Drama Reviews 2006

CREWE LYCEUM ADULT DRAMA GROUP - Brenton Versus Brenton, Last Tango in Buxton

An amusing one act play performed in the rather cavernous space of the Paxton Suite. The action was centred on a dispute between the married Brentons and was set in their condom factory in the United States. We follow the machinations of the somewhat scatty Brenton family whose members seem to be searching for some sort of fulfilment that they cannot quite identify.

The actors were obviously well rehearsed and as a result their characterisations were convincing. The action bowled along at a good pace helped by firm, tight production. There were many good gags which enlivened the story. But alas no indication in the programme of whom the author was.

Some short monologues and a duologue preceded the play and together made up an entertaining programme.

P.L.

SIDETRACKED THEATRE - The Virtuous Burglar by Dario Fo

The Pauper's Pit, Old Hall Hotel

(7.30pm - 20th July 2006)

Remaining Shows: 21st & 22nd July (7.30pm)

Verdict - A tidy little production by an enthusiast cast sees them fizz pleasantly through this sharply scripted Fo parade of mistaken identities which does bring some smiles and laughs. High tempo and high pitch meant that the depth of character interaction was limited though. It washed nicely over you but never really stirred you.

'The Virtuous Burglar' is a 1 act farce, set in 50's Italy, penned by Italian playwright n satirist Dario Fo, who surprisingly for someone who's won the Nobel Prize for Literature, has produced some readily accessible and genuinely funny material which loses nothing in translation and always lends itself to be transported to any era and country.

When a burglar (Alan Neal) breaks into the flat of a wealthy councillor (David Leverton), he gets more than he bargained for, firstly being interrupted on the job by his wife (Verity May Henry) and then by the owner who arrives home unexpectedly with his lover (Lucy Egerton). Before long seven characters are involved in the mix, and as the many connections between them become evident, the mathematical possibilities begin to stack up - a bed that sleeps all seven wouldn't be inappropriate.

As mentioned, the racy pace was welcome and in keeping with intention of the script. However I felt more humour could have been wrung out of some scenes. A premium was placed on the physical action, with the spoken word playing second fiddle. For instance the councillor contents himself with displaying a permanent state of high anxiety with the odd under note of randy-ness. A bit more considered facial expression, a sliver of subtlety the odd nudge, nudge, wink, wink...simply to convince us that he and his lover were...well in love...they seemed on the verge of falling out of love way before she develops her crush on the Burglar. This applies to other members of the cast too though in fairness Lucy Egerton as 'the lover' acted with sufficient variation for her to stand out as the most convincing character (for instance in the way she showed her lover how the gun worked).

A quick word for the set which worked well as did the use of the staircase as a hidden corridor

The Pit was sold out and the play well received, so there'll be plenty of other opinions on offer. In this case, if you're tempted but not sure whether t'see it...I would say go...you'll enjoy it provided you're realistic about you're expectations...even more so if you've never seen any Fo before.

Stoon

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Best Lines: Spoken to the Burglar - "Suppose we give him a serious wound"

Spoken by the Burglar's wife - "I was married in church, not a registry office like a whore"

Burglar's wife spkg to her husband on the phone whilst he's in the flat and after she

learns that there's a Grandfather clock there - "How heavy is it?" (or how old is it)

DISTRACTION THEATRE COMPANY - The Marriage of Figaro.

*DISTRACTION THEATRE COMPANY

Buxton Cricket Ground

20th July 2006

Buxton Festival Fringe isn't really complete without the opportunity to see an outdoor performance at the Cricket Ground. But the weather doesn't always co-operate, and it is a courageous theatre company that plans to bring one open air production let alone two. So, full marks to Distraction Theatre Company for returning this week to present The Marriage of Figaro.

This isn't the Mozart opera but the Beaumarchais play that inspired it. Figaro, steward to the count, plans to marry Suzanne, the countess' maid but there are many schemes afoot to thwart his intentions. There are many twists and turns in the story and, for those unfamiliar with it, this is a rare chance to get to grips with the plot before you see a production that adds the arias!

In a big outdoor space like the cricket ground, with the beautiful scenery competing for attention, the action on stage needs to be eye-catching and riveting. Distraction Theatre's bright costumes, big wigs, big voices and exaggerated gestures fit the bill here. The comic antics of the discordant chorus are particularly effective.

So pack that picnic (and the midge cream) and spend a warm summer's evening watching Distraction's entertaining show.

Barbara Wilson

P.S. The production ends at 9.30 pm rather than at 9.00 pm as listed in the programme.

BLACK BOX THEATRE COMPANY - Yesterday by Ian Moore

Yesterday . . .  a story of love, death, life and Jenga!

Verdict - As the sun prepares to set on this year's fringe, here's a little gem amongst the still-glowing embers. A clever but tricky idea is pulled off in style - well acted by all but with a standout performance from a little lady who plays a ghost...this keeps you thinking afterwards too...just don't call her Casper

This is a tale of two sisters, one grown up (Amy) & one who isn't (Jennifer, aged 14) and a stranger (Julie-Anne) who are brought together through being in the same place at the wrong time; in this case the World Trade Centre on the notorious morning of 9/11 (2001). It wouldn't be breaking client confidentially to reveal that Jennifer, or Jen as she's called, becomes a victim of the terrorist attacks that fateful day. Rather than representing her demise, it merely provides an opportunity for her to be recast as...her ghost of course...aged 14 naturally....and only visible to Amy.

Those of you fearing the onrush of a sugar overdose as we witness scenes from the film 'Ghost' can put your insulin away. Instead it's dealt with in a 'Randall & Hopkirk [Dec'd]' style - with Marty the returning ghost in that series being emulated by Jen, who dons an all-white outfit in true homage. Marty regularly took it upon himself to ensure his widow (who couldn't see him) met with no harm, especially from unsuitable suitors and Jen shows what a true caring spirit she is by similarly keeping an eye for big sis. The play lives or dies on whether the audience buys this as a realistic set-up or not...and thankfully we do, predominantly because of Jen (Lucy Bromilow - aged 14!). That's a credit both to her acting and to Director (and author) Ian Moore for choosing the style in which she plays the part. When she's not speaking to Amy, she's providing a running commentary on events for the benefit of the audience and even when she's silent her facial expressions and general bobbing about are excellent. Intriguingly she is able to observe with adult lucidity yet still pleasingly displays her natural childishness (in a sort of Marmalade Atkins way).

And what of Amy (Aoibheann Kelly) & Julie-Anne (Katharine Kavanagh)? Well, they too put in a very good evenings work, best illustrated by the shift in sympathies we feel towards them. Initially the dazed n grieving Amy has our vote as Julie-Anne (Jules) seems to be annoyingly making the numbers up. Then in series of flashbacks Julie-Anne takes the spotlight and suddenly everyone's a victim. Further details of the unfolding storyline aren't necessary, suffice to say that the Full House of emotions on display means every1 will have their own thoughts based on personal experiences - this just acts as a trigger. In the end age is shown to be irrelevant, it's what we feel n say that matters.

Special mention to the set, which together with the complimentary lighting, created an ethereal feeling of 'nowhere in particular' - which yet still seemed strangely familiar!?!. The lighting changes during the flashback scenes was a simple but effective too. The script too was spot-on and the piece was entertaining and zipped along nicely, despite the 'heavy' subject matter, helped by Aoibheann's deft plucking of the on-stage Harp's strings between some of the short n snappy scenes. The fact that all 3 actresses remained on stage was a factor as well (proper thespian term for that any1?).

Some people may feel a little jaded with the 9-11 backdrop - for me the play almost seemed topical as I'd seen the brilliant 'United 93' at the flicks in May. That aside, the madness we see being unleashed in the Middle-East right now means that a lot more 'Amy n Jens' are being created each day - of all ages. And the justification? Pretty much what it was on that September morning...sadly not much has changed.

Stoon

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Best eco-friendly use of an Iconic 80's Game (and its packaging): The Jenga Tower + Box as the Twin Towers

Best 'Luvvy' term of the fringe: 'Non-linear'

Best rpt use of a line (said by Julie-Anne both times): In response to being called 'Jules' - 'Don't call me that!' Later in response to being called 'Julie-Anne' - 'Don't call me that'

THE ANTIDOTES - Only Smarties Have the Answer

Pauper's Pit, The Old Hall Hotel

Let's begin at the end; a rich round of applause and loud cheers! The audience have thoroughly enjoyed the show and the star thanks us warmly, for, well putting up with the heat and teething problems. Cheers all round.

The show is one man's tale of his struggle with the thought police, or the mental health services of this country for over two decades. Now having worked for the thought police for quite a while both here and abroad, I recognized all of his nightmares, and could think of a few that were omitted. However, Aidan gets his story across with no malice, just a degree of concern and a healthy dose of scepticism about the personnel and methods he and many others have endured. It must be said that in the 1970's and 1980's there were indeed many of the pompous souls (do Dr's have souls?) so vividly recreated in the form of Professor Punch. Having witnessed a 'world expert' coercing individuals into having medication when discussion 'failed' I fully appreciate what Aidan has to say.

The show has a sense of imagery, pathos and wit which should be appreciated by the audience. There are echoes of Spitting Image at its best, and you can just see Donald Sinden as the pompous Prof! Sadly, I fear what the star has to say will be largely ignored by the thought police as they continue to control the perceptions, however different, of others, but this is a step along the way.

Ian Heath

TASTE PRODUCTIONS - The Magdalen Whitewash

TASTE PRODUCTIONS

Buxton Methodist Church Upstairs Room (Market Place).

The first Fringe performance of this play, written by Somerset-based playwright Valerie Goodwin, took place in the New Mills Church of St. James the Less. This 19th century church, with its fine stained glass windows and vaulted ceiling, is - if bids for funding are successful - to become New Mills' new arts centre. Taste Productions is a youth theatre group with members ranging from 12 to 25.

The Magdalen Whitewash Laundries provided a "home" in which "fallen women", often young women were deposited by their families to "hide the shame" or until their "babbies" could be placed with adoptive parents. Sometimes, as we see in this stageplay (which predates the film, incidentally), women could end up spending the rest of their lives there. They lived lives not of their own choosing, whose hardships and small comforts were entirely governed by the whims of the nuns and priests running the place. These nuns and priests were variable in their motivations, and their position of power was unassailable.

One of the strengths of the script is that, at strategic points throughout the play, the right questions are asked - often by "new" characters arriving at the Convent. Why is it that the women who have become pregnant are regarded as "fallen", whilst the men who have fathered their babies - often ruthless, opportunistic "pillars of society" are regarded as having been tempted or led astray? And, if their babies have been adopted, why are the women still living there, years later? Crucially, when the adopted daughter of one inmate returns in adulthood to "fetch" her birth mother, to "take her away"; who, in the end, decides what is actually best for this woman who has lived there for over two decades?

The life stories of the young, and not so young women, unfold: their hopes, their losses, their joys, their agonies. This is by no means a bleak portrayal of these women's' lives: they can be supportive, companionable, and humorous: they are Irish after all! The crunch though, is this: can a bunch of teenage actors from Somerset transport a New Mills audience to a convent in the west of Ireland in the 1930s? You bet they can. Playing the "Maggies": Keira Simpson (Mary), Florence Jones (Nancy), Ethne Grey Still (Angela), Emily Smith (Martha), Matt Slate (Old Marie), Vicky Parker (Assumpta), Lucy Martin (Bernadette), and Florence Jones (Pauline) give strong, skilfully-directed performances. Selina Tracey (Sister Ignatia and also the waitress) , Ben Hansen Hicks (Sister Margaret),Kirsty Moore ( Sister Gabriel), Jamie Isaacs (Mother Superior), Edd Eckersall (Father O'Connell), and Toby Eckersall (Father Doyle) represent the clergy with fervour and conviction. Sean Clothier (Jim) and Matt Slate (Donal) are thoroughly credible as the opportunistic, philandering laundrymen, and Kirsty Moore is chilling as Mrs Doolan (Pauline's mother). Last but not least, Jennie Poulten plays the ten year old "orphan" Patricia who is, in fact, Bernadette's daughter.

The performance makes full use of the opportunities afforded by the space, and ready-made "set" (the altar). Costumes and laundry implements seem era-appropriate. Sheets - as you might imagine - play a major part; folded, shaken, wrapped, and bundled - sometimes for practical purposes, sometimes symbolically. This is Taste Productions' first appearance at the Buxton Festival Fringe. I hope it won't be their last - we need more youth theatre groups of this calibre. It'll make you laugh, it'll make you sigh, it'll anger you, and it might make you cry......... but don't miss it.

Susie Muncaster

TASTE PRODUCTIONS - Where's Waldo?

TASTE PRODUCTIONS

St James the Less Church

New Mills (11am - 17 July 2006)

Remaining Shows (in Buxton): 17th & 21st July (7.30pm) - Upstairs Room 17, Buxton Methodist Church (Mkt Place - venue No 6

Verdict - A sort of 'Comic Book Presents' version of Scooby Doo...without Scooby...who's, erm, replaced by an Elvis impersonator! Despite the amiable pre-watershed content there are enough sharper cuts of script (especially towards the end) to appeal to those with a darker, oops sorry, alternative sense of humour, especially if they originally saw the 70s BBC broadcasts (in colour!). Also worth seeing for some well played parts too. I smiled more as I drove back after the show, so definitely an enjoyable out-of- town experience - fortunately the next two shows are on your doorstep.

Essentially a series of sketches played by a young cast, with intervening dance routines (to backing songs), this show transports the 4 original human members of Scooby Doo to the alligator-ridden swamplands of the deep American south whilst also increasing gang membership by 50%. This Hexet (?) did successfully make their debut at last years fringe and like all Superheroes, they're back in a sequel, or maybe it's a prequel; the truth is no one, including the cast knows, as the play centres around the construction of a plot and, more importantly an ending. We effectively watch a combo of a rehearsal + simultaneous on-stage script meeting (works fine).

The 'gang of 6' interacted well with a suitable level of bitching amongst certain members, sorry, females...always the case. Ted (Ben Hansen Hicks) was interestingly played - a sort of hybrid between Matt Damon (face/some mannerisms) & Uncle Quentin (mannerisms/voice) from the 'Five Go Mad' series of the 80's. Alvin Graceland (the 5th member) was great with his impromptu Elvis bursts...which always attracted scorn (unfairly) from everyone else ...his subsequent facial expressions each time were spot on. Waldo (Ethne Grey Still) was always worth listening too, especially in the later stages when she started to question her sexuality! The undoubted gang leader though was Zelma (Florence Jones) - even her altar stained glass window-shattering attempts to sing were top draw. For me, she came pretty close to matching my memory of Velma in the cartoon series.

Naturally there were villains. Sinister Uncle Rebus (Matt Slate) was brilliantly hammed up and clearly had lineage traceable back to Vlad the Impaler. Naturally the Uncle of Darkness was equally well assisted by Mini-me Rebus (Jamie Issacs) who managed a great impersonation of Antonio Banderas playing Ygor. His continually changing facial expressions never failed to catch the eye. Oh yeah, he played a mean sax to boot, banging out a couple of short but sweet tunes.

Finally there was the Old Hag of an Evil Housekeeper, no doubt replacing the Evil Caretaker on this occasion on the grounds of sexual equality. Known as Mrs Dietweller, (Jennie Poulten), though I may have heard her called Mortilda. She certainly looked the part and was an entertaining live wire throughout the performance taking care to administer her nastiness in just the right doses, manic dancer too (keep taking the Glucosamine Hun).

My favourite dance sequence was the opening scene, some of the others seemed to make the show a bit 'choppy' but on reflection that may have been the intention so as to give the production a 'rehearsal' feel.

Suggestions for improvement - an 11pm version for Pauper's Pit

Stoon

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Best Lines: Upon not being able to read the info on the long lost secret treasure map left by his

Great Uncle Waldo, Uncle Rebus explains why - "He was a Dr"

After revealing that he'd cut the eyes out of various paintings so as to spy on the kids, Uncle Rebus reassures us "No more pervy type of stalking, it's a pre-watershed cartoon"

Unique Fringe Moment: Hearing the Word 'Freakin'

Bad News: No Scooby Snacks for the audience

PALS PRODUCTIONS - Robin Hood Retold

*PALS PRODUCTIONS

"Robin Hood, Robin Hood riding through the glen..."

All of the legend's favourite characters are here - Scarlet, Little John, Friar Tuck, the Sheriff, Prince John, Maid Marion and of course Robin himself. The cast of four triple up their roles, with quick changes that never let the pace of the show drop. Effective changes of voice and body language left at least one couple in the audience asking how many cast members there actually were.

