanderhoffs have promised to be on their best behaviour. Unfortunately the Kirby's arrive a day early in the middle of complete mayhem (or a normal day in the Vanderhoff household depending on your point of view).

All the cast were great, some taking on more than one role, one taking on five! I think my favourite characters were Sophie Russell's Essie, who practises her ballet moves at every opportunity, and Golda Roseuvel's Miss Wellington, a flamboyant actress with a passion for gin!

This was a gloriously mad production, even the scene changes were exuberantly choreographed, and it romped along at a cracking pace. It was also extremely funny, and ultimately very heartwarming. Just what was needed on a cold and damp post-Christmas Saturday!

Company - Sheffield Crucible 17/12/11

Well I certainly ended my 2011 theatregoing experience on a high, with an impromptu trip to Sheffield to see one of my favourite Sondheim musicals, Company, at the Crucible Theatre.

There really wasn't anything I could fault about this production, it was just a delight from start to finish. They had brought together an incredibly strong cast, it was brilliantly staged, had a wonderful set that allowed a great use of the space, and it was both funny in parts, and incredibly moving.

I loved Francesca Annis' portrayal of Joanne, and her drunken rant of 'Ladies Who Lunch' was just a delight. Samantha Spiro made a brilliant Amy and her 'Not Getting Married' was quite literally breathtaking (how any actress gets through that song without turning blue is beyond me!), and Damian Humbley as Harry has a voice that could melt Sheffield steel! But all the cast were just a delight.

Daniel Evans' portrayal of Bobby was wonderfully observed. Initially you see him as quite a shallow character, but there was a really clear point in the production, during the bouncy 'Side by Side / What Would We Do Without You' where you saw the depth and complexity of his emotions laid bare and your heart went out to him.

By the closing number 'Being Alive' I had a tear in my eye, party because of the emotion of the song, and partly because I just didn't want the show to end. I make no apologies for gushing, it was a gush worthy production and a great way to round off the year.

And on a side note, I don't know why I haven't been to Sheffield for theatrical jaunts before. Its incredibly easy to get to on the train, Sheffield itself seemed lovely (in complete contrast to the impressions I got on my last visit to the city for a uni interview quite a few years ago - actually when I realised how many years ago it was I felt ancient!), the Crucible staff are some of the most helpful and friendly I have come across and the ticket prices were amazingly good value. Looking at their exciting 2012 plans I suspect I'll be back!

Hope you like the festive picture - I can't tell you how long it took me to balance the programme on that tree!

Beautiful Thing - Royal Exchange Theatre - 12/11/11

Bit more formal than my usual style this one, but I was supposed to be writing it for a proper reviewing / writing opportunity that had come my way that has sadly fallen through. Oh well, never mind, when one door closes and all that......

Jonathan Harvey’s Beautiful Thing, directed by Sarah Frankcom, is the latest offering from Manchester’s Royal Exchange. Set on a London housing estate in a hot summer in the early 90’s, it centres on two under 16 year old boys, Jamie, and Ste, gradually coming to terms with their sexuality and growing attraction for one another.

There is a lot to like in this production. The simple but effective set, and clever use of sound and lighting, conjures up the oppressiveness of the estate and the summer heat perfectly. The cast give some fabulous performances, the stand out one for me being Claire – Louise Cordwell as the tough but kind hearted single mum Sandra – sharp tongued and abrasive at times, but also displaying great compassion for others and a fierce love for her son no matter what. The scene that follows her discovery of her son’s sexuality and relationship with Ste is particularly powerful, as she struggles with her love for her son, and her fear of the implications of their situation for both Jamie and Ste.

The relationship between Jamie (Matthew Tennyson) and Ste (Tommy Vine) is affectionately portrayed, and Ste’s acceptance as normal of the violence regularly meted out by his family is particularly heart wrenching. Tara Hodge, as the sassy neighbour Leah, expelled from school and putting on an outwardly tough mask whilst actually having great depths of feeling for life, and Alex Price as Sandra’s artist boyfriend Tony and his awkward attempts to bond with Jamie, complete an excellent cast.

What’s nice about this play is that it doesn’t feel issue led, its about real people, with their own unique faults and strengths. At its heart is a simple story of life and love – a mother’s unconditional love for her son, her search for a loving relationship, fulfilling job and escape from the estate, Leah’s search for meaning in life through the songs of Mama Cass (with a little help from mind altering substances) and two young people discovering love for the first time.

The first act took time to get into its stride, as it established the various participants, and the character of Leah, whilst well portrayed, felt under –explored to me. Also the use of the choir, whilst providing a lovely ending to the play, was such a fleeting appearance, that it felt a little incongruous.

Overall though this was a heart-warming play, with realistic characters that you cared about, and it provided a nice contrast to the darkness of this season’s Royal Exchange productions that preceded it.

Good - Royal Exchange, Manchester 22/10/11

The Royal Exchange's latest offering is a revival of C P Taylor's play, Good, set in 1930's Germany, as a Professor Halder, a man with a complicated home life (ill mother, neurotic wife, captivating student), gets increasingly caught up with the Nazi party.

The play is a complicated construct, jumping between situations and conversations in a non linear fashion, and also portraying Halder's inner thoughts and fantasies, including his tendancy to hear music in odd situations. I found it quite challenging to get used to its style to start with, and as such it was only on later reflection that I really picked up on some of the key threads. In fact, I don't think it was really until the second half when I really settled in to the style and pace of the play. But it was very clever in the way it portrayed the way an essentailly 'good' man was gradually sucked in to the sinister plans of the Nazi party, and the way his attitude to his Jewish friend, Maurice, changed over time.

Adrian Rawlins, as Halder, gave a fantastically energetic and accomplished performance. The play revolves around his character and as such he is on stage the whole time, switching from scene to scene, and from inner thoughts to dialogue at a breathtaking pace. His increasing alignment with the actions of the Nazi party was very disturbing and believeable.

The set design was simple but clever, although I wasn't wholly convinced by the big red curtain if I'm honest, seemed like a lot of effort for very little payoff! And there were some excellent effects incorporated into the action.

All in all a disturbing play, with a brilliant central performance, but quite exhausting to keep up with at times.