A Small Mind At The Theatre

I like Alan Ayckbourn, I may only have seen a few of his vast array of plays previously, but all have been a delight, often crazy yes, but constantly funny, and especially in the second act spiralling often into just on the very edge of believable nonsense. With Woman In Mind , acknowledged by many as one of his finest works, my own personal jury is very much out on whether I liked it or not. What was very good, mostly, however, were the performances, most especially the two that we are introduced to at the very beginning. The prostrate Susan (Nicola Osborne), with sinisterly lurking rake alongside her, and the bag struggling doctor, Bill (John Myhill). Nicola Osborne has the unenviable task in this play of never leaving the stage, a feat in itself. Add to this the constant weaving of the character's world (more on this later), and you have a role featuring some significant challenge, one that Osborne ably surmounts. I once described Osborne as a "safe pair of hands...

Remarkable as it may seem when I settled, although a little sweatily into my seat at The Playhouse Theatre to watch The History Boys , I was about to have only my second encounter with the works of Alan Bennett. My only previous meeting with his material had been the 1994 film The Madness of King George . Set in a Sheffield grammar school in the 1980's, The History Boys brings to life the story of the pursuit to Oxford of eight students and the school's collection of wacky and genital cupping teachers. It's a bewildering piece to stage with its pre-interval 18 scenes and another bag of 15 afterwards, however, this snappy production under the direction of Gary Amos moves without pause for breath, and perhaps despite my never thinking I would ever write this, maybe at times too swift scene changes. For a person whose musical tastes lie very much in the eighties soundtrack this play utilises, bridging every single scene with classics from the decade falls right into my happ...

A works team building away trip could happily paint seven shades of absolute hell on many peoples minds and that is if it goes well. For Neville though and his trio of companions, well doesn't ever come into it in Tim Firth's comedy drama. Tim Firth is best known for Calendar Girls and it's next musical incarnation currently playing in London, The Girls . However with Neville's Island , things while remaining comic at times, stray into some very dark territories, and that doesn't mean the brooding trees and bushes of the island they find themselves trapped on. The themes here on display range from attacks on religion and to mental illness issues. Not, you would think ideal for a comedy, hence this is a little more drama as well. It works, most of the time. I am sure that on occasion though, some could be uneasy about Gordon's diatribes about Roy's issues and faith, indeed the latter, some would probably find quite offensive. The first thing you are stru...

While you often feel you should be sitting admiring R.C. Sherriff's Journey's End, rather than enjoying it, you simply can't help it at times. For so much of the play, especially in the first half, it is rife with so much humour that you find yourself laughing at this group of men, who despite potentially being moments from death, are living life through companionship and laughter. Most of the comedy rather interestingly comes from the trials of food and drink and the often ineffectiveness of Mason the cook (Kevin Pinks). Set in the trenches in early 1918, Sherriff's play centres around a company of men commanded by Stanhope (Tristan Smith) and the gradual build-up to the battle at St. Quentin. It is a stark believable world, which comes as no surprise as the writer saw service himself in the East Surrey Regiment. As is often the case with Masque Theatre productions, this has a very strong cast. Tristan Smith is a cold, quietly brooding Stanhope, at times seemingly ...

There is perhaps a certain inevitability that the amateurs of Northampton will provide a better play this year than Sextet , currently running at The Playhouse Theatre. However having said that, there might not be many on the stage that are as ambitiously optimistic of the skills of those local actors performing in it. There is much to trouble an actor here, with Michael Pertwee's piece (very much of its seventies period) challenging timing, prat falls, prop management and a navigation of a complex set (especially so on the small Playhouse stage). April Pardoe (Valerie), Simon Rye (Philip), Jem Clack (Denys) and Barry Dougall (Roger) The play itself as always with a character driven play, takes a while to get going. One by one we are introduced to the motley crew made up of family, business links and random people bumped into. Our six characters (yes, there is a clue in the title), are the Captain of the yacht, Roger (Barry Dougall), his (ex/current) wife Lisa (Tamsyn Payne), ...