"Robin Hood, Robin Hood with his band of men..."

Laura Clark turns in a feisty performance of Scarlet, a no-nonsense girl about town, not so willing to believe the myth of Robin Hood. I also loved Clark's 'Mad Mona' character (every village should have one) - a wonderful and funny physical and vocal performance. Sarah Guyer switched between Tuck (the first female friar in England), the Sheriff and a slightly jolly hockey-sticks Marion, creating three very different characters. Alan Parker as the eponymous outlaw and newcomer Marc McGarry also comfortably flitted between roles with entertaining performances.

"Feared by the bad, loved by the good..."

The scene is set of a downtrodden Nottingham, a prince only concerned with where his next crown is coming from and the local peasants, full of hope for the return of their hero. A bright, vibrant and very funny show that - without loosing any professionalism in delivery - doesn't take itself too seriously. With plenty of opportunity to boo the villains and cheer the (eventual) heroes this makes for great family entertainment that all can enjoy.

"Robin Hood, Robin Hood, Robin Hood"

Maria Carnegie

VINEYARD THEATRE COMPANY - Anna and Rose

VINEYARD THEATRE COMPANY

The Old Clubhouse (5.30pm - 17 July 2006)

Remaining Shows: 18th-22nd July (5.30pm)

Verdict - High-Octane, Loud, Brash and occasionally Slap-Stick, this often forgoes dramatic subtlety in favour of raw energy; consequently character development (and thereby emotional involvement) is left to a minimum as the colourful narrative drives the play forward. The cultural hotchpots on offer provides something that's different to the norm and indeed some of the scenes n characters are memorable - none more so than Honey B.

Mmm...this one's a difficult one. It's out 'n' out style wasn't my cup of Earl Grey (well not 100% of the time). However, the story's a rare un' especially given the fact that it's based on a true tale and I loved certain characters and the whole way diverse cultures were thrown together so that the battle-of-the-sexes became truly a clash of national temperaments as sassy 'n' swaggering Afro-Caribbean Belles squared up to hot-blooded Mediterranean Senoritas who burned with passion fuelled by resentment..

There was plenty of real humour, across the whole spectrum - loved the 'take the washing out scene' and also the way the Policeman (Colly Wilson) portrayed his conflict of interests (wonderfully transparent). For me, the times when he too switched to 'excitable' mode added nothing. Must mention too that the curtain-raising flamenco dance/music/belly dance was the sexiest opening scene I've seen so far, especially if you like a bop.

The plot - well the 2 sisters of the title, Anna & Rose, both with unfortunate pasts, commit a murder, possibly justifiable on the grounds of revenge and eventually fall in love as a result. But the expected happy ending is jeopardised by more twists than your average John Curry freestyle performance.

Those cool characters? Well they were simply the ones I warmed to most...Biggies Mama (Enesi Matanhire) who in her low-key tones was always someone you believed had no agenda and consequently never wished harm upon. Love interest Kayne (Ken Otukoya) was always a joy to watch and so believable in his role as someone who was a vibrant extrovert, yet still had a heart. And then there was Mona (Honey B)...best described as Badass Mutha (with plenty of bling). Adorned with a stunning hair accessory and sporting her hair in ginger twists that lay flat to her head she was a truly a modern day Black Medussa - backing that image up through her pure aura of calculated menace which underpinned her words n actions. Though short lived, her stage time was truly memorable. I also thought Vivienne (Lauren Gilfeather) was a welcome breath of calm serenity amongst the raised voices.

And onto our 2 heroines, Anna (Noor Khamou who wrote and directed), whom we meet first and Rose (Farrah Khamou). They play their parts with believable passion which generally results in screaming at the top of their voices. As they do this on a regular basis, the dramatic effect is reduced, more so when other characters (Basha-Paul Hann) follow suit. For me this 'Wassup/Oh my God' highly strung style followed by dialogue that was screamed at maximum shrill pitch detracted from the sentiment of what was actually being said. A pity as the final tragic events deserved a more sober (quieter) tone to elicit the true grief being felt. Less is more maybe.

I'm glad I saw it for the reasons expressed, despite the reservations. This is really 1 that's gonna be down to personal preference...over to you paying punters, one thing you are guaranteed is VFM, the play clocks in at a shade under 100, (mins not degrees)..

Stoon

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Best Wimmin' Line: "All men are dogs, not 1 without fleas"

Best MCP Line: "My Pappa killed my mother because she was reading when he was sipping tea

Best Comedy Moment: Kanye is (it appears rather pointlessly) banging his fists against a bedroom wall to wake the occupants inside. When asked to use his brain he repeats the action using his head

BUXTON DRAMA LEAGUE - Chopin and the Eurovision Song Contest

BUXTON DRAMA LEAGUE

Mon 17/7/6, venue 21.

From the beginning there was something about the concept of this production that intrigued me; the word was probably incongruity. How to make sense of an attempt to marry these two disparate and seemingly incompatible elements, to span two centuries and two, well, quite different genres. The incongruity was there before the performance started; a bare stage with a piano and solitary wine glass, a striped chaise-longue and chair from the mid 19th century set the stage while background music proclaimed 'We are the winners of the Eurovision'! This impression was enhanced by the programme notes, detailing a quick biography of Chopin and lover Sand and, er, the history of the Eurovision Song Contest.

Contrast was again the theme when the two main players, an initially fiery Chopin and at first distant and uninterested Sand addressed the 20 or so strong audience, small in number but nevertheless appreciative. The dynamics changed, however, as the play evolved. Rebecca Widdowson, an impressive and dominating Sand in sombre black and anachronistically male clothing, became feisty and aggressive and the perfect foil to John Keen's colourful but rather effete and sickly Chopin, although at no point was there any doubt as to the tenderness and depth of their mutual love. As they say, 'we are the oddities/mistakes', but the interaction between these two characters cannot but evoke sympathy, for all their backbiting and swapping of gentle insults. The introduction of the excellent Geoff Lunn (The Professor) as that most English, and possibly mesmerising of professors and the frankly terrifying dragon portrayed by Mary Cleare (Madame Bouffant) as a concierge capable of seeing off any emperor, let alone a group of gendarmes, completed the 'dramatis personae' for this clever and racy piece.

How revolutionary France of the mid 1800's is reconciled with the musical culture of 'our time' must, for now, remain a closely guarded secret, but there are thought - provoking arguments: is our modern age, with its scientific developments but apparent lack of culture preferable to 150 years ago, when 'music was music' but a genius dies at the age of 39?

I loved the irreverence towards some of today's cultural icons, and author Peter Harrison's clever dialogue was reason enough to watch this play. The musically philistine Sand says of her lover's 'Polonaises':

'I do think it's clever of you to make them all sound the same'.

And this dialogue between the professor and the great man himself:

'I cannot convey what an honour it is to meet such a great composer...' 'Oh do please try.'

This was a light-hearted but thought-provoking piece, which left many questions to ponder: does music reflect the state of society? Are the new times any more advanced than the old times? Is George Sand baffling? And has Mallorca really changed that much? I cannot guarantee that this production provides the answers, but it will entertain you and make you think.

Ian Hamilton

1623 THEATRE COMPANY - The Course of True Love

1623 THEATRE COMPANY

There's a certain, simple pleasure in watching a selection of Shakespeare's greatest hits, well performed, in convivial surroundings. And that was certainly on offer here, with the 1623 Theatre Company bringing their third Fringe Show of the year to the Barrel Room at Underground Venues.

Looking at my colleague, Stephanie Billen's review of Bard Among the Books, I see that the repertoire here on offer was largely the same as that performed at Brierlow Bar, so I refer readers to her review, with which I wholeheartedly agree.

I would, however, add particular praise to Kim Voisey Youlden for a tremendous Lady Macbeth, dropping her voice to its lower register, creating a sinister resonance in the great acoustic of the Barrel Room.

Robbie Carnegie

ETRURIA CAFÉ THEATRE - A Novice's Guide to GOoD

*ETRURIA CAFÉ THEATRE (c)ukstudentlife.com

Sunday 16th July

'Etruria Caf Theatre' are a voluntary group, funded by the Arts Council, involved in neighbourhood renewal schemes. Their aim is to take theatre to areas with few chances to witness or participate in live performances. As well as employing professional actors, they provide opportunities for younger people to try theatre.

