Happy Anniversary

And they said it wouldn't last!

Funny Old Week

I must say that on the theatrical front, I have had a couple of corkers this week. Firstly, George M Cohan Tonight proved yet again that nobody appears to check out The New Players Theatre before hiring it. I personally think that the venue is quite superb featuring a black-box stage and seating for nearly 400 people. There is a bar at the rear of the auditorium and boxes are available. The venue retains its old school shape but cannot seem to find the right show to fill it. Until then, hapless hires and presumably a few goodwill cases rent the place out and die horribly there.

For those planning on renting this venue for their show please take heed. You will need a grand design concept, lots of imagination and a decent budget. Anything less will look lost or cheap. This stage requires textures, colours, inventive lighting and careful sound. Invariably the shows that hire this venue are on Fringe budgets and die a death because of it. George M Cohan Tonight was ill-conceived anyway but I felt the need to remind producers you shouldn't even attempt to mount a show here, without experienced designers on board.

The second show of the week raised so many questions I am not actually sure where to begin. The Ripper's 5 should probably be called The Ripper's Five but that's just me being a little pedantic I am sure. The venue, Theatro Technis, a converted mission hall near Mornington Crescent was completely new to me so I was a little nonplussed upon arriving to discover the gates to the venue still chained up at 7.05pm - the Press Night was scheduled to start in 25 minutes. Before long, the Manager appeared and unlocked the gate to let us in.

Seeing a lot of Fringe shows I am used to often being the only reviewer at a press night but it all gets a bit sad when there are actually very few audience there too. I am under no allusions that Press Nights are often 'papered houses' - freebies, so what does an empty Press Night say about the work you are about to see? You couldn't give tickets away?

The auditorium is large and probably seats about 150 people in total although sadly there were only 17 that evening. The show, by and large, was awful. It was an interesting idea but the creativity stopped there. The gay sub-plot was vaguely ludicrous and did nothing for the story except make it longer. There was gratuitous male nudity, appalling direction - seriously bad - and shoddy lighting. On the plus side there was a valiant attempt at wigs and make-up and whilst the songs all sounded the same, musically they were relatively sound.

I must say that the notice announcing Tuesday Matinee performances are being 'specifically aimed at schools' is something of a worry. Not for the subject matter of prostitution, rape, homosexuality, necromancy or murder - let's face it, that's just another episode of Eastenders. No, I am more concerned that kids might be led to believe that this mess is considered good theatre practice!

Wonder Woman

OK, well I can probably be forgiven for getting excited about Lynda Carter: At Last. As expected she still looks stunning at 59 and thankfully, she remains affectionate about the role that made her a household name. The problem I had was that we have had no inkling as to her work over the last thirty years. It may be true that she has carved a niche for herself as a vocalist and she can carry a tune but I expect a little more from my musical idols at 59. I expect them to be a little more polished in terms of dialogue; I expect them to remember the names of the band; I expect to care a little more about their musical career not to be surprised that they had one.

Don't get me wrong, she seemed perfectly lovely but there was no emotional connection there. She would have probably gone down better at Ronne Scotts!

Izzy Van Stroe

Congratulations to Don & Celine on the birth of their second daughther, Izzy.

Butterfly Effect

Evidently somebody on the other side of the world was having a wonderful time last night.

As I sat down to an evening of Gilbert & Sullivan, my immediate reaction was what the fire officers might think if they saw the usher crowding extra people into the centre aisle/only fire exit. It's always great to see a full house but this was claustraphobic to say the least. The production of HMS Pinafore was not bad, though lacked focus and balance. There were good moments and the scaling down of G & S can work remarkably well but it must be done with an eye on the whole. Here we had accomplished singers but decidedly ropey acting - generally more befitting pantomime rather than G & S and flabby direction. The make-up was particularly bad, especially as the design team seemed to be accomplished in other areas.

I recognised one of the cast from a crowded bar, many years ago.... - well, the embarrasment kicked in. Finally, to cap it all, one of the cast stood at the bottom of the exit stairs - in full costume and make-up but out of character - with a bucket requesting donations for cast drinks! All very disturbing. To cap it all, my cycle was stolen. The lock had been professionally snapped in two and I was left standing in Islington with a helmet and saddlebag.

The Rosemary Branch

This is a theatre I have been avoiding for years, for no reason other than I was late for a performance once. It took ages to simply get there and nothing should hold a theatre curtain, least of all a critic. I have cycled here today from London Bridge, which made things much easier and they have cycle parking facilities, which is a relief. More importantly they are 4 minutes away from Dalston Junction, where there is a direct line to Crystal Palace! Bring on the showgirls!

Spare Time

As I may have mentioned earlier this week, it is taking some time to get back up to speed with my theatre going. This is a mixture of Emma, our beloved reviews commissioner being on holiday for a couple of weeks and the new season picking up speed. This said, my evening are beginning to fill up and I found myself at the theatre for four nights last week - more often than some may do in a year. Monday was Maurice, Wednesday was Punk Rock and Thursday, Sofie Mason invited me to attend Spare at the New Diorama Theatre.

Spare is a new piece from Sebastian Rex and his company Acting Like Mad. It deals, in an uber theatrical manner, with the problem the abuse of young people. Despite the many measures that society puts in place to stop the cycle of abuse, it will still happen. Corruption and selfishness is in our very nature and we are unlikely to break that cycle.

Whilst I didn't particularly agree with Rex's message, I have to admire the work he has staged here. The writing has clarity and style without being patronising and the staging is bold and inventive without being superficial. The company consists of a mix of five girls and three boys and there is an interesting surprise that adds a certain frisson to each performance. I am quite tempted to see it again for that very reason and not simply for the boys in their underwear.

