UK Theatre Network

Hello Friend ------------------ About your subscription to UK Theatre Network You are registered under uktheatre-weekly@getresponse.com. You will continue to receive this newsletter on a weekly basis. Your name is registered as Friend and your email as -If you click on the link at the bottom of this email, you will be given options to change your details, unsubscribe or keep your email address on the mailing list. You need do nothing if these details are correct. In the near future you will also be able to select between HTML and TEXT to receive your newsletter. If you would like to receive casting and audition information, please send a blank email to uktheatre-daily@getresponse.com. Douglas McFarlane Editor, UK Theatre Network Send any listing information or press releases to editor@uktheatre.net ------------------ REVIEWS.....REVIEWS......REVIEWS..... K-Pax by Gene Brewer. Review by Suzanne J Barbieri Act Provocateur's brave staging of Gene Brewer's K-Pax premiered at the Bridewell Theatre on February 11th 2004. The play is quite different in tone from the film adaptation whilst remaining true to the original story. All eight cast members are given the opportunity to shine when each gets to break the 'fourth wall' and address the audience directly in a revealing monologue. In fact, the cast are the greatest strength of this production, each member bringing something so different to his or her role, that any preconceptions of those who have already seen the film are quickly set aside. Of the two main players, Andy McQuade's Prot is vibey and fresh, and Douglas McFarlane's Doctor Brewer laidback and distracted, hinting at unspoken issues in his own life. Notable mention goes to Scott Christie who displayed an outstanding emotional range in his performance as Chuck. -------- ENTERTAINING MOROCCO (Theatro Technis) ENTERTAINING MOROCCO by Alison Atkinson, directed by Sonia Ritter. For all those seeking something new, an extraordinary play has opened at the wonderful Theatro Technis theatre (3 minutes from Mornington Crescent). Dealing with a bizarre subject in a beathtakingly colourful way, the plot centres on a story which is, amazingly, historical fact. In 1627 pirates from Morocco kidnapped hundreds of British men and women and enslaved them in North Africa. When their families paid the requested ransoms many of the British and Irish refused to return home. Alison Atkinson's play explores the extraordinary steps taken by the two communities, culturally, emotionally and physically, to live side by side. A cast of six, lead by the wonderful Sarah Finch, swing through the air on silken drapes - reminding me of Peter Brooke's use of movement in his famous MIDSUMMER NIGHT'S DREAM , embracing the language, the culture - and each other - in a way inconceivable in today's world of religious divide. But this is no political treatise. It is an exploration of the horrors of loosing one?s husband to one of his other wives, of a Christian pastor learning to sing his hymns to the music of Islam, in brief - of the strains and the relief through which all relationships must pass. Maggie Robson and Daniel Wilson particularly distinguish themselves in this romp through one of the most bewildering episodes in history. Box Office: 0207 387 6617 Review by John Cunningham Email:johncunningham@uktheatre.net -------- TOM’S MIDNIGHT GARDEN By Philippa Pearce Adapted for the stage by David Wood Directed by Graeme Messer Now playing at the Yvonne Arnaud, Guildford, until Saturday, 21st February, and then touring taking in Darlington, Marlowe, Nottingham, Belfast, Milton Keynes, Bromley etc. etc. This is a fascinating story about time - one that I would have expected to be impossible to stage, and also one that I might have considered too complicated for children. Well – I can’t be right all the time! The children were engrossed from beginning to end, and the staging was executed with expertise, inventiveness and a great deal of mime…..and it worked. Strangely, and with no previous knowledge of the play, we had – on the way to the theatre - been explaining the 24 hour digital car clock to 8 year old Lauren, and what is the very first happening in the play – a long-case clock which strikes 13. Try explaining that one! Each time the clock strikes 13, ten year old Tom (an agile and convincing performance by Stefan Butler) is transported from the ‘present’ time (around the 1950’s) to a