There was a real community feel to this event. On arrival at Buxton Infants' School, the audience was greeted with individual sandcastles, and a free glass of wine. It set the tone for an evening characterised by kind-hearted good humour. The play itself tells the story of a group of ordinary women on a day at the seaside. Ostensibly a fun day out, it transpires that one of their number is searching for her sister, who disappeared after a scandal at their local Church. The play carries with it a belief in the powers of forgiveness and reconciliation, and above all, a sense of sisterhood and acceptance of individuals, whatever their foibles.

The relationship between the four principal women was warm and good-spirited. Rowdy, ebullient Sharon (Gill Adamson) provided a good counterpoint to the blunt kindness of Barb (Ann De-La-Haye), whilst Zo Sherwin, one of the younger cast members, gave a committed performance throughout. Also note-worthy was Daniel Hulme, whose brief but compelling appearance was a credit to his fifteen years. The seaside atmosphere was enhanced by some slick sound and lighting, which was laudable in a venue not easily suited to a conventional proscenium set.

The script itself at times could have been improved; it was not easy to work out the link between the first scene, with an anxious Priest, and the subsequent action at the seaside. However, by the final scene the story had fallen into place, and there was a pleasing moment of theatre when the darkness of the lost sister's past contrasted with the gossipy babble of the present. The performance held the attention of a diverse audience, and it was particularly pleasing to see young children engaging with the experience.

The group provided a delicious complementary picnic for every member of the audience in the interval, crowned by a stick of Blackpool Rock. The warm generosity that embodied this production was evident as the audience munched and mingled. It was very pleasant to experience a venture with altruism at its heart, and the company deserves every success in attracting new audiences to the theatre.

Bina Widdowson

RANDOM PRODUCTIONS - A Story For When We're Grandads

Billed as an accomplished piece of writing 'A story for when we're Granddads' was most certainly that. Patrick McConnell is clearly a most talented writer who has caught the authentic speech patterns of a couple of social security scroungers. As a result the characters of Mike and Dave were completely believable.

But this is not a simple tale of drinking at the taxpayers' expense. The arrival of an unexpected wad of cash from a mysterious donor not only increases the consumption of booze but opens up other new horizons for the lads. At first the new opportunities seem hilarious but suddenly they are transformed into a nightmare of criminal accusation and disturbed mental equilibrium. Nothing is quite as it seemed at first.

Great entertainment and thought provoking as well.

P.L.

More performances on 17 July at 7.30 and 19 and 20 July at 5.00 in the Paupers Pit.

FRAGILETHEATRE - Who's A Big Boy Then?

14th July

A series of conversations between the audience and characters including a policeman, nosey neighbour and teacher leave no doubt that someone is suffering silently from serious abuse. Emma is a bright girl, but her teacher has started to notice a change in her behaviour.

Have you ever felt that you can actually believe that you can make yourself disappear? It is possible if you believe Emma and repeat time and again, "I'm not here, I'm not here, this isn't happening to me." She has the mantra off to a fine art, but does it make any difference and, more importantly is she safe?

Nobody's really looking out for Emma...the policeman could have had a quiet word, but he didn't...the teacher did have a quiet word, but what good has that done? The trouble is that quiet words fall silent in the face of shouted hostilities. Anyhow, how can you keep an eye out for someone who is willing herself invisible?

Abuse is so destructive, it's not just the physical assault, and it's the digging, digging, digging that undermines confidence.

This new piece of writing, fresh from the talented 'fragile theatre' group is acted with necessary venom and compassion in equal measure. Like the play's abuser, it has been made to hit hard...and does.

David Carlisle

ENCOUNTERS OF ANOTHER KIND - A Plight of Insomnia

Pauper's Pit, Old Hall Hotel

A Plight of Insomnia is an obvious piece of 'fringe theatre' and would not be out of place in any such event. The drama set before the audience is billed as sizzling, intriguing and quirky. It is certainly the last of these, but falls short of the mark elsewhere.

Yes, there was the odd moment of humour and the occasional nice idea, particularly the 'transfer' of MP's across the floor, but on the whole it seems too much of a scattergun approach at a target which was not obvious from this production.

There is a business on the part of the actors and the set is alive with activity but this is not to be equated with a sense of storytelling. It is indeed reminiscent of the Big Brother house in leaving this reviewer baffled as to why?

Ian Heath

SON ET LUMIERE - My Arm

The Pauper's Pit

15th July 2006

My Arm by Tim Crouch is the extraordinary story of a man whose life is changed forever when as a small boy he decides to see how long he can keep his arm raised - A few days? A week? A lifetime? Meaningless in itself except as a test of endurance, this act unintentionally invites interpretation and burdens the boy and later the man with the psychological, medical and artistic intentions perceived by others.

The audience participates in the development of meaning as the tale unfolds. We use our imaginations to elaborate on the deliberately understated speech and gestures of the actor, to find links to the story in the film sequences shown, and to see human characteristics in the inanimate objects borrowed from us as we enter the theatre.

Daniel Cecil gives a beautifully restrained performance. There is no visible or audible difference in his stage persona as he recounts the tragedy of his life, but we nevertheless see the growing deformity, hear the desperation and feel the pain.

This isn't easy theatre; it's not about passive viewing. It encourages and rewards active involvement in a very moving story.

Barbara Wilson

APEX PRODUCTIONS - Bestiary

Showing Fri 14th, 6pm; Tue 18th and Wed 19th, 7:30pm at Underground Venues.

Who would have thought that the plight of Jonah's whale could almost bring an audience to tears?

The intriguing idea behind this piece - a series of monologues performed as if by some of the world's best-known animals - seems at first somewhat concerning. It conjures up images of the kind of theatre we've all witnessed, even if not since we were in the school play, where to be a dog is to go on your hands and knees and say 'woof'. However, in Bestiary, Jim Burke's deft storytelling and Nick Nuttgens' remarkably engaging performance come together magnificently to result in a stunning and moving piece of theatre.

Nuttgens convincingly and comfortably slipped into each creature's distinctive and appealing character, weaving an indefinable connection with the audience. There were moments when these characters verged on becoming slightly too-human stereotypes, yet there were other moments, such as every time Laika (the first dog in space) treated the audience to a beaming grin, that were beautifully well-observed.

As a performer, Nuttgens has an amazing, expressive physicality, with never a movement seeming awkward or out of place and always making the most of his simple set and space. This is essential in depicting such a believable selection of animal characters.

What is more, Bestiary does not become meaningless entertainment. All three tales bitterly reflect the darker side of human nature, our determination to triumph however much we have to disregard or destroy.

Alex Paynter

THE YOUNG REC THEATRE COMPANY - Anorak of Fire by Stephen Dinsdale

14 & 15th, 20-22 July3.30-4.20 at the Old Clubhouse

So you think all trainspotters are boring wimps? Then think again: this trainspotter's life story, that of Gus Gascoigne (THE best, he'll have you know) is a tale of anticipation, excitement and uncertainty. He found his vocation at seven years old and he's here to tell you all about it.

How close can you stand to the yellow line without getting sucked under that Intercity 125 School? If you hang around in the sidings in the middle of the night....will you be rewarded with a split second vision of a rare locomotive as its flashes past? School and work are to be got through as quickly as possible, and Gus is the first to admit that romance among the sidings doesn't last long. And what about other spotters? Well, I won't spoil it for you by telling you, suffice it to say that there are more "pillars of society" out there with their notebooks and flasks than you might expect.

Oliver Savile gives a totally convincing, uplifting performance as Gus - and that was on the first night, after only 3 days' rehearsal. And he endows him with some unique vocal and physical characteristics. I'm not giving them away, you'll spot them. There is wry humour in his portrayal of the other people in Gus's life, and he makes trainspotting look almost appealing!

And the secret of the origin of the Anorak of Fire? Go and find out for yourself.

This is a must-see on this year's Fringe.

Susie Muncaster

AJN PRODUCTIONS LTD - On The Sidelines...

AJN PRODUCTIONS LTD.

The Pauper's Pit, Old Hall Hotel (8.45pm - 13 July 2006)

Remaining Shows: 14th July (8.45pm & 17th July (6pm)

Verdict - The SEXIEST bit of thespy stuff you'll see during The Fringe - if you catch better, then you're truly blessed (and that includes Oleanna & Mr Burton t'date). The publicity blurb says "for parents who don't understand their children...and vice versa." For once, believe the blurb - this has universal appeal - teenagers and their grannies will love it (as well as those lurking in between). Intimate, engaging and so true t'most people's experiences. Best actor nomination for Andrew Norris in the post...Don't miss it.