Spare runs until the 25th of September at the New Diorama Theatre. Try to see it twice, if you can. I will.

Design For Living

With the background I have in art and design I was always going to approach theatre productions with one eye on set, costumes or make-up. However I will not always name-check them in a review unless I feel them to be particularly good or particularly bad. This week I have seen two plays that highlight the dilemma.

Monday I was at the opening of Maurice at the Above The Stag Theatre. I am a big fan of the work at the ATS generally, although I do have issues with certain areas of this particular adaptation. This aside, I realise that budgets are particularly tight at many Fringe Theatres so attempting a costume drama is a questionable task. Decisions are made, corners are cut and whilst this production certainly looked better than the last, ultimately it suffered from the lack of a good wardrobe supervisor and set designer. Tim McArthur as the director, has insinuated a line of humour into the play that seems to appeal to modern audiences, which is perfectly acceptable and indeed finding the accessibility of a period piece could be considered his role.

Lack of funds may limit design options but should never limit imagination or care. Sadly, all too often I see plays with unsuitable hats, shoes, trousers or wigs. You almost expect it on the Fringe! But I really get annoyed when I see un-pressed trousers, un-polished shoes or wigs that have simply been taken out of the Smiffy's bag and sat on the head.

Who is saying - "Well, it won't matter. Nobody will notice. It's all about the acting really." ? The Director? The Producer? The Actors? or God forbid, The Designer?

IT DOES! THEY WILL! IT ISN'T

That said, last night I witnessed things at the other end of the scale. The most interesting thing about Simon Stephen's Punk Rock at the Lyric Hammersmith was the set. A vast library. Masses and masses of carefully bound volumes soaring into the flies, punctuated with lead-glass window panes. It looked like something straight out of Hogwarts and was extremely impressive. It completely over-powered the drama of the play, which it must be said, was not a particularly difficult task.

Great designs do not make great plays and great plays can be damaged by bad designs. Think on't.

'Tis The Season

September is already upon us and as yet my visits to the theatre seem to be few and far between. I caught The Remains of the Day at the Union and Kate Dimbleby: I'm A Woman at the New End but so far that's it so far. I am scheduled for Closer Than Ever at the Landor and the Offies have suggested I visit HMS Pinafore at the Rosemary Branch but to be honest, I haven't even booked that yet. I rather enjoyed the extremely full schedule I had before the Summer and feel a little uneasy as to how quiet it seems to have become.

One highlight was a chance to see the revival of Maurice at the ATS earlier this week. On the whole, I found it a much better production the the previous incarnation. The script has been re-jigged slightly and there are some fine performances but the play remains unbalanced and I am not sure if this is down to director Tim McArthur or the writers Roger Parsley and Andy Graham. Either way, it's an enjoyable romp through the social mores of England at the beginning of the Twentieth Century based on the novel by EM Forster. If you get a chance, go see it and judge for yourselves.

Next week Christina, my flat mate, goes on holiday for a week and during that time I shall attempt to get back to doing some painting. St Marina is severely behind schedule and I simply feel that I have not been being creative enough. I thoroughly enjoyed my weekend with Sean last where I put my all into a loaf of bread but I can't possibly put all my creative side into things that I eat.

Tonight I am off to see Punk Rock at the Lyric, Hammersmith. I know nothing about it and am going simply to take pictures at the aftershow party for work. Someone mentioned wine too.

Remains of the Day

Last night I visited the Union Theatre for the premiere of The Remains of the Day by Alex Loveless. This was a valient and romantic effort to bring Kazuo Ishiguro's novel to the musical stage but it was always going to be a difficult job. In musical theatre, when the emotions hit a certain height the characters sing. Quite often, if the emotion is beyond expression in song, then the characters dance. It's a simple formula that can be universally applied. Remains of the Day is a novel about the suppression of emotions in favour of duty, so a musical adaptation need special care and a little more delicacy than appears in Loveless score.

The musical structure requires a good deal of work and the focus is off kilter. There are more musical numbers about the impending war and Darlington Hall than there are about the central, unresolved love story and we never really hear Stevens and Miss Kenton sing a duet until the middle of Act Two. When they do finally sing, it's rather lovely but sadly too little, too late.

Remains of the Day is a musical ready for its first workshop before an audience, not its London Fringe Premiere. Hopefully Loveless, who shows promise as a composer, will see the gapping holes in his work and darn them appropriately.

James' Front Page - he has finally left us.

Mr Groff Does The Wheelbarrow

Current marketing for the West End comedy-thriller Deathtrap show Jonathan Groff teaching Simon Russell-Beale how to do it, LA style.

Recycled Theatre

As Mark Shenton noted today the new theatrical season begins this week and it appears that the first offering to be sacrificed to the critical gods deserved its final roasting. The Jellyfish Theatre is a temporary venue apparently built from completely recycled materials. Ecological plays are practically as old as 'message' plays but what I don't understand is why the temporary nature of the build. Surely resources could have been put to much better use staging the play in a venue that already exists. I realise that rents are high for theatre hires etc but think about other options. I have seen theatre on the street; in a hotel; in a disused council house; in a restaurant - in fact I used to direct showcases in a restaurant - so the possibilities for venues for mounting a good ecological play are limited only by imagination.

The imagination that has been put into the build is all well and good but ultimately it is a disposable theatre. It seems that the play being performed there is equally disposable opening to many bad reviews in much of the Press. This is a venture not about the play but about the spirit of the event. Are we critics supposed to sit there and take the play in question on the chin because the company means well? I hope not.