Victorian era where he meets playmate Hatty (delightfully played by Claire Cooper). Hatty can see Tom, but her three boy cousins cannot – their dog can see Tom – but they cannot – and the dog is invisible to the audience also…..we only hear him barking! So…..is Hatty a ghost, or is the ghost really Tom…..their hands pass through each other without being able to touch – which one is real? Tom can pass through a door …. Is he a ghost, or is it the door which is an apparition? Also Tom is convinced that he visits Hatty in the garden every night, but Hatty insists that it is sometimes months between visits. Time is an intriguing subject explored by many writers, Alan Ayckbourn and J.B. Priestley come to mind, and many of Salvador Dali’s sculptures investigate time and how it can be stretched and bent, but none of them can give us any answers. Are we really living in parallel time zones – is everything, past and future, really in the present? Can we ‘tune in’ to another era? I have no answers either, but I have never seen a play for children which gave me so much food for thought. The children in the audience, of course, accepted the magic without question. It is discovered that there is an inscription inside the clock taken from the book of Revelations where ‘after the seven thunders uttered….there shall be ‘Time No Longer’……all right in theory, but with such sudden changes from present day to the past the scene changes could have been a problem. This was achieved, however, with little effort by the masked figures moving – literally – like clockwork. Sound and lighting effects were expertly timed, and the seven thunders and torrential rain were so realistic I was reaching for my umbrella. Four of the cast, namely Claire Cooper, Timothy Speyer, Vanessa Clarke and Susanna Tidy, had ‘come home’ having trained at the Guildford School of Acting , their performances proving what an excellent training ground this is. A play to be enjoyed by children and adults alike – I thoroughly recommend it! Box Office.............01483 44 00 00 --------------- TAKING SIDES I wasn't quite sure what to expect from "Taking Sides". I knew it was a play that was something to do with the 2nd World War. There weren't many young 'uns in the audience....oh but there should have been. Its a play that is set after the 2nd World War, and based on a true story - but the truth is, the underlying motives and situation could quite easily apply itself to the aftermath of any conflict, albeit the characters would be different. The absurdities of war are clearly apparent...from the Americans having access to coffee, sugar and cream in a land that isn't theirs...to the interrogations taking place firstly in the bitter cold of winter and then in the extreme heat of summer...to the second rate 2nd violinist who, whilst not being happy that the Jews had to leave, realised if he joined the Nazi's and the Jews left, it would be his only chance of fulfilling his dream of playing with the Berlin Philharmonic Orchestra...to the propaganda of the Germans making the most of their home grown talent and saying to the world (and their own) - we are the best in the world - only for the best to be found to be weak, going along with it all, just trying to survive. Are they forced to join the party to keep their lives and jobs? Are they inclined to join the party to live their dreams? Are they members of the party because they believe in the cause? The alternative for these people? To go against the Nazi's...Or is that how it was, asks Major Arnold. Neil Pearson was in fine form as Major Steve Arnold. He was commanding, compassionate and overtly human in his portrayal of a man who is horrified by what he has seen in the concentration camps. Julian Glover was superb casting as the gangling conductor Wilhelm Furtwangler. He was calm, cool and collected, as the great so often are, and then the bubble burst in act two and he became a weak and crushed man. The set is functional and bleak. I feel that a basic knowledge of, at the very least, the German composers, would help understanding of some of the subtleties of the text. For me this was not a problem, however, my friend who has no knowledge of classical music, didn't get the music related nuances, which lighten a heavy play and give it its human touches. The leads were supported by a more than able cast, who contributed to making this story real for me. I left the theatre pondering what the