I'll be honest, the first few minutes left me feeling a bit so-so about what I was about to receive. A roof-top protest by a senile OAP talked down by his live-in son...caring bachelor son lovingly cooks him breakfast...cantankerous father complains about the overcooked eggs, the cremated black pudding...the furniture placement...about the son he'd never had. We only needed a skeleton and a stuffed bear and this could have been Albert & Harold's living room - thankfully this doesn't become a cheese-y version of that classic.

It's Arnie (the father) who we initially sympathise with, despite his whingeing. Recently widowed after a 40 yr marriage to a woman he loved beyond measure, he remains rooted in time, unable to imagine any sort of meaningful future life without her. Worse still, he remains bitter 'n' twisted over the 'special relationship' Ben (his son) shared with his wife - "You two were as thick as thieves...I sat On The Sidelines." And then there's the regret, the disappointment with what Ben has become, or rather is. Sadly, Arnie's harboured those feelings for pretty much the whole of Ben's life and we actually fully empathise with him, however unfair his comments seem. After all, Ben's the strong one, a 21st century nu-man who understands that 'moving on' isn't just something you do when asked by an over zealous policeman.

It's only after Ben finally snaps and angrily tells his old man precisely what he should be doing in order to step out of past shadows that we start to care about him too - it's barely taken 10 mins to get this far, but by now the audience is all ears (and eyes). In fact, it was noticeable just how transfixed they were - barely daring to move in their squeaky seats until the lights went out.

This was no doubt down to the intimacy we felt with the characters; it was a privilege to listen in...we understood precisely why they said what they said and did what they did and it all seemed as natural as Olly Reed in Hell. For this we must offer praise to the trio of writers (Andrew Norris, Joanne Street and Jane Hollowood) for penning a script which manages to be wholly engaging throughout whilst avoiding complex psycho-babble resulting in a sense of shared happiness with the characters as they 'come of age' so to speak. The 'Arnie of The Rovers' bit finally reveals the poignant moment when he fell in love with his wife - as she stood On The Sidelines, all those years ago. A word too about the lighting, which contributed so much to the atmosphere and mood and squeezed every last drop of value from a complimentary set.

Andrew Norris is simply perfect in all the parts he plays - quite how many parts and whether anyone else is involved is something you'll have to find out for yourself - unlike certain times in your life, you won't be disappointed, that's a promise.

Stoon

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Best Lines: "Cordon Blue-y my backside"...the Barbie bit..."got Chelsea Buns if you're arty"

Lst Expctd Wd: T-R-A-N-C-E, offered by a Countdown contestant when a bit of the prog was played during the play - everybody should get a bit in their lives

1623 THEATRE COMPANY - Bard Amongst the Books

1623 THEATRE COMPANY

July 13, 7.30-9.30pm

David McPhie of Brierlow Bar Bookstore is to be congratulated on his inspired decision to turn the bookshop into a magical new Fringe venue complete with performances, music, crafts, outdoor events and exhibitions.

Last night's entertainment came from 1623 Theatre Company, which made full use of every nook and cranny of the bookshop, including some attractive newly created garden glades, to introduce us to twelve Shakespearean couples whose conversations demonstrated twelve very different kinds of love from the young and flustered to the frankly antagonistic.

Ben Adams and Kim Voisey-Youldon had their work cut out taking on quite so many roles and were inevitably more successful in some than in others. I wasn't quite convinced by their Romeo and Juliet, partly because they did not seem like two lovers who could not keep their hands off each other and partly because, they were just not young enough. When we moved into another part of the shop to see them in the very same clothes playing Hamlet and Ophelia, I worried that they might not have enough range to pull this evening off.

By the end of the evening however they had won me over. Voisey-Youldon seemed particularly effective in some of the more knowing roles. She made a startlingly ruthless Lady Macbeth and a brilliantly assured and aggressive Katharina in The Taming of the Shrew. She was also fantastic as the very French princess Katherine in an entertaining exchange with Henry V (by no stretch a linguist!). Ben Adams proved a very capable actor with an excellent sense of comedy and a good rapport with his co-star, particularly in the entertaining final scene in which he spars with Rosalind (disguised as a boy) in a scene from As You Like It.

I think it is no coincidence that some of the most successful scenes made use of a few judicious props and changes of costume - and perhaps some more of these could have been introduced. There was a sharp intake of breath when Katharina picked up the hose to douse Petruchio in The Taming of the Shrew, while in A Midsummer Night's Dream, the simple addition of straw ears and a rustic jumper helped transform the actor who had one scene earlier played a king. Rather cleverly, he got round the problem of the absence of fairies by catching Cobweb, Peasblossom et al in his hands.

Each exchange was introduced by Diane Dawson playing both Venus Goddess of Love and various minor parts. Her role should not be underestimated. She glued this production together and proved a compelling actor in her own right. In the true spirit of the Fringe, she also made sure that everybody in the audience felt welcome including some children who laughed like drains when she pretended that Venus had become a little tipsy.

With refreshments provided and the weather conspiring with the performers to help us believe that we were in Rome one minute or a Midsummer woodland the next, this proved a most enjoyable evening as well as a cunningly effective way of introducing us to every section of a remarkable bookshop.

Stephanie Billen

CHANCE FACTORY - The Ghostfather

Hydro Cafe

The Hydro caf is not the easiest of venues for staging drama but for this play set in a diner it worked well, Written by Steve Jansen and acted by an enthusiastic group of actors we were soon swept into a cleverly constructed story concerning ownership of the diner. As the characters were developed it became apparent that we were seeing the seamier side of life on the edge of criminality as it affects women especially, but the women, by hitting the bottle and for other concerns, seemed almost incapable of helping themselves.

So it was fortunate for the heroine that her long deceased father should return to Earth to help resolve the mess she had landed herself in. Particularly good acting here from Malcolm Raeburn who sustained a very credible transatlantic accent without faltering, to match the real thing from Szilvi Naray-Davey.

Dave McChrystal as a singularly unpleasant yobbo appeared to be edging the story towards a predictable showdown when a sudden twist produced a totally unexpected denouncement. Tight production by Cathy Jansen ensured that the attention of the audience was sustained throughout.

P.L.

More performances on 14 and 15 July at 7.30 at the Hydro Cafe.

DISTRACTION THEATRE COMPANY - The Canterbury Tales

*DISTRACTION THEATRE COMPANY

The Monty Python cartoon Chaucer. Madness and mayhem as the Miller, his wife, the knight, the wife of Bath, Geoffrey himself, the Scholar, the ridiculous Absolon all run around in circles banging into one another. KERPOW! SPLAT!

This is a wonderfully irreverent bawdy performance of Chaucer's best known tales. Immense fun. Stanislavsky and Strindberg it ain't. We had a wonderful Fringe evening on the Cricket Ground. The sun was hot, the breeze was blowing the midges away, Pakistan were dropping catches. (Well, that was happening elsewhere but it lent a warm glow.) Friends were there with a picnic, the bar was open and some 50 people took full advantage. There's plenty of room for more and you'll still hear every word. It wasn't all pantomime though. The Knight's Tale was quite lyrically told and made a sensitive counterpart to the surrounding madness.

Some anachronisms crept in: I'm pretty sure the Middle Ages didn't have bananas but the Scholar Nicholas has a handy leather pouch for one sewn on the front of his trousers! And in any case bananas aren't that big. Are they? And the red hot poker looked very tame and modern. Surely it should have been thicker ... and bent?

Congratulations to Distraction on a splendid entertainment. You can catch Chaucer tonight (Friday 14th). God knows what they'll do with The Marriage of Figaro next week but I'll be there.

John Wilson

USANU THEATRE - Embrace

USANU THEATRE

Karen Odemark's remarkable one-woman performance, Embrace, inhabits the intimate space of the Paupers Pit brilliantly. Initially in blackout, her voice the only point of reference and then, in full light, her striking physical presence, as, with movement and words, her character revisits the ordeal of a rape, and the psychological place into which she put herself to escape it. But every time she tries to get free, fugue-like, like Alice down the rabbit hole, she is brought back into that space.

It is a wrenchingly tough performance, with Ms Odemark at times, it seems, almost inflicting self-harm on herself, her white t-shirt gradually becoming marked by sweat and dirt in one sequence as she repeatedly slaps her chest. However, this show is also tender and funny, her movements also delicate and elegant, even at its most harrowing moments changing tack to lift the audience out of what could have otherwise been remorselessly grim. It is a testament to Ms Odemark's engaging onstage personality and the virtuosity of her vocal and physical performance that the audience does not separate itself from what it is watching.

