A Small Mind At The Theatre

Fatal Attraction is one of those iconic films from the eighties which you might think you have seen, but possibly not, even though you know of it so well. For many, it is all about a famous scene featuring a rabbit, and that scene is one of the most expected clearly by the audience in this stage play, judging by their reaction every time the rabbit it mentioned. However, of course, this is more than a rabbit scene, but is this touring production actually an attractive prospect itself? The original films writer James Dearden adapted this stage version, originally seen in 2014. The story opens by introducing Dan Gallagher (Oliver Farnworth), who is a supposedly happily married New York attorney. After a chance meeting with a young woman, Alex, played by Susie Amy, and a one-two-night stand, Gallagher’s world and the world of his family unravel beyond his control. For those very familiar with the original 1987 film, I could describe this stage production as Fatal Attraction -lite, a sort...

The Wellspring is a truly unique theatre experience, an autobiographical journey through the life of pianist David Owen Norris and his son, playwright, Barney Norris and their relationship as father and son. It is a very personal experience for the two, but it draws the audience into their lives. The Wellspring is beautiful and heartwarming, even, oddly, when Barney describes being beaten up and kicked in the head in Oxford. This is the pair's life experiences, the highs and the lows, perhaps as his father remarks at one point, more lows described by Barney. Not that David’s story is bereft of low points, but he offers more joy from his life, sometimes extremely comically. Perhaps the best is his brilliant recalling of the Sydney Piano competition, partly broadcast live on the radio. It is a hugely funny story and allows David to show his immense piano skills for which he’s known, and through this piece, he peppers the show with some wonderfully performed music. The father and so...

Following a two-year delay, the blockbuster show We Will Rock You featuring the music of one of the greatest groups ever arrives on the stage of the Royal & Derngate. The show, written by Ben Elton, has been packing audiences for twenty years, and this delayed tour has now become an anniversary tour as a result, and the writer himself has reworked the script for a little more modern relevance. So, global success, packed audiences, a writer of immense credit, and, yes, a selection of the greatest rock songs ever. Surely this is the easiest review ever? If only that were the case. The often sad role of a reviewer is that in order to create a proper review, the reviewer is required to pick everything apart, and sometimes if there are glaring issues with the concept of the show, or the script is poor, it can detract from the overall enjoyment. This happens even while everyone around you is loving every minute. They are there for Queen, the mega, epic music of Queen. Maybe if I wasn’t t...

There are some very distant memories of the film Bedknobs and Broomsticks lurking in my head, that this touring stage version of the full musical version ended up being extremely fresh and entertaining. The story, which sadly is a victim of timing at the moment, features three children evacuated to the country from war-torn London. There they become placed in the care of the mysterious Miss Price, who just also has received a mysterious package as well. From here spirals, a fantastical tale full of fun and interesting and weird characters. The production features the original music from the Sherman Brothers, with additional music and lyrics by Neil Bartram and a book by Brian Hill. The magnificent twelve strong orchestra creates the music under the direction of Laura Bangay. The show itself is a more visual feast for the eyes than the most solid of shows dramatically. It is always fun and entertaining for all ages, but the first act often drags, with many scenes outstaying their welco...

If there is one thing we all need at the moment, it is a good dose of fun, and with Improbable’s An Improbable Musical , fun, comedy, and randomness are at its very heart. Over the course of roughly ninety minutes, this was a convoluted path through a story bred from just three ideas from the audience, and indeed a hefty amount of rehearsing. Yes, this is improv at its heart, but much like the great Morecambe and Wise looked off the cuff, there is a huge amount of rehearsing, rehearsing, rehearsing involved to get a fluidity such as this. Our artists for the night were Janet Etuk, Niall Ashdown, Ruth Bratt and Adam Courting and perhaps the most familiar, Josie Lawrence. For the press evening of the run, sadly, the sixth performer Aya Nakamura was having to isolate. Musicians Max Gittings, Joley Cragg, Juliet Colyer and Christopher Ash as the musical director joined onstage with these performers. An Improbable Musical took stimulus for its performance from the audience by asking just t...

The challenging and socially relevant Blue/Orange by Joe Penhall was published in 2000 and back then, this caustic exploration of mental health, and more specifically black mental health issues, was a tremendously relevant play. When it debuted on stage in London, the cast of just three was played by Bill Nighy, Andrew Lincoln and Chiwetel Ejiofor. Director James Dacre doesn't have those names to play with so much in his cast, however here, he has worked with the writer himself to rework the play for a more modern audience. Does it still shock, and is the relevance still there today? Sadly, perhaps, the answer is yes, as doctors Bruce Flaherty and Robert Smith come to verbal blows over the health of patient Christopher, at times, you feel 21 years shed little light on how mental health is approached. Many references in the script, still sit unquestionably in the year 2000, however, with this reworking, one thing has changed dramatically. In the original version of the play, the two...

The comedy-thriller Theft by Eric Chappell tells the story of an anniversary celebrating couple returning to the devastation of their home being ransacked in a burglary. However, this ransacking pales in comparison to the ransacking of their lives that then occurs as home truths are revealed. Anyone old enough to remember the works of Theft writer Chappell ( Rising Damp and Only When I Laugh ), could be forgiven for thinking that this 1996 play might feel a little dated for a 2021 audience. However, bar a few references much of their time now (the weaker sex and female priests for instance), Theft still feels comfortable in the 2021 world, where many of us just want both a good evening of theatre and a good bit of fun. With Theft from the highly regarded Wellingborough Technical Players, they get just that. The action starts as we find the man of the house John Miles played by Graham Breeze returning, very angry, to his home. He is a rightfully boisterous character, channelling all th...