great and good English would do in such a situation... Taking Sides is at Milton Keynes Theatre until Saturday 21st February, when it appears from the programme the tour ends. Catch it if you can with this superb cast. Box Office: 01908 606090. Review by Sarah Bowron -------------- WHAT'S ON...........WHAT'S ON...........WHAT'S ON........... HOLLYWOOD LEGEND, JOAN COLLINS STARS IN THE GLITTERING COMEDY FULL CIRCLE A new comedy by Alan Melville Adapted from Les Enfants d’Edouard by Marc-Gilbert Sauvajon and Frederick Jackson Major Hollywood and television star, Joan Collins, makes a rare stage appearance in the elegant glittering comedy FULL CIRCLE, bringing her inimitable style and glamour to the Churchill Theatre, Bromley from Thursday 11 to Saturday 20 March. Best-selling novelist Denise Darvel, played by Joan Collins, unexpectedly confesses to her children that the handsome man in the portrait above the fireplace is not, after all, their father. In the interests of respectability, the search for a candidate for the role of father–substitute ensues, with surprising and delightful results. Joan Collins “I am thrilled that the national tour of Full Circle is to open at the Churchill Theatre, with a wonderful reputation for presenting the very best in high quality entertainment. I am proud that Full Circle is one of the highlights of the Churchill’s new season and I am sure Bromley audiences will enjoy this sparkling comedy. Having visited The Churchill as a member of the audience, I am especially looking forward to performing in this exceptional theatre. We open on 11 March; I can’t wait.” With elegant sets and gorgeous costumes evoking Parisian smart society, FULL CIRCLE promises an evening of wit, comedy and sophistication in the company of a much-loved iconic actress. Seats are already selling like hot cakes, so don’t miss out on your exclusive opportunity of seeing a Hollywood star live on stage before anyone else in the UK. Book your tickets now on 0870 060 6620 for the theatrical event of the year, which is guaranteed to be a sell out show! ------------- Macbeth at Oxford House in Bethnal Green Kitchen Skink presents Macbeth by William Shakespeare. Shakespeare's play of supernatural and human evil, darkness, blood and battle is as relevant in today's cultural climate as when it was written. A post nuclear setting brings the Scottish Play into the 21st century, powerfully delivered by this dynamic young company. Oxford House in Bethnal Green 10 Derbyshire Street London E2 (Nearest tube: Bethnal Green) Box Office: 07960 399647 25th Feb - 14th March Weds - Sat 7.45 pm Sun matinee 3.30 pm -------------- Dende Collective THE PIRANHA LOUNGE 9 – 27 March By Mark O’Thomas. Directed by Andre Pink "it takes you so completely into another world that you depart the theatre blinking as if awakening from a very strange dream." Lyn Gardner - The Guardian "...a young company who are intent on forging a unique voice for themselves..." Lyn Gardner - The Guardian on ONEFOURSEVEN "International theatre of the highest calibre." Jaspre Banks - What's On - on ONEFOURSEVEN “…surreal, thought-provoking Brazilian theatre performed by a wonderful international cast.” Theatreworld Internet Magazine Meet Og - he’s a man who just loves too much and can’t stop giving his beloved wife Barbara everything she asks for. Meet Petunia - or perhaps you’d rather not, given her penchant for double-dealing card counting and sideline in sadism. Meet Barbosa - a horny teenage kangaroo who dreams of Baccara... ‘Insanely Magical’ Time Out Critic’s Choice Back after 3 runs in London , Dende Collective returns with a dynamic, sensory extravaganza based on the work of the master storyteller Murilo Rubiao – the first Brazilian writer of the style named Magic Realism where animals, dragons and human beings alive and dead appear and disappear; Kafkaesque some would say, but these belong to another tradition of fantastic literature – a South American one. Developed over three months with a director who has trained with some of Europe’s best physical theatre practitioners, a critically acclaimed writer and a 11-strong cast, the company converts the Lyric Studio into a late-night, after-hours club for the lonely of heart and the bereft of good fortune. Sit around one of the dimly lit tables and huddle togteher for a walk on the wild side you won’t forget in a hurry. Place your bets! Take your partners! Kiss goodbye to the cold