Robbie Carnegie

KALEIDOSCOPE PRODUCTIONS - Things You Remember When Drowning

This ambitious show begins with a beautiful first image, an illusion of being underwater, and goes on to explore sexual role-play and misogyny, referencing Hamlet and Woyzeck along the way. Like the electric sparks of the synapses as the body is deprived of oxygen, this production throws up a series of images, scenes and characters. In one especially striking image an actress, by the addition of a mask and wig, becomes an eerily realistic mannequin.

It is a play of ideas and is delivered with commitment by its 4-strong cast, particularly an extraordinarily charismatic young Welsh actor (who, since there was no programme, I am unable to name), who comes across with all the method-acting intensity of a young Brando. My only criticism would be that, for all its invention and undoubted intelligence, it is a cold piece, even in the scarily realistic murder-by-drowning scene towards its end, making it hard for an audience to care about what they have witnessed.

Robbie Carnegie

CASSIE GRAVELLE - Own Worst Enemy

Pauper's Pit

12th July 2006

A young woman struggles with the everyday necessity of getting up and going to work, and the minefield of sexual relationships. We see her on stage from the moment she gets up in the morning through to her disappointing date in evening, and at the same time we see a filmed presentation of the conflicts going on in her conscious and unconscious mind. It's no wonder she's in such a mess!

Cassie Gravelle plays the on-stage young woman and the filmed versions of her id, ego and superego. She's gorgeous as the petulant id, severe and dumpy as the grandmotherly superego, and calm and understanding as the ego who has the unenviable job of mediating between the other two. It appeared to me that the id was dominating a little in the on-stage action. Maybe there could be more evidence of trying to satisfy the superego. On the other hand, I guess it's not unusual for a young woman to be caught up in her natural urges!

Spend a half hour in your summer afternoon, and watch this engaging and amusing production.

Barbara Wilson

FIELDMOUSE THEATRE - Pedro (If Only You Loved Me)

The Pauper's Pit, Old Hall Hotel (6pm - 12 July 2006)

Remaining Shows: 13-14th July (4.30pm), 15th (3pm), 18th (4.30pm), 20th (7pm & 22nd (1pm) - 1 ADMISSION

Verdict - You don't really need 1 from me. What does 1 buy you? A lottery ticket or 4 and a half minutes of this. What can you do in 4.5 minutes? Run a mile or watch this. Only one of those options is likely to make you smile and not leave you desperately short of breath.

Clocking-in at half a watch face under the 5 minute mark, this short piece involves Sitting-Chap (Alan Fielden) & Standing-Chap (Sean Mckenna). Despite the appropriated character names, it's not a show about the repression of the Native American Indian by various Paleface's, but rather the horsiest of Hors Derv containing some surreal humour/observations - perfect fringe fair. Both performers are students of Central School of Speech & Drama, but don't let that put you off.

For that reason it won't appeal to all 'n' sundry (well not in totality) - but it did make me smile a few times and as far as my stone skips, that's job done. Tempt you? Well there's a singing muskrat (which you get to hear) and Freddy Kruger's passing is mourned. Oh and someone/something called Pedro gets told to French Connection Off a few times.

The piece was penned by Sitting-Chap and on a couple of occasions he did indeed speak with a forked tongue as the odd word was lost in mumbling or possibly too soft a voice (when competing with the sound track).

As we are (reliably) informed, "You can't say a lot in 4.5 minutes." True, but half a dozen laughs in that time for the cost of hiring a shopping trolley ain't bad.

Freddie Star ate my Muskrat any1?

Stoon

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Best Festival Value: 50% Extra Free Offer - 4.5 minutes of show for the same cost as the published 3 minutes running time

Worst Festival Value: No concessions!!!

TWO FRIENDS PRODUCTIONS - Two Sisters

TWO FRIENDS PRODUCTIONS

The Old Clubhouse (7.30pm - 11 July 2006)

Remaining Shows: 12-15th July (7.30pm)

Verdict - Though well performed, this simmered rather too gently at times, which was a pity as we briefly glimpsed towards the end what could be achieved when the heat was indeed turned up.

A bona fide coffin in the middle of the stage is always a good sign and a large hanging portrait of a ghostly woman in white bodes well too as we await the sibling rivalry. Given the 19th century Russian (peasant) setting, our two leading ladies are more likely to contest whose bread bin contains the least mouldy rye loaf rather than comparing nail extensions.

We firstly meet Anya (Caroline Harding) who we learn is lame or more specifically a "middle-aged cripple" according to her sister (Sonia) which must be taken as a term of endearment given some of the other character defects that she goes on to mention. Anya, upon discovering the aforesaid coffin in her apartment is clearly not impressed by the suggestion of a premature burial and freaks out. By contrast her sister Sonia (Candice Gubbins), who pops by and casually reveals a similar item of entombment in her des res, is much more laid back about it (none intended).

What follows is wholly narrative driven and set entirely in Anya's flat. This places a premium on the dialogue, presentation and the depth to which the two actresses are prepared to immerse themselves in the roles. Unfortunately, regardless of their obvious abilities, the script seems restrictive. In a nutshell, the audience neither laughs enough nor cares enough to cry. There are a sprinkling of funny one-liners ("you turn heads? Stomachs more likely") - but they're too rare. Instead it is left to Sonia's regular Katty references to Anya's binges (vodka and men) to provide most of the laughs, but often they only raise a smile and lend the piece an underlying light-hearted tone rather than the sharply satirical one that Sonia's viper's tongue merits.

There are some tasty spats 'tween the two; their discussion about the artistic merits of that "Fall of the House of Usher" style portrait is great as is the comparison of their respective courting techniques ("Swan-Like" versus "Bounce") - made even better as they were effectively rivals for the same chap, Andre (who painted...). The joke about the 'fiddly' neighbour is ace first time rd, but it does get mentioned a few times; his musical efforts are well played by Ella Brown (violin).

There are serious moments, some of which could have been more moving (death of a first born baby a wk after birth, parental jealously, murder (by Fig Cake) - well maybe not the last one). They are prevented so by the likelihood of one of Sonia's jibes appearing at any moment. It's not until the vodka bottle lies nearly drained that we see some real passion once Anya learns some home truths about her beloved Andre (27 home truths strictly speaking). Sonia shows some protective feelings to Anya and we feel a genuine bond between them for the first time.

A friendly and easily absorbed play, which left me wanting more - "greed is good" I once heard.

Stoon

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Funniest Lines: The multi faceted verbal volley fired by Sonia which she kept adding to as an afterthought

Best Improvisation: Anya's multi-lingo skills: a mispronounced "Alas" becomes "Alak" - Gold Star!

Biggest Anti Climax: The coffin reason's for being there and it's final resting place

TICTEK PRODUCTIONS - Make Him Cure Me

MAKE HIM CURE ME

Pauper's Pit

11th July 2006

Tom Campion's new play is an inspired re-working of Euripedes' Hippolytus. It has the chilling austerity of classical Greek theatre but is set in modern times where viruses cause havoc instead of the vengeance of the Gods.

Theo has been abroad furthering his career and has found a cure for a devastating disease. While he is basking in the fame his discovery has brought him and enjoying the attentions of his new mistress Arcelia, his young wife Phoebe is at home suffering herself from a wasting illness. Theo has charged his son Horatio with the task of caring for Phoebe. In her desperation at being abandoned by Theo, Phoebe develops an attraction for her step-son.

Satbir Singh conveys the arrogance of Theo, caught up in his own importance and coldly protecting his honour. Alys Denby presents Arcelia as a moody dissatisfied trophy girlfriend, quite capable of revealing the dark secret behind the miracle cure. Horatio is portrayed by Patrick Netherton as an ambitious young man, torn by his loyalty to his father and his disgust for the growing affection of his step-mother. And Corrine Sawers captures fully the despair and the passion of Phoebe. Aphrodite still reigns here.

Well-written, well-directed and well-acted. Catch this production while you can.

Barbara Wilson

1623 THEATRE COMPANY - Shakespeare in the Underworld

1623 THEATRE COMPANY

Poole's Cavern, Mon 10/7/6.

