• Happy Easter Friend A long weekend ! Boy am I in need of it. All work and no play for too long, I'm sure you've been in a similar boat. Our team of roving reviewers have been very busy this week to bring you lots of interesting things to see this weekend around the country. That's it until next Tuesday as I'm off to Stratford-Upon-Avon to see family. Have a fantastic weekend wherever you are. Don't eat too many chocolate eggs :-) Douglas McFarlane Editor, UKTheatre.net ------------- LUCK FACTOR....LUCK FACTOR....LUCK FACTOR.... I came across this site recently and it reminded me of a debate I had with another actor earlier this year. I was suggesting that people can, and do, create their own luck - (refer to Map For Life - www.mapforlife.com) - and he argued that you have to be lucky to be an actor. Well, the author of Luck Factor, has created a website to discuss this. He agrees with my theory and suggests people can do this by being skilled at creating and noticing chance opportunities, making lucky decisions by listening to their intuition, create self-fulfilling prophesies via positive expectations, and adopt a resilient attitude that transforms bad luck into good. Have a look and let me know your thoughts:- http://www.luckfactor.co.uk http://luckfactor.co.uk/downloads/luckJournal.pdf ------------- SECRETS...SECRETS...SECRETS...OF THE NETWORK DAMIAN CHRISTIAN-HOWARD HAS A SECRET..... ...well not really as he wants EVERYONE to know about it! He's playing Harcourt in a 1920s adaptation of William Wycherly's 'The Country Wife' at the Diorama Theatre, London from April 27th to May 2nd. (Got a 'Secret' you want no-one to know ? Email editor@uktheatre.net and I can assure I will not SPEAK to anyone about it) --------- OPPORTUNITIES....OPPORTUNITIES....OPPORTUNITIES.... LAST CHANCE! Australian men (late 20s-30) required for a production of "Europe", by Michael Gow at the Finborough Theatre in June. Audition is on Tuesday, 13th of April. Email details before Sunday(cv and photos=small jpegs please) to the above address, or post to: Debra Low, 139 Chamberlayne Rd, London NW10 3NT Name: Debra Low Email: d7low@yahoo.co.uk --------- The Beast And The Three Hundred Year Old Man I am looking for two male actors to take part in a theatre piece for a final year degree show at Central Saint Martins College of Art and Design in London. The piece is entitled The Beast And The Three Hundred Year Old Man and it is a 15 minute comedy piece involving both actors and puppets. The parts needed are The Three Hundred Year Old Man - a man who cannot die until he has killed The Beast - and Don Emmanuel - ladies man, comedian and all round stallion. The performance dates are 22nd and 23rd April, with two performances on both days. Due to budget limitiations, everyone involved in the piece is doing so on a voluntary basis, but travel expenses will be paid. If you are interested, or for more information, please contact: Name: Poli Kyriacou Email: csmd4bh@hotmail.com Mobile: 07879882496 ------------- GDM, a small agency based in London, is expanding and seeks two actors to take onto its books. Please send a CV and current jpeg to: gdman*at*gdman.fsnet.co.uk Please note requirements: - you MUST be in current Spotlight - you preferably have a few professional credits - please do not send emails over 200k in file size - No phone calls or letters Successful applicants will be invited for an interview within 10 days. Many thanks, Grant David gdman*at*gdman.fsnet.co.uk ------------- REVEWS....REVEWS....REVEWS....REVEWS.... ------------- Abigail's Party - King's Theatre, Glasgow Abigail's Party is a well written situation comedy and social commentary by Mike Leigh which has become something of a cultural icon over the past 27 years. It centres around a social gathering of neighbours on a Spring evening in 1977. Our hostess is Beverly with her husband Lawrence. Their new neighbours Angela and Tony are guests and Susan - a divorcée refugee of her teenage daughter Abigail's party next door, makes the party complete. There is a great deal of fun to be had from the situation. Beverly and Lawrence are very proud of their superficial achievements: their up to the minute 70's décor, their leather sofa, their fibreoptic lamp, their record collection and their wall 'art'. But the genius of this play comes from the impact of alcohol on this social group. With increasing frequency the characters make horrendous social faux pas resulting in toe curling but hilarious embarrassment. This play was once termed "the most painful hundred minutes in British comedy". Beverly consistently tries to cover up the failure of her party (and the increasingly obvious failure of her marriage) by plying her guests with alcohol and the vicious, cruel synthetic circle is set. Direction and performances were excellent all round. Lizzy McInnery was strong from the beginning in her lead role and the cast worked superbly together to build the party to its hilarious conclusion. To borrow the words of our hostess this play is "faaantaastic, actually". See it at the King's Theatre from 5 to 10 April 2004 (tickets from £10) Review by Cameron Lowe Email: cammy@uktheatre.net ------------- 'ALL FOR NOTHING', Menier Theatre, Southwark, LONDON Instructions for a first class night out in London; take the tube to London Bridge, walk for a couple of minutes down Southwark Street until you reach the Menier Chocolate Factory, have a relaxing drink in THE friendliest, smartest bar in London (it's also a superb restaurant) walk along a short corridor, pick up your tickets at the theatre box office there, and enter THE most exciting theatre space in London. Eat your heart out Donmar Warehouse! Then enjoy the WORLD PREMIER of 'All for Nothing' written by the Portuguese writer/poet Jorge Guimaraes. And yes, he's new to me too. The play begins with what is surely the world record one-sided conversation, expertly and intriguingly played by John Cunningham and Teresa Monica, and then draws you in inexorably to what becomes a fascinating mystery. A