Review of The Crucible by University of Northampton BA Actors at Jacksons Lane Theatre, Highgate, London

There is no denying that Arthur Miller's The Crucible is a classic and well-regarded play and that in the hands of the always brilliant University of Northampton BA Actors, it should have been a thrill of innovation and epic theatre. So, why, when there was so much talent, did it become just an uninspired, by the numbers production?

I had only seen the play, formed around the 1690s Salem Witch Trials, once before in a vibrant school production that, while clearly long and drawn out (it's a heck of a long play in this, it's pure form), always remained entertaining, especially being performed by that young and enthusiastic cast. Here in this version directed by Nadia Papachronopoulou, it should have been so, so good, with the actor's talent, the potential for a dramatic stage version crackling with inspired moments was so overwhelming.

So why did with end up with just a static, curiously soulless affair? In principle it does nothing wrong, performances are strong, with a confident one again from Alexander Forrester-Coles as John Proctor, the way he depicted the characters weaknesses especially comes across tremendously well. Elsewhere, Farrah Dark was a revelation as the bolshy and forthright Abigail Williams, a character having to act in a way far beyond her years.

D. B. Gallager was a truly scary Judge Danforth, causing a lot of uncomfortable moments as he proceeded over the affairs. In the complete opposite was the kindly, and sweet-natured Elizabeth Proctor, played with such a gentle touch that perhaps only Ceara Coveney could, in this year group of actors. Finally, I enjoyed Anya Gallagher's Mary Warren, a confused state of a character, wanting to be part of the gang, then not wanting to be, and switching back again in an attempt to recover the situation, only to make it worse. Warren is a great side character in the play, and I really enjoyed Gallagher's portrayal of her.

So, what was wrong with The Crucible then? Well, for me, it just lacked ambition, scenes are motionless, the way the witches are handled uninspired, and just so lacking in creative aspects, less so than the school production I saw even. In a group where we have had a female Richard II, the strongest Flash Festival of my five years, some innovative Christmas shows allowing the actors to develop more in different areas, and Accused, one of the best-devised shows I have seen, The Crucible in this form, gives them nothing to get their teeth into. They often felt unsure as well, with the most slips of dialogue that I have ever seen from a University show, and a few that I know to be excellent actors, giving poor performances.

There is no other way of putting it, other than I was really disappointed with The Crucible, and it's a tremendous shame that this was one part of the work of these actors on display in London, they are all much better than this show allowed them to be. Far too safe, and safe isn't something the University of Northampton BA Actors have ever done before in my experience.

Performance reviewed: Thursday 7th June 2018 at Jacksons Lane Theatre, Highgate, London

The Crucible was one of three shows performed at Jacksons Lane Theatre by the University Of Northampton BA (Hons) Actors from Thursday 7th to Saturday 9th June 2018.

Details of Jacksons Lane can be found by visiting their website at https://www.jacksonslane.org.uk/

Review of Barnum at Milton Keynes Theatre

Barnum , with a book by Mark Bramble, lyrics by Michael Stewart, and music by Cy Coleman, premiered on Broadway in 1980 and followed in the West End just a year later. At the helm for these two productions were two huge names in the entertainment business: Jim Dale on Broadway and Michael Crawford in the West End. It needed, of course, big names to fill the shoes of the legendary P. T. Barnum, whose tale is told in this now-fondly remembered musical. Filling these boots in this new production, now pitched at Milton Keynes Theatre, is Matt Rawle, a prolific theatre performer himself, but can he, and this production, live up to the iconic greatest showman? “Step right up and enter the dazzling world of P.T. Barnum, where imagination and ambition know no bounds”, the publicity for the show announces, and this new production of the now-classic Barnum - The Circus Musical mostly ticks these boxes. Rawle is a captivating and strong presence as the lead, bringing an infectious charm to the p...

Review of Lord of the Dance at Milton Keynes Theatre

On what was so far the hottest day of the year, and the highest in many a record book, it feels a tad evil to watch as a group of extremely talented performers bring to the stage one of the most famous and most energetic dance shows to tour. However, arriving now at Milton Keynes Theatre, as part of what is now the still rather immodestly titled 30 Years of Standing Ovations tour, Lord of the Dance remains full of energy even on the hottest of evenings in Milton Keynes. I last and first saw Lord of the Dance as part of the 25 Years of Standing Ovations tour, four years ago (yes, the sums don’t quite work), and it was every bit as spectacular as you could imagine this world-famous dance show is. Born into the world from Michael Flatley and the Riverdance spectacular that preceded it, Lord of the Dance is a simple but effective battle between good and evil and the resolution of it through dance rather than fighting. The dancing here is, as expected, exceptional, led by the Lord of the...

Review of The Woman Who Cooked Her Husband at The Playhouse Theatre, Northampton

During the interval of The Woman Who Cooked Her Husband , last weeks production at The Playhouse Theatre Northampton, I got involved in a conversation between a couple sitting next to me. The lady was very much of the opinion that the play was a comedy, while the gentleman, had formed one that it was a tragedy. They were joking of course in the conversation, but it did highlight the differences that Debbie Isitt's dark comedy might have between the sexes. And also now perhaps the passing of time. When this was written in the nineties, Isitt's play was a forthright feminist play, heralding the championing over of the ladies over the man. One the ex-wife plotting to cook him, the other, the new lover, potentially already very tired of him after just three years. The husband, Kenneth (Jem Clack) elopes initially in pursuit of sex with Laura (Diane Wyman), after his nineteen years of marriage with Hilary (Corinna Leeder) has become tired and passionless. Then later, he elopes ...

A Small Mind At The Theatre

Search This Blog