Skip to main content

Review of Constellations at the Church Of The Holy Sepulchre, Northampton

In a parallel universe, this second cast version of Masque Theatre’s production of Constellations by Nick Payne did not fall foul of serious rehearsal impediments to Covid. However, alas, both cast members Gemma Knight as Marianne, and Anthony Burgess as Roland fell to Covid at different times and in this universe, the best part of three weeks of rehearsals was lost. However, on the evidence of their performance, it impacts less than you might think on the final product.

Foremost, this is the same show as my previous review of Constellations, so for that click here to see the gist of the production rather than going over the same ground here. Repetition is for Constellations itself, not my review.

However, there is much that feels different in this version performance-wise. Knight and Burgess bring their own dynamic to the show. They are older than the other performers, so, they bring more experience of life to the show’s feel. Little nuances that you only earn from living life. You often believe the relationship more, and without doubt Knight and Burgess have a more natural approach to the performance.

Among my favourite differences was a very contrasting telling of the bee tale by Burgess, I have to admit, despite having already seen it a lot in the previous version, Burgess presented even more humour from the delivery of this. It was one of my favourite moments the first time, and it became more so in this telling.

Knight brings equally a different, but an excellent portrayal of Marianne to the stage. I particularly liked the increased development of the character's illness, especially with the added physicality she portrayed.

Perhaps either intentionally, or because of the simple loss of time, there were slightly fewer movement pieces in this version, however, they were no less a delightful part of the story. The dance routine was again lovely and poignantly returned to at the very end.

Constellations in both its forms truly showed the strength of community theatre in Northampton and while the stars aligned to make the rehearsal process troublesome, the result was still a great deal better than many amateur, and indeed, professional shows on offer.

A parallel universe short of perfection.
½

Performance reviewed: Friday 8th April 2022 at the Church Of The Holy Sepulchre, Northampton.

Constellations ran at the Church Of The Holy Sepulchre until Saturday 9th April 2022 (including Saturday matinee).

For further details about the Masque Theatre see their website at http://www.masquetheatre.co.uk/

Constellations is MASQUE THEATRE NORTHAMPTON PRODUCTION

Rehearsal images

Popular posts from this blog

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 ...

Review of Annie at Milton Keynes Theatre

Annie was first performed now a remarkable fifty years ago at Goodspeed Opera House in Connecticut, and since then, the tale based on a 1920s comic strip and adapted for the stage by Thomas Meehan on book, with music by Charles Strouse, and lyrics provided by Martin Charnin, has become a perennial favourite across the world. Indeed, this version, directed by Nikolai Foster, last appeared at Milton Keynes Theatre in 2023. So, after all these years, does Annie still have that appeal? Set in  1930s New York during the Great Depression,  Annie  follows the life of an orphan abandoned to the care  of its evil matron, Miss Hannigan. Annie seeks escape, and after one failed attempt, she finds herself the chosen Christmas guest of billionaire Oliver Warbucks, and things slowly, hopefully begin to improve for the little but fiercely strong Annie. Leading the adult cast for this tour now as the cruel Miss Hannigan is Claire Sweeney. Sweeney clearly revels in the chance to embr...