riveting first act. Act Two is slightly less successful, as the playwright loses his tight grip somewhat and the story does occasionally drift into melodrama and pastiche, but it's always beautifully acted, with slick, stylish direction from Eduardo Barreto, some lovely sculptures (Alison Rayner, and they're for sale!) and is stimulating and surprising until the final moments. A fantastic last scene with Celia Williams as a sensual and voracious man-eater caps a triumph of an evening. If I was you, and remember, in a way I am, this is not to be missed on any account. Runs until 2nd May and the box office is: 020 7907 7060. Review : Paul Antony-Barber ------------- Grease - New Wimbledon Theatre When I was seven, all I wanted to be when I grew up was a Pink Lady. I was never really sure which particular one as it changed daily depending on my mood. You see, I was given the video of 'Grease' one birthday and I then proceeded to watch it 1071 times until I actually managed to wear the tape out. I will admit that I became addicted to it, as did so many other people. Almost everybody somewhere has been made aware of the legendary musical that is ‘Grease’ whether they have come across it through stage version or screen version. It is impossible then, for any audience member, including myself, not to have high expectations for such a production as everybody has a favourite song or favourite character that they cherish. Therefore I believe there must be a high amount of pressure on the actors to ‘deliver the goods’ as a bad performance or interpretation of a well-known role can be highly disappointing. There was absolutely no evidence of this though in the performance of ‘Grease’ at The New Wimbledon Theatre on Monday night. Each character was either as cute, feisty, nerdy or just plain cool as they should be. Suzanne Carley and Ben Richards played Danny and Sandy perfectly. Also shining in their solo numbers and duets together. Praise especially goes to Suzanne as she managed to carry off her professional debut in the role excellently. The set, music and of course the costumes transport you straight back to the 1950’s. With clever use of a radio on stage that transmits the local radio station’s ‘Top Tunes’ helping to create the mood and also link a number of the scenes. Add to this the bouffants, pedal pushers and Twinkies and you have a production which is I am sure every bit as captivating as the original version that was staged in a remote theatre in Chicago, 1971. ‘Grease’ is still the word and I’m sure it will be for many years to come. If you want to catch it before it continues on its nationwide tour then you have till Saturday to get there! Box Office: 0870 060 6646 Review by Emma Pring ---------------- “FemaleTransport” Written by Steve Gooch Directed by Nigel Williams The South Bank is renowned for its thriving theatre scene. With the Old Vic proudly situated on one flank of Waterloo station and the monolithic National on the other, the station has certainly gained a reputation as a rendezvous point for theatre goers. However, below the surface of the hubbub, within the bowls of the station and completely obscured from view there resides a different kind of theatre with it’s own history. Founded 65 years ago by the then privately owned Southern Railway Company the Network Theatre has lived through changes of name and nationalization. As a means of holding the current threat or privatization at bay it runs a club (The Arch 200 Club) whose member’s subscriptions help to keep the Theatre alive. In tandem with this the Theatre’s resident company (Network Theatre Company) also runs a membership scheme which invites players to participate in staged readings, workshops and auditions. The dank and dingy venue lends itself perfectly to the settings of a merchant ship at sea. Indeed the rustic and aged effect of the set is as much authentic as it is aesthetically pleasing to look at. Set designer Paul Lunnon has used the venue’s cavernous ceiling space to excellent effect by having the stage set on two levels giving the audience a ‘cut-away’ view into both areas. The top level is split into the Captain’s quarters and a part of the ship’s deck and the lower level is that of the convict’s berth. Set towards the end of the 18th century this period piece tells the tale of a few-months-in-the-life-of six female convicts being transported to the antipodes to face whatever verdict Fate holds in store. Before the play opens we’re treated to a song (sung by the players off stage), which certainly sets the mood for what is to come. Overlapping the end of the song and always interjecting at the right time throughout the play, the sound effects are put to good use and stay consistent to the end. The play opens with the six female convicts being brought into their berth and shackled on the day the ship they’re on is to set sail. And so the scene is set. The show gets off to a slow start and the general energy levels seem to equal those of the characters. However, apart from clanging chains, which at times drown out some of the dialogue, the cast tells the story well enough. The coarse, rich language is inconsistently given justice. Perhaps more interesting if it were more biting and less tame. The gritty quips, which are hurled between the convicts and their oppressors often, rouse a chuckle but again they’re used too politely. It is a shame as the period, style and even rhythm are all believable and well rooted. Another disappointment was when the women were served what looked and smelt like a delicious helping of steaming beef and potato stew (which certainly had my belly rumbling and mouth watering) they only half heatedly toyed with it. As the minutes drag in to hours and so the days into weeks there is a definite sense of irritation niggling away at the psyche of these women. The build in tension is gradual and unfolds distinctly with every glare, stare and insidious threat. The balance of power within the ranks shifts viciously among those who are able to hold their ground. Those