George Egg

Review by: Paul Towers, 05 February 2016

George Egg – Anarchist Cook

Upstairs @ The Western, 5 & 6 February 2016

“a belter of a show”

Leicester’s Upstairs at The Western kicked off its contribution to Dave’s Leicester Comedy Festival 2016 with a belter of a show. George Egg – Anarchist Cook is just what it says a stand up comedian - cooking!

A well established performer, George has travelled the length and breadth of this and other countries. In each and every hotel he has stayed  he has found the same over-priced and unimaginative late night culinary offerings. So, how to remedy this woeful situation? How about rummaging around all the freebies left for customers, combine them with the normal appliances in every room and, with minimal shopping, whip up an imaginative 3-course meal. Which is exactly what he does in every show. So successful are his ad hoc meals that he serves them up to the audience afterwards.

That would be impressive enough if he were Mary Berry but given that he combines this with the left field humour of Bill Bailey and he has the audience in the palm of his hand from the outset.

George Egg- Anarchist Cook is at Upstairs at The Western again tomorrow (Sat 6 Feb) but is sold out. However he is on tour throughout the year. Full details at www.georgeegg.com

The rest of Upstairs at The Western’s season can be found at www.upstairsatthewestern.com
First published in Western Gazette

and London Pub Theatres

Three Days Of Rain

Review by: Paul Towers, 01 February 2016

Three Days of Rain by Richard Greenberg

Leicester Drama Society with Lois Cowley, Mark Bland & Andrew Parsons

Leicester Little Theatre 1 – 6 February

“all three actors chew up the scenery.”

Three Days of Rain is a play of two halves but is nothing to do with football!

In the first half Nan, Walker and Pip are, respectively, sister, brother and childhood friend who gather prior to the reading of Nan & Walker’s father’s will in 1995 Manhattan. Nan is the sensible, balanced older sister, Walker is the acutely disturbed brother and Pip is the son of their father’s creative partner. So far, so good. The trouble is that when the atmosphere gets a little heated old wounds are opened and secrets are spilled.

The set is an acutely observed dilapidated loft apartment which serves as both the modern bolt hole of Walker and the apartment where their parents met and consummated their relationship.

The second half goes back to where it all started, and swiftly unravelled, for the family when neurotic Lina (Lois Cowley) meets stuttering, shy Ned (Andrew Parsons) and dumps assumed fiancée Theo (Mark Bland).

Each actor doubles up and plays both the parents in the second half and their own children in the first half.

This is not the easiest of story’s to follow, partly because of the American accents but also because quite a lot of the story is left hanging for the audience to work out for themselves.

All three actors powerhouse their way through their roles with acclaim and all three have their chances to chew up the scenery.

There is creative use of lighting, sound design and water throughout

Three Days Of Rain is at Little Theatre until Saturday 6 February

First published on Western Gazette

Les Miserables

Review by: Paul Towers, 27/01/16

Les Miserables by Alain Boublil & Claude-Michel Schonberg

Cameron Mackintosh Production

The Queens Theatre, London ongoing

“spectacularly moving.”

For over 18 years Les Mis, as it is fondly called, was a landmark at the Palace Theatre in Cambridge Circus. The face of an urchin girl stared down upon the bustling crowds who passed through the intersection en route to the whole of London’s West End. Then in 2004 the production had to find a new home and it has been in Shaftsbury Avenue’s Queens Theatre ever since. Last year it celebrated 30 years with a big spectacular Hollywood film. But tonight I was finally getting to see what has kept this iconic show going for all those years. The stage musical.

As the audience files into the beautifully restored traditional auditorium we are greeted by that iconic picture of Cosette seen on a thousand buses and underground billboards. As the lights dim her face is swathed in smoke and we see Jean Valjean working out his last days on the chain gang under the watchful eye of his sworn enemy Javert. The scene is set for a battle between the two that will last more than 17 years.

The production makes great and creative use of the theatre’s huge revolving stage. Not only are sets turned into sight but chases are excitingly enacted. In addition there are two huge sets that are wheeled on from the wings and create the street buildings and the eponymous barricade.

This is a huge cast playing vocally demanding roles so it is no surprise that many of the lead characters were not the main cast on a midweek matinee. But, as this is a production that relies on talented singers rather than star names, this mattered not a jot.

The heartbreaking depiction of early nineteenth century French poverty is enlivened by the comic turns of M & Mme Thenadier, the innkeeper and his wife, but even they are without scruples or morals when it comes to trying to earn a few francs.

Les Miserables is chock full of hummable songs, most recently I Dreamed A Dream. Fortunately the producers have resisted the temptation to build a SuBo moment into the show and, while Fantine’s rendition is superb, it does not elicit any unseemly reaction aside from a well deserved ovation at its conclusion.

Les Miserables has been running in London’s West End for 30 years and has since opened internationally and has become the longest running musical in the world. Ever. I wouldn’t be surprised if it runs for another 30 years. And another

Charles III

Review by: Paul Towers, 26 January 2016

King Charles III by Mike Bartlett

Curve 26 – 30 January 2016

“Robert Powell is majestically petulant.”

What happens when, after decades of waiting, Charles finally ascends to the throne? What happens if he turns out to not be right for the job?

What happens if he meddles in constitutional matters?

This is the premise of Charles III currently running at Curve and out on tour.

Written by Mike Bartlett as quasi-Shakespearean in iambic pentameter (mainly) the whole story unfolds like one of the Bard’s tragedies.

The set itself is spectacular, especially for a touring production, and evocative of  Game of Thrones, not the last time I was reminded of that tale of sovereign battles.

As the cast solemnly file on carrying candles it is immediately obvious we have joined the finale of the late Queen’s funeral and Charles, Robert Powell in majestically petulant form, is itching to take up his inheritance. With Camilla by his side fighting his corner there are more than a few hints of Lady Macbeth as she pushes him to wield his new found power and take his rightful place at the head of the country.

As the drama unfolds we discover several almost familiar characters; Prince Harry is a libidinous Tim Nice But Dim; James Reiss, the palace PR person, is very much in the mould of the PM’s Mr Humphreys and the Prime Minister himself is reminiscent of  a blustering Lloyd George.

As we come to the end of the first half Charles provokes a constitutional crisis by refusing to sign off a bill he disapproves of. Anarchy ensues as the instability of the monarchy filters down to the people and unrest bubbles up only to be quashed by the interjection of Prince William with his own Lady Macbeth, Kate, egging him on.

A great cast led by Robert Powell peoples the stage with a vast array of characters in this satirical imagining of what may come to be.

While so much of the story is entirely believable I do question whether resorting to cheap jibes about James Hewitt and cars in underpasses were entirely necessary. Mike Bartlett is such a good writer that he doesn’t need to resort to such easy lazy  laughs.

Charles II runs at Curve until 30 January and then is touring

More information at http://kingcharles3play.co.uk/tour-dates/

First published in Western Gazette

Rope

Review by: Paul Towers, 18/01/16

Rope by Patrick Hamilton

LDS Production, Robert Bilic, Matthew Jarram, Robert Leeson

The Little Theatre, Leicester 18 – 23 January 2016

“psychological thriller based on real events”

On 21^st May 1924 Nathan Leopold and Richard Loeb committed what they thought was the perfect crime; the murder of a completely unrelated young boy, purely for the intellectual ‘fun of it’, as an ‘intellectual exercise’. Of course it was far from perfect and, through a couple of simple errors on their part, they were caught. This horrifically immoral crime inspired several books, plays and movies. Notable of these was Alfred Hitchcock’s Rope and, the source material for that film, Patrick Hamilton’s play presented here in a modernised version.

The single set is beautifully reminiscent of a faux art deco apartment high above central London and the lighting serves admirably to heighten the tension as the macabre dinner party is thrown on the antique chest containing the body of 14 year old David Kentley, son of one of the guests. Robert Bilic’s controlling and in control Wyndham Brandon perfectly pulls the strings of Matthew Jarram’s almost hysterical and increasingly drunk Charles Granillo, his partner in crime.

As the evening wears on various guests arrive as they wait for the one person Brandon considers his intellectual equal, Rupert Cadell and thus begins a masterful display of verbal jousting over the ill fated contents of the trunk as Brandon teases his mentor.

This psychological thriller, based on true facts, makes for a suspenseful evening’s entertainment. Occasionally funny but scarily true to life

Rope is on at The Little Theatre until Saturday 23^rd January

First published in Western Gazette

Aladdin

Review by: Paul Towers, 24/8/2015

Aladdin – devised and directed by John Bale

Leicester Drama Society

The Little Theatre, Leicester 11 December to 3 January 2016

“Perfect pantomime fare for all the family”

Every year Leicester Drama Society, the resident company based in Leicester’s Little Theatre on Dover Street, settles in for the festive season with a pantomime. This year’s offering is Aladdin, the tale of a love found and lost, a magic lamp found and lost, vast riches found and lost and found again. You get the idea.

This is a production that relies heavily on corny jokes, excruciating puns, slapstick comedy, lavish costumes and pop songs shoe-horned into a wildly improbably plot. Perfect pantomime fare for all the family, especially when you get a flying carpet thrown in alongside some rather telling digs at various landmarks around Leicestershire.

An enthusiastic young audience who had, I have no doubt, over done it on the Haribo beforehand, scream and shouted on cue, booed the rather camp and villainous Abanazar, cheered the completely unconvincing Widow Twanky (which is as it should be) and obliged Wishee Washee with every catch phrase he threw at them. Some of the theatre staff seemed a little stressed during the interval when hordes of pre-school darlings ran up and down the aisles. But the minute the lights went down an expectant hush settled over even the most troublesome toddler and the magic resumed.

Whenever I go to see an amateur or ‘community’ production it always strikes me that there is such an abundance of talented performers who would never consider making a living in the theatre. The greater country’s loss is Leicester’s gain.

There were several familiar faces in Aladdin and it was great to see them broadening their capabilities. Especial mention has to go to James May’s Wishee Washee who has progressed from junior dancing to his first leading major role. Keir Watson, playing Abanazar, has been in many local productions and gives full reign to his nefarious side in the role. Joe Chamberlain and Isaac Hart as the Chinese Policemen fill the stage with both physical and verbal nonsense to great effect.

Despite some odd dropping out of the radio microphones nothing was going to spoil the show for the very vocal youngsters attending probably their first theatrical performance.

Tickets are available at www.thelittletheatre.net/whats-on

First published on Western Gazette

The Witches

Review by: Paul Towers, 16/12/15

Roald Dahl’s The Witches, adapted by David Wood

A Curve and Rose Theatre, Kingston Production

Curve until Sunday 10^th January 2016

“fast paced, lots of magic and comedy, great villains and music”

Roald Dahl subscribed to the belief that a children’s story should entertain and scare in equal parts. The Witches does both in spades. Put simply this is the story of how a boy saved England’s children from being turned into mice and other creatures by child hating witches. Along the way The Boy and his friend Bruno learn how to be independent and to be happy with what they have.

Roald Dahl is now best known for his children’s stories but he also wrote many adult tales, most notably Tales of The Unexpected. Adapted by David Wood, acclaimed children’s stage author, this is a perfect theatre experience for the over 7’s. With lots of pyrotechnics, flashing lights and loud sound effects it may be a little much for the average toddler.

This production is a glorious melange of everything Dahl wanted in a children’s story, fast paced, lots of magic and comedy, great villains and music.

Director Nikolai Foster has created a wacky world in a quirky set that morphs from The Boy’s house to a ship to a hotel and back and forth. The cast are superbly costumed in ever more outrageous outfits to reflect the out-of-this-worldliness of a coven of witches hiding out in a respectable south coast hotel.

As The Boy Fox Jackson-Keen has an endearing innocence and uses his ballet background to great effect as he flees up and around the scenery, back flipping his way out of the clutches of the marauding witches. All of the cast are adept at singing, playing instruments and acting and  people the stage with a vast array of characters.

Sarah Ingram as the Grand High Witch has great fun channelling Cruella Deville and every pantomime wicked queen as she desperately tries to prevent The Boy and Bruno from foiling her master plan.

I have to admit that I got nearly as much fun watching the reactions on the faces of the youngsters in the audience as I did from what was on stage. One little lad of about 8 years old on the front row was beside himself with joy when the entire cast high-fived him on their way out. What a great first theatre experience for him.

The Witches is at Curve until 10^th January and then touring nationwide until at least 10 April 2016
STOP PRESS - Extra performances have been added between 15 and 17th January due to public demand.

First published in Western Gazette
(c) Paul Towers 2015