A perambulation through Poole's Cavern in the company of 1623 theatre company - who specialise in 'Shakespeare in non-traditional theatre spaces' - was the daunting task faced by this reviewer, and this impression was not dispelled by the icy greeting of Hecate, the Witch Goddess and self- proclaimed Queen of all Evil. Little over an hour and seven deadly sins later, an enthralling and captivating experience of six of the Bard's most sinful plays had been experienced in this magnificent setting.

The first play excerpt was a short scene from A Midsummer Night's Dream, depicting lust. True to the play's billing, Tatiana was indeed lustful and dominated the rather gormless and confused Somerset yokel Bottom. Hecate then took the twenty or so-strong audience deeper into the cavern to explore pride in the form of Titus Andronicus, in the days 'when Goths were Goths', with a commanding eponymous lead character returning to Rome after defeating Tamora and her army. Hecate's rhyming couplets then set the scene for greed in the much longer excerpt from Macbeth, with Lady Macbeth dominating her hesitant, 'infirm of purpose' and 'lily-livered' husband. Play and vice number four, The Winter's Tale depicting envy, featured King Leontes in a very brief excerpt about 'strife and wife', imagining this latter having an affair and his envy 'spiralling out of control'.

A change of mood was called for, and heralded by the fearsome Hecate as a lighter and brighter tone. The noise of some of Falstaff's bodily functions announced sloth in the form of Henry IV part II in a short but hilarious excerpt. Then the tone once again became dark for a stunningly dramatic and gruesome scene from Titus Andronicus, for me the evening's highlight. Because of this I felt the closing Richard III to be something of an anti-climax, although Queen Margaret's 'foul, wrinkled witch' was most effective.

It was hard to believe that most of these scenes were played by the same two actors. Jane Upton was especially effective in displaying a wide range of characters, from the lustful Tatiana to the 'unsex'd' Lady Macbeth, and Adam Buss was now the feckless Macbeth, now the cruel and commanding Titus. Diane Dawson was an engaging if frightening Mistress of Ceremonies, and her doggerel rhymes ('Macbeth - death') were excused by her tremendous dynamic range - imperious commands of 'come!' between scenes (and 'go!!' at the end), interspersed with her lowering her voice the better for the audience to strain to hear her chilly versions of events.

A final word must go to director, writer and producer Ben Spiller, whose witty script spliced seamlessly with the Bard's own words. The staging was stunning; the cavern was illuminated by candle- and torchlight and the sight of a blood-stained Macbeth staggering down the cavern steps from the distance was a haunting, evocative one.

I would strongly recommend that you go to see this highly original and entertaining show. Be prepared to walk around for an hour or so, and wrap up warm - it is not just the tone of the Goddess of Witchcraft which is chilly!

Ian Hamilton

10/7/6.

SENSATIONAL MICROCOSM - The Dream Outside

Translated and adapted from a post-war semi-autobiographical German text - Borchert's "Draussen vor der Tr" - this piece explores the great existential questions; Death, Life, God, War.

The original, among many of this type penned by ex-soldiers, was a popular student text some thirty years ago and it is a sad reflection that this sort of meaningful and challenging theatre is a rarity in our more trivial age. It takes courage to assert the importance of these things on a Monday afternoon in Buxton and great respect is due to the protagonists, both adapters and performers in this piece.

I feel they may have felt constrained to shorten the work when a presentation less hurried by the exigencies of a time slot might be more suited to the subject. That said the work was presented with force and skill and the audience was made to think! And they continued to think after the performance.

Unless we, the audience, can be become re-acquainted with work like this and learn to engage with it drama is dead. These young people are saving us from Godber and second rate seat-fillers with soap stars on the billboard. Long life to them and the Fringe that gives them a forum!

John Wilson

FIELDMOUSE THEATRE AND SIEGE THEATRE - 'Blind' and 'Torn' - a double bill

The Pauper's Pit, Old Hall Hotel (12.30pm - 9 July 2006) Remaining Shows: 11th (3.30pm), 14th (2pm) & 15th (12.30pm)

The Flying Doctor - Siege Theatre

A comedy period piece where all 6 actors wore eye masks, one being 'beaked'/long-billed t'boot. Appropriately this was sported by the apparent "bird-brain" of the show who unfortunately is asked by his master (Scaralell) to aid him in rescuing the apple of his glazed eye, a certain Lucille, who lies ill in bed and about to fall into the clutches of a wholly unsuitable love rival, chosen by her father (Mr Gorjabus). Naturally, Daddy's girl despises Daddy's caddish choice, preferring to dote on Scaralell, who forms a brains trust with Sabine (who happens to be the Gorjabus's niece) and hatches a most cunning plan involving Scaralell's valet (Bird-Brain - remember) who is bribed into impersonating a doctor in order to obtain the release of Lucille - simple then really, a sort of Victorian "Paper Mask".

The real fun is to be had in watching the wannabe Doc muddle his way through many tight situations, most involving Mr Gorbajus, none more so than where he also has to play his long ex-communicated brother (Narcissus). The scene, where the Dr is berating his brother (ie himself) behind closed doors replicates the classic Fawlty moment when Basil pretends to do the same to his chef behind closed kitchen doors. Throughout, our aspiring Dr's use of language is a constant source of amusement.

All the characters are engaging and well played, though the star is of course the valet turned MD, with good support from Gorbajus. Great pacing and with good use made of a minimalist (diy) set, there's so much to find amusing on all levels that the odd mis-pronounced word is easily forgiven, though in the case of the Doc, you never if it's intentional or not! Definitely Prescribed. (25m appx)

Funniest Scene: Our intrepid Doc learning that some wine does indeed taste like piss

Biggest Surprise: To see a Nazi Salute on stage in Buxton on a Sunday!

Blind - Fieldmouse Theatre

The first few lines of dialogue (by a young blind man) whilst setting a serious tone for this thought provoking production do nothing to suggest the intensity of exactly what follows later in the piece. The theme is prejudice or "belief systems" - disability, colour, mental illness, race are all randomly thrown into the ring via a series of brief monologues by the excellent cast of three with occasional physical interaction during the speeches.

Things start out fairly hunky dory 'twixt the blind man and his lover who appear to be a 'model' couple - despite the exposure of certain fault lines. It is their subsequent rupturing that take the audience by surprise, especially the severity and swiftness.

To render you with any plot detail regarding the third cast member would spoil the piece's "Carrie Ending" moment - suffice to say that both appearances by this individual are truly memorable, the second painfully so. The stark stage setting and minimalist lighting combined with a slightly un-nerving soundtrack heighten the sombre atmosphere which sees things deteriorate irreversibly. There is some unevenness in the initial dialogue in terms of dramatic effect, though this is down to the inevitable need to scene set; however once the blue touch paper is lit...

The power of the piece lies in the fact that every person in the audience would empathise with some of the points made...some may indeed may have been a victim themselves, sad but true. Eye-Opening, recomended. (15m appx)

Stoon

FREERANGE THEATRE COMPANY - Oleanna by David Mamet

*FREERANGE THEATRE COMPANY

Free range Theatre

In Greek tragedy, basically good individuals are brought down by a fatal character flaw. In Oleanna, David Mamet's searing attack on political correctness, John; a college professor is undoubtedly flawed - pompous, patronising, smug. He is hubristically celebrating his achievement of tenure in his position and the purchase of a new house. His nemesis however, comes in the form of the mousey, diffident Carol, who will drag John's world down around him.

Written in 1992, when political correctness was gaining hold of American academia, Mamet displays a world where language can no longer be trusted, where actions must be constantly questioned. John has constantly employed his skill with language as his main weapon, now he finds the weapon in other hands. Only a master of dialogue like David Mamet could turn what could have been a verbose play of ideas into such a crackling emotional drama.

Oleanna is playwriting by an author at the height of his game, and this production is well served by two excellent performances. Hugo Chandor and Lucy Gradwell both inhabit their roles with enormous conviction, physically and emotionally, in this riveting two-hander.

Oleanna's original Broadway run provoked spousal arguments, and men yelling abuse at the lead actress in the theatre. While perhaps the days of such extreme reactions are past, it remains a gripping piece of theatre, and heartily recommended.

Robbie Carnegie

DOTTED LINE PRODUCTIONS - Burton's Last Call

DOTTED LINE PRODUCTIONS

The great man is waiting for his stage call and we are party to a stream of consciousness. We see Richard Burton arguing at times, 'mirror mirror on the wall' with himself almost schizophrenically.