who can’t can do no more than acquiesce to their unfortunate susceptibility and look on in horror. Tightly knit into the dense slabs of anguish and strain is woven some very comic moments, which certainly pick up the pace towards the end of the first half. To such an extent that it brings a whole new meaning to the phrase ‘barrel of laughs’. One of the more notorious women renowned for her obstinate mouthing off – to peers and superiors alike – is taken off to be punished only to return immured within a beer barrel! The humorous attempts at trying to find a comfortable position are endless though all fail miserably. The more the women are pulled apart the more they cling to each other for solace and nurture, which is finely displayed in a cheery song and dance routine, which is then disbursed by the ship’s crew who come to peruse for a ‘warm bed’ to lie in. And so closes the first half. At the beginning of the second half a fair amount of time has passed and we’re given an insight into the possible outcomes of these impecunious ladies. A heated debate between the Captain, Surgeon and Sarge ensues throughout as to how to make further profit from them whilst on board. As their lives are being bartered with the women have sunk into dirtier and grittier despair with hysteria setting in and emotions being stretched to breaking point. As the strain starts to take its toll and reaches its zenith the relationships crumble, roles are reversed and statuses swing. Again when the stakes appear to be at their most extreme – one of the women is severely lashed to the bone and then the berth starts to flood – the comic value is never undermined and even at its strongest. Mr Gooch was certainly not ignorant to the fact that it is human nature to revel in others misfortunes and he certainly puts it to good use in these circumstances. Seeming not to care whether they live or die, inevitably one of the women does hang herself, the nonchalant reaction which resonates conveys an expectation of doomed morbidity. When the truth of their condition rears it’s vile head they know they’re all alone and on their own. The deceased’s departure is a que for the remaining captives sing a melancholy song, which accurately pitches their emotional state. At the climax of the piece the women are at their most demur, disheveled and down trodden. The scorching heat of the tropics would seem the linchpin to their complete deterioration and one of the lines sums up their state so succinctly “…there’s not one of us that’s nice now…”. As they succumb to whatever the Gods have in store for them a somber mood of final submission is exhaled and then suddenly the trap door on deck is flung open and a stream of piercing sunlight comes bursting through nearly blinding the women. Trapped in the dark for months how will they adjust to dazzling light? As the women wearily attempt to adjust their senses and battered sensibilities to the startlingly different surroundings they deliriously celebrate and embrace whatever their eventuality. The play is sprinkled through out with richly drenched metaphors and even at the end it is relentless in its display of images beyond what the human eye can see. With the light comes hope. Hope of Freedom. Hope of Life. Hope for new Life. It is a pity that the production only ran for a week as given the chance to grow and develop this amateur production would no doubt have turned out some rock solid performances and cultivated an extra edge and organic dimension. Review by Damian Christian-Howard ---------------- Tom’s Midnight Garden The Churchill Theatre, Bromley Having seen the Birmingham Stage Company’s hilarious Orton-esque version of The Dice House, I was keenly anticipating this adaptation of Philippa Pearce’s children’s novel. The production is ambitious, creating two different time zones with a minimum of props and set, but there are flaws that prevent it from being a magical performance. Not least of these problems is the perennial one of creating child characters onstage. This production chooses to use adult actors playing down, but instead of just playing the characters, most use self-conscious ‘child acting’ that bears no relation to any child I know (and as an ex-teacher, I’ve known quite a few). As the lead character is one of these adults-playing-children, the play takes quite a while to get going and only really takes off with the arrival of Claire Cooper, with an engaging performance as Hatty, the victorian half of this friendship across time. Even she occasionally falls foul of overplaying the child, but in the main this is an enchanting performance. The other notable successful ‘child’ performance is that of Howard Gossington, who is a convincing eldest brother. From some of the actors playing adults, there are patronising performances which assume that playing to children is a different skill to playing to their peers, although kudos must go to Timothy Speyer, playing the dual role of Uncle Alan, amiably bewildered by his nephew’s behaviour, and Abel, the religious gardener, how gives a beautifully judged performance. The minimal sets are also a problem; although in terms of cost and touring, it is an understandable choice, the physical skills of the company aren’t always up to the challenges of the mime required to convey absent props, and sometimes the story-telling is affected. There are also masked actors effecting the set changes in a stylised manner; their movement skills are excellent, in fact better than some of the principals, but quite who or what they are, isn’t made clear. There are some beautiful moments, such as the ice skating party and Tom and Hatty’s final meeting, but these aren’t enough to carry the play. This is a shame, as it could have been excellent, but instead is adequate, which is underlined by a young audience who were sometimes restless rather than rapt. Until Saturday 10th April Box Office: 0870 060 6620 Review by Alix Cavanagh ---------------

  April 8th, 2004 at 9:30 am

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