Tag Archives: Connaught

Art – May 2007

6/10

By: