What The Butler Saw - Curve

Review by: Paul Towers, 08 March 2017

What The Butler Saw by Joe Orton

Curve and Theatre Royal Bath co-production directed by Nikolai Foster

Curve 3-18 March2017

“You will rarely leave a theatre having laughed so much”

It is fitting that Leicester’s Curve is producing a 50^th anniversary production of Joe Orton’s final masterpiece, What The Butler Saw in his home town.

On the surface this is ‘just a farce’ but when you factor in Orton’s mischievous corruption of Wildean-style aphorisms you get an outrageous romp through a whole catalogue of post censorship taboo subjects.

Delivered at a pace that leaves you gasping with laughter just as the next barbed comment is delivered, the characters aim vicious insults at a wide variety of targets. Orton was notorious for his utter contempt for all sorts of authority figures and here the police and psychiatrists take the most flak with a healthy dose of disdain aimed at modern (1960’s) views on gender swapping, cross dressing, nudity and marital discord.

Although Joe Orton finished writing the play in July 1967 mere weeks before his lover, Kenneth Halliwell, kills him and then commits suicide, it wasn’t until 1969 that What The Butler Saw was finally staged, having to wait for the abolition of the contentious 1737 Licensing Act and 1843 Theatres Act whereby all scripts had to be approved by a Government body, latterly the Lord Chamberalin's office.

The set for this play is a beautifully imagined psychiatrist’s office, large, round and pristine with a requisite number of doors through which characters enter and exit at a dizzying rate. Designed by Michael Taylor it perfectly contains the cast of  six who seem to revolve in and out, round and round while getting nowhere except tied up in knots of their own making.

While most farces are quite happy to take liberties with logical behaviour Orton happily throws logic out of the window and takes the most outrageous liberties with believability all in the pursuit of a laugh. As the second act comes to a close and, somehow, he has to tie all the loose ends together, the action gets more and more unbelievable and more hilarious.

The cast is ably led by Rufus Hound (last seen in Leicester with 1 Man, 2 Governors) and Jasper Britton on his first visit to Leicester. It is a welcome back to Dakota Blue Richards, last seen here in A Streetcar Named Desire, and  Ravi Aujla returning after his last visit at the old Haymarket. Jack Holden, spending most of the production near naked, and Catherine Russell, last seen here in One Flew Over The Cuckoo’s Nest, complete the enormously energetic cast.

If you can get a ticket before 18 March, do so. You will rarely leave a theatre having laughed so much. The production transfers to The Theatre Royal, Bath for 27 March – 1 April 2017

First published on Western Gazette

The Full Monty - DMH

Review by: Paul Towers, 06 March 2017

The Full Monty by Simon Beaufoy

A Sheffield Theatres production directed by Jack Ryder

DeMontfort Hall 6 – 11 March 2017

“The Full Monty is everything the publicity promised and more.”

Much has been said in the media of late about disruptive audience members. Usually this refers to those inconsiderate enough to continue using their mobile phones during a performance, tweeting every nuance of the production or even  filming the show. But tonight at DeMontfort Hall we were repeatedly disturbed by women getting up during the show to go to the toilet. Does it not seem logical that if you consume several glasses of wine before the show that your bladder  will not survive a 50 minute first half? I find it incredibly disrespectful to the actors and the other audience members to be so selfish.

So, rant over, let me say that despite the disruptions The Full Monty is everything the publicity promised (‘terrific’ and ‘chuffing brilliant’) and more. Right from the moment the curtain went up we were laughing out loud at a barrage of one-liners and awkward situations. This show not for the faint hearted and you should be aware there is plenty of ‘language’. Understandable when you remember this is about a group of redundant working class labourers desperate to make some money as male strippers for a night.

The cast are nearing the end of a nationwide tour and it shows. They are incredibly comfortable with each other and the physical comedy between them has been honed to wring every laugh out of the many prat falls in the wonderful script by Simon Beaufoy. Somehow the stage show is even funnier than the film despite a few dark moments. The child playing Nathan, 12 year old Monty Poole I think, stole every scene he was in.

The cast is led by Gary Lucy (Hollyoaks & Footballers’ Wives), Andrew Dunn (Dinnerladies) and a very hard working ensemble of  14.