world outside and slip into THE PIRANHA LOUNGE - a place where dreams are waiting to come true. www.dendecollective.org www.lyric.co.uk ---------------------------------- THEATRE CRYPTIC: TUNNEL VISIONS Tron Theatre Tuesday 9th to Saturday 13th March @ 8pm, Main Theatre A TALE OF PARANOIA, DEVOTION AND DEPENDENCY The Tron are delighted to be be partnering the extraordinary Theatre Cryptic, playing host to their latest boundary defying music theatre creation: Tunnel Visions. A blend of theatre, opera and multi-media, Tunnel Visions is the story of two reclusive brothers and the eccentric behaviour that leads to their demise. Composed by Anthea Haddow and Directed by Cathie Boyd, Tunnel Visions will incorporate music with visuals by Axel Morgenthaler of Photonicdreams, Montreal. Adrian Osmond has written the text which is scored for actor, singer (tenor), violin, piano and electronics. Tunnel Visions is inspired by the true story of the Collyer brothers, two eccentric recluses who lived in Harlem, New York in the 1940s. Although trained as an engineer, Langley chose instead to spend his days tinkering with inventions. Homer, a lawyer, developed rheumatism becoming blind, crippled, and progressively paralysed. As a result, Langley devoted the rest of his life to caring for Homer, convinced that feeding him 100 oranges a week, black bread and copious amounts of peanut butter would restore his brother’s sight. For over 18 years, Langley only left the house at night, during which time he managed to collect and store 134 tons of junk. The isolation of the brother’s lives led them to develop their own neurotic methods of existing in the disastrous quagmire of Langley’s collection. Paranoid about intruders, Langley created booby-traps that one-day he accidentally triggered, killing himself, leaving Homer to starve to death. The story of the brother’s lives and deaths dominated headlines in the New York Times and Tribune for many weeks following the discovery of Homer’s body. A manhunt was launched for Langley whom it was believed had murdered his brother and fled. It took police over 2 weeks to clear the house when they discovered the body of Langley Collyer, only ten feet from Homer. Through a film-track score by Anthea Haddow the story of the brother’s devotion and dependency is brought to life incorporating live music, visuals, electronics and video. "When Homer first lost his sight, he used to see visions of beautiful buildings, always in red. He would describe them to me and I would try to paint them just as he directed. Someday, when Homer regains his sight, I will show the paintings to him." – Langley Collyer ---------------------------------- Tron Theatre, Bar and Restaurant 63 Trongate Glasgow G1 5HB www.tron.co.uk 0141 552 4267 ---------------------------------- WEE STORIES Wee Stories’ story-telling event at Blackwell’s Bookshop Blackwell’s Bookshop, South Bridge, Edinburgh on Saturday, 21 February 2004 at 2.30 pm Andy Cannon, Creative Director of Wee Stories Theatre for Children and story-teller extraordinaire will present a story-telling session at Blackwell’s Bookshop, South Bridge, Edinburgh on Saturday, 21 February 2004 at 2.30 pm based on and around the many myths and legends of King Arthur and his Knights of the Round Table. Suitable for everyone over 6 year’s old. Entry is free. And… The Scottish Touring Consortium presents Wee Stories’ Arthur, The Story of a King The King’s Theatre on Saturday 28 February 2004 at 2.30pm and 7pm It’s back, and by popular demand! Wee Stories is delighted to announce a return of the 5 star, smash hit Arthur, The Story of a King to Edinburgh’s King’s Theatre, before it embarks on the second half of this exciting new venture with the Scottish Touring Consortium and its first major tour to large-scale theatres in England. For tickets and further details contact the King’s Theatre Box office 0131 529 6000 or www.eft.co.uk Featuring inspiring performances and original live music from the combined talents of some of Scotland’s finest performers, Arthur, The Story of a King is yet another example of Wee Stories remarkable ability to enchant children and their families with their unmistakable love of literature, visual games and transfixing and imaginative stagecraft, not to mention all your questing essentials: knights, maidens, castles, adventures, Camelot and that sword in the stone… Suitable for everyone over 6 years old. Be part of the legend.