There is a tradition at the start of some meetings that a member of a committee has to declare an interest in something being discussed. Therefore it is appropriate that at this time, I declare that as the relatively newly installed publicity committee member at The Playhouse Theatre, I am about to review a play that it has been my responsibility to promote. So how is that for conflict of interest? However to be fair, the amateur world has become an increasingly delicate place for me to work with reviewing as I have got to know more and more of those involved, and they have all learnt who I am. My reviews though are not here for me to make friends, as some recent offerings have shown, so if there was something up, rest assured that I would happily state so. Fortunately director Jem Clack has on this occasion gave me little of concern, as with his large cast of nine, he has produced a nicely polished production. I had the opportunity on Sunday to see the final dress rehearsal for th...

I have a confession to make from the outset here, I have neither read or have any recollection of ever having seen the movie Gone With The Wind. Incredible for sure for such a classic, but I feel certain that if I had watched a four hour film at any point in my life, I might have remembered it. This allowed me to feel the pain of the conscripted screenwriter Ben Hecht (Jof Davies), who hasn't read the book, as producer David O Selznick (Graham Follett) and Victor Fleming (Victor Guse) attempt to bring the novel to life in front of him. There are times that writer Ron Hutchinson perhaps makes Moonlight and Magnolias a little too wordy, however it does make the shear panic of the five day script writing our pain as well as those trapped in this cramped office with no other company than bananas, peanuts and occasional startled visits from Selznick's confused assistant Miss Poppenguhl (a nice performance of descending panic from Kate Ellis). It's a fun and chaotic play base...

It is still a relatively rare event that I venture into the theatre environment knowing the play that I am about to see. However last evening for my latest trip to the wonderfully cute playhouse, Oscar Wilde's The Importance Of Being Earnest was one of those rare occasions. The latest Masque production, directed by Robert Kendall with a lively flair on the compact stage was once again going to provide a hugely enjoyable evening. The Importance Of Being Earnest is an endlessly funny play of confusion, social commentary and farce, revolving around fake relations and false names which needs seeing rather than explaining. Our opening characters are Algernon Moncrieff (Robin Armstrong) and his manservant Lane (a suitably droll Craig Macpherson). They comfortably set the scene of a typical upper class environment, with Robin a gloriously precise deliverer of his lines, eater of muffins and cucumber sandwiches. He also has a particularly perfect timing for the most rude and comical li...

I had my very first experience with J. B. Priestley in September this year with the smart and stylish BBC production of An Inspector Calls. Therefore I was greatly looking forward to seeing the Playhouse Theatre's production of Priestley's play I Have Been Here Before. There is a surprising similarity with An Inspector Calls mysterious Inspector and this plays Dr Gortler, both arrive unexpected and have a dramatic effect on every other single member of the audience. Playing Gortler is Graham Follett, with the same solid German accent he confidently had in The Dame Of Sark. I commented in my review of that, how much of a star he was with the controlled but very softly delivered nature of his lines. In this he was once again the same, pulling the strings of all the other characters via Priestley's fascinating script, but delicately. Follett's portrayal actually sets the pattern for everyone in this production as it all feels one of the more naturalistic plays I have s...

Something like twenty-two years ago I studied Amadeus by Peter Shaffer along with the same playwright's Equus and The Royal Hunt Of The Sun for English Literature. I never saw a live production of it then or since (or any of them), just the film. Therefore when I heard that the Masque Theatre were performing it I knew I had to see it (even allowing for the fact that I had the small matter of sixteen Flash shows the same week). I won't pretend that I remember much about it from back then and I won't necessarily say I remember liking it much. At the time I was just grateful it wasn't Shakespeare which we were doing most of the time (some things never change). What we have almost with Amadeus is a one man show and that one man is not the title character. Antonio Salieri played by John Myhill is the star of the show, and remembering him for his scene stealing turn as Benedick in some Shakespeare I saw last year, he once again didn't disappoint. For an amateur show, th...

It is safe to say that the sitcom Allo Allo was very much a product of its time and if you didn't live through it and sat through the play being performed by St Albans Charity Players this week, you may well wonder what the hell was going on. I lived through Allo Allo and I have to say I enjoyed the slapstick pointless antics of a style of sitcom that probably no longer exists (some would say "Thank God"). Its silly, often risque comedy was very much of its time, but during the eighties there was a lot of it about. Thanks to writers like Jeremy Lloyd, David Croft and Jimmy Perry. It was all good clean (but with hidden meanings) fun. The stage play is a bit like a greatest hits with a loose plot, concerning a visit by Hitler and that famous painting. Written by the original writers the play takes place across seven different locations (mostly within Rene's cafe) which were cleverly realised in such a small area at the front of the hall. Individually lit to direct o...