The set is a suitably rusting Sheffield steel works lying idle after work has dried up. With loads of props and various sliding panels in the back it transforms into every scene needed. Much of the music from the original film is included and yes, they do get to keep their hats on, at least until the very last moment!

The audience, predominantly female and tanked up on Lambrini, whooped and hollered everywhere they were expected to and a few extra alcohol-fuelled places as well. This is a girls-night-out kind of show.

The Full Monty is on until Sat 11 March and there may be a few tickets left, but don’t leave it too long before you buy. The tour continues til April when it returns to its home, Sheffield.

www.demontforthall.co.uk for full details.

First published on Western Gazette

Carol Leeming's Enchanter

Review by: Paul Towers, 03 March 2017

Enchanter by Carol Leeming

Upstairs @ The Western, 3rd March 2017

“Carol Leeming explores her cultural roots.”

Despite a late start due to the inclement weather Carol Leeming lived up to her reputation and produced an idiosyncratic new work which goes some way towards exploring her cultural roots

Dressed in a voluminous silver robe and a mirrored straw hat, both inspired by her ancestral antecedents, Ms Leeming sang and spoke as a precursor to a special showing of her acclaimed short film Enchanter.

Carol has long been admired for her singing voice and here she demonstrates her adaptability in styles as diverse as Gospel and native African as she alludes to the slave trade of the 19^th century.

The film Enchanter is a beautifully shot monochrome love song which captures the transient quality of finding emotional fulfilment. The whole look being very reminiscent of a Middle Eastern souk

A short Q &A session at the end of part 1 allowed the audience to ask questions of both Carol and Rob, the film-maker.

The second half of the evening was taken up with readings from her debut book of poems, The Declamations of Cool Eye

First published on Western Gazette

The Shape of Things

Review by: Paul Towers, 17 February 2017

The Shape of Things by Neil LaBute

A Good Vibe Theatre Company production

Upstairs @ The Western, 17^th February 2017

“savage indictment of art for art’s sake.”

Upstairs at The Western kicked off its offerings of drama this season under the new management with Neil LaBute’s savage indictment of art for art’s sake, here ably staged by this new Derby based A Good Vibe Theatre Company. This production has been entered in the National Student Drama Festival in April as part of Hull’s City of Culture events.

On a bare stage set only with five examples of art from the last 150 years nerdy, socially awkward Adam plucks up the courage to ask gregarious Evelyn on a date fully expecting her to turn him down. He can’t believe his luck when this vibrant, sophisticated, beautiful woman says yes. This sets in motion a series of events that will reveal temptress Evelyn to be the arch manipulative she-devil every man fears.

Adam is played by Jordan May as a plumpish, boring outsider who struggles to get a girlfriend while Chelsea Forde as the controlling Evelyn is a bright, sparky and soul-less devil-incarnate.

Alongside these eminently capable actors are Sarah Hartshorn as Jenny and Dalu Moyo as Philip, her boyfriend. This couple, Adams long time friends, are drawn inexorably into Evelyn’s web of deceit and treachery as she divides the friendship group to rule Adam

It is no coincidence that Adam and Evelyn are so named as LaBute draws on the temptation of Adam by Eve to illustrate his downfall as he is metaphorically lead around by his manhood and moulded into what Evelyn thinks society deems to be near perfect.

LaBute has created an intense and disturbing study in the misuse of power within a relationship

The cast dealt very well with a couple of scenery malfunctions and were not put off their stride. Cleverly choreographed scene changes made the most of Upstairs’ intimate stage and good lighting was use to good effect.

Should you get a chance to see this production grab a ticket. You will be entertained and disturbed in equal measure

http://upstairsatthewestern.com/

First published on Western Gazette
and on Pub Theatre blog

The Wedding Singer

Review by: Paul Towers, 14 February 2017

The Wedding Singer by Chad Beguelin & Tim Herlihy

A Dan Looney production

Curve 10 – 18 February

“If you liked Legally Blonde then you will love The Wedding Singer

Every now and again I find myself  sat in an audience that is laughing hysterically every few minutes while I sit there stony faced. Have I become so jaded as to have lost my sense of humour, am I missing some obvious hilarity on the stage? Or am I just sitting through a touring production of The Wedding Singer?

It has to be admitted before I start that I hated the film, loathed Adam Sandler and turned off after 20 minutes.

This version of the show is billed as a rom-com. Sadly it is mainly rom with little com.

Fortunately the producers have ditched the original soundtrack and have gone for a whole new playlist. Sadly there are no memorable or hum-able tunes to send you out of the theatre in a good mood.

On the other hand there is a very competent live band in the orchestra pit, the choreography is very much of a West End standard so appealing to tourists and there is good use of Curve’s scenic technology as props slide in and out unaided.

If you liked Legally Blonde then you will love The Wedding Singer. The show is at Curve until Saturday and then on tour

Full details on www.theweddingsingermusical.co.uk

First published on Western Gazette

Sleuth

Review by: Paul Towers, 06 February 2017

Sleuth by Anthony Shaffer

Leicester Drama Society production, directed by Edward Spence

The Little Theatre 6 – 11 February 2017

“duplicity and psychological manipulation”

Sleuth is Anthony Shaffer’s satire on Agatha Christie country house murder mysteries, a psychological thriller laced with black humour.

In the very capable hands of  the cast of Kenton Hall and Jaz Cox, director Edward Spence plays numerous mind games with the audience right up to the interval curtain. Then, suitably lubricated, the audience has the duplicity and psychological manipulation ramped up even higher by Shaffer’s masterpiece of  misdirection.

On a typically versatile set of a country house lounge and mezzanine our cast bounce around as first Hall and then Cox wind each other, and the audience, up with alacrity until none of us knew what was real and what wasn’t.

The first half is crammed full of theatrics and special effects while the second half really twists the knife of suspense.

Both of the cast members are very obviously professionally trained and bring an energy to this amateur production that is palpable from the back of the stalls.

Tickets are still available at www.thelittletheatre.net

First published on Western Gazette

Ceri Dupree

Review by: Paul Towers, 01 February 2017

The Faaabulous Ceri Dupree Show

Written and performed by Ceri Dupree

Curve Studio  1 – 4^th February

“the costumes are more lavish, the patter is even filthier”

Ceri Dupree has been a regular visitor to Leicester for many years, first at the now defunct Stardust Club, then The Haymarket Theatre in Hot Stuff and his solo show and now he is an annual fixture on the Curve programme.

I last saw him in 2008 and I am happy to say that nearly 10 years on, the costumes are more lavish, the patter is even filthier and his singing voice is even better. This is not a show for the easily offended and can be best described as Danny La Rue in Blackpool but much more adult. In fact, a couple of times I did wonder if he had misjudged the material. But the audience seemed well up for it.

The set was a beautifully sparkly concoction of  twinkling pillars and a large screen which, in the first half was a projection screen, while in the second half it was his trademark lightbox so we could watch the character transformations in silhouette. And it is the multiple costume changes which make Ceri’s show so eye catching.

The first half opened with him doing a nice segment of standup before he disappeared behind the screen to change into Shirley Bassey, Gladys Pugh, Dorothy Squires and finally Mary Hopkins. His Bassey, singing an original parody of some of her memorable songs, was one of the strongest impersonations. No surprise really as they both hail from Cardiff. While some of the younger audience members will have had no idea who Dorothy Squires was, those of us that remembered her appreciated the affection mickey-take. The Gladys Pugh was where I thought some of the ‘gags’ veered towards the tasteless.

The second half opened with, once again, a standup segment before launching into an array of  costume changes, some for just a single song, others for larger routines. Zsa Zsa Gabor was swiftly followed by Dame Edna, Joan Rivers (again verging on the tasteless, but then that is Ms Rivers’ USP), Dolly Parton, Lady GaGa (an hilarious OTT costume as befits the chameleon of song), an astonishing looking Cher, Tina Turner (spot on vocals and dancing) and an unbelievable Bjork (the routine and costume are out of this world).

The Ceri Dupree show is on until Saturday but is almost sold out so ring the box office for returns

http://www.curveonline.co.uk/

First published on Western Gazette