The dramatic challenge is huge; one actor, evoking that deep velvet, versatile voice. George Telfer's performance captured the Burton we remember magnificently. His delivery had the passion needed for Burton's recollections of life in the Valleys or at the cutting edge of anti-establishment changes in the 60's and sad memories of Dylan Thomas. Telfer smoked and drank, never still, conveying Burton's fundamental insecurity. Burton had a fear of being touched or kissed on stage. The actor had a chuckle in his voice as Burton recalled incidents such as passing out as an RAF officer or certainly 'passing out'.

At times Telfer was the tortured Burton doing battle with the mirror about alcohol without which he feared collapsing. The Burton we saw was so talented but so easily bored that he would recite Shakespeare backwards. Telfer ran through a catalogue with superb technical skill, ending with 'Once more unto the breach' in full reverse and getting well deserved applause for this. Added to this was some straightforward mimicking - we heard a very good Gielgud.

The set was simple. Burton sits on a chair with a make up table behind which is the show biz mirror. The bulbs surrounding the mirror seem particularly bright and they place him almost under a spotlight. For this actor there is no place to stop acting.

The story is told of Burton's life as he leaves Wales and joins the film world, 'the biggest party in the world.' We also hear of the very different life of Elizabeth Taylor until the two inevitably meet -a 'womanising drunk and a spoilt brat.'

This play leaves Burton as an enigma, a man who is unsure where his gift for acting came from, affected by 'dark forces' and insecure about how long his good fortune would last - a sense of making hay while the sun shines.

The script is an insight into life for celebrities facing intense media interest, a situation with easy contemporary comparisons. We hear bitter memories such as the time the paparazzi tried to break into the house. The fear of fame is portrayed with a fear of kidnapping his children. The script is a fascinating study of motivation. Burton wanted to exploit Hollywood but this was not a headlong rush from poverty to money. A one million pound film deal was turned down for 45 per week as Hamlet. He was chasing more than money, 'only the best leave prejudice behind'.

There is plenty of humour too. We find out why Olivier used to shout single words on stage. We also hear about total strangers slipping into togas on the set of Cleopatra to join the pay queue!

Eventually Burton proclaims himself 'worn out and lost' but with a residue of control. 'I go my own way love,' says Telfer, reverting, just right, to the early Welsh accent.

Here is the package - a rich script requiring first class acting. George Telfer delivers this.

Steve Phillips

LUCKY FIN PRODUCTIONS - A Fairy Affair or A Midsummer Day's Breakfast

LUCKY FIN PRODUCTIONS

Lucky Fin Productions

It is the morning after the events of A Midsummer Night's Dream, but all is not well in the forest. Bottom is searching for his lost love from the previous night, while the fairies have to contend with the mischief-making of Puck's cousin, Nettle.

This new play found a suitably sylvan setting at Nice Air by Poole's Cavern. However, open air theatre is a tricky customer. No matter how suitable the setting may be, no matter how experienced the cast, you're always battling with numerous obstacles - the wind in the trees and birdsong if you're lucky; if you're unlucky, rain and midges, both of which were very much in evidence at this performance.

The performers from Lucky Fin Productions should be congratulated for working hard in the face of what was understandably quite a restless audience. However, even in the best of conditions outside, actors need to project much more than in a theatre, and occasionally here the diction was a bit lost. I would also have liked to have seen a faster pick-up between each scene to keep the momentum going.

That said, it is often in adversity that actors show their metal. In particular, the younger actors, playing Nettle and the two trainee fairies should be praised for retaining their characters and poise in less than ideal circumstances.

Robbie Carnegie

VISTA THEATRE COMPANY - Silent Joys and Broken Toys

SILENT JOYS AND BROKEN TOYS

Vista Theatre Company

OK let's have two gays in drag and a transsexual - and feather boas and a shiny curtain - and let's have UV light and luminous lipstick! Yeah! That's it. And there'll have to be music, camp sixties rock - who did Leader of the Pack? The Shangri Las - perfect! But there are only three so let's have another gay and a lesbian- but she doesn't know it yet- in the audience and then we can do more stuff.

We hit them with the music, camp it up like queens and make them laugh first. And then we can start on the stuff, just gently to begin with, tickle their prejudices, keep it lite, keep 'em laughing.

But after that, when we've got 'em, we can say what needs to be said. Tell them about the "agony and the ecstasy". The pain of the young gay in the closet, the fear and joy of cottaging. Lighten it a bit in between and then child abuse, prostitution, gender dysmorphia. Gender Dysmorphia!? Yeah, like when you know you're in the wrong body and you have to change it.

And finish with a song.

Let's do the show right here!

And so it was. An Extravaganza, an Entertainment, an Education. If it upsets you - good - so drama should. And it will, and move you and grow you. You'll be better for seeing this show.

Great credit to Andrew Rankin, Andrew Yates, Donna Coleman, Lee Antley, Sue Jaynes and Phil Minns and everyone else involved. The writers are Catthy Crabb, Claire Berry, James Foster and Phil Minns.

John Wilson

KATH BURLINSON IN ASSOCIATION WITH THE WEIRD SISTERS - The Mother's Bones

THE MOTHER'S BONES (Credit: Charlie Carter)

The Mother's Bones

It is seldom that I am lost for words when reviewing a Fringe show, but The Mother's Bones came close to rendering me speechless.

Kath Burlinson's bravura performance employs movement, sound and raw emotion to convey its story. It is largely wordless, and what words there are, are simply expressive sounds, so it almost seems prosaic to reduce the piece to some easy description.

I had not read the synopsis on the programme beforehand, and maybe it is better not to - I found myself putting my own interpretation onto what I was hearing and seeing and it is a testament to Ms Burlinson's artistry that most of what I imagined I was witnessing seems to be what she intended.

There is something primal about her performance, as if she is tapping into some ancient form of dramatic art, which is as unsettling as it is impressive in its intensity. It is not necessarily a comfortable experience, but its purity and single-mindedness are to be applauded.

Robbie Carnegie

MOVING TALENT - Old Gels

The Old Clubhouse

7th July

Four friends - Angie, Flick, Deirdre and Georgina - meet in a restaurant 25 years after they were all schoolgirls together. After such a long time, there is a lot of catching up to do: Have they had children? Are they successful in their careers? How have they aged? What about their love lives? They are in for some very big surprises. Even the twin sisters Flick and Angie have a lot to learn about one another.

Astrid Ayers' and Patrick Gordon's play is about the very different choices people make in their lives, and the secrets they keep even from those close to them. It's sometimes surprising and funny, sometimes touching. The cast brought out the contrasts and similarities in the characters, and the humour and sadness in their situations.

The central idea of the play is intriguing and the plot line clever. But the writing and direction could be sharper, with less information given directly and more left to the audience's imagination, less coming and going on stage to enable plot development and more revealed in quick asides, silences and body language. This would help the cast give more pace to the humorous parts, and evoke more thoughtfulness in the sad.

Barbara Wilson

TONGUE IN CHEEK - What The Dickens!

TONGUE IN CHEEK

Over the years, we have got very used to portrayals of Dickens' characters on film and TV, but, as Bleak House proved last year, there's still plenty of life in these colourful and well-rounded creations.

In What the Dickens!, actress Dawn Buchanan adapts a number of Dickens' most memorable women into a series of monologues and duologues in a hugely enjoyable show, performed with inventiveness and polish. David Copperfield proves a particularly fertile source, as well as Great Expectations and Martin Chuzzlewit.

Ms Buchanan herself throws herself into the roles of Betsey Trotwood, beset by neuroses regarding disease, crime and, above all, donkeys, and the malapropism-spouting Sairey Gamp (who Dickens himself always enjoyed impersonating in his celebrated readings of his work). She is joined onstage by Louise Nulty as the Sisters Spenlow, while Ms Nulty creates an outrageous Miss Mowcher (a kind of Dickensian Trinny or Susannah) and a touching Clara Peggotty.

However the versatility of both actresses is brilliantly demonstrated by their portrayal of Great Expectations' Estella and Miss Haversham. While the other characters they play are largely humorous, this section is as dark and sinister as I have ever seen these characters. Dawn Buchanan, hitherto playing eccentric older women, transforms herself into the beautiful but cold-hearted Estella, while Louise Nulty manages to by both terrifying and sympathetic as the monstrous Miss Haversham, so wronged by one man that she has created a model of her bitterness and hatred that one day turns on her.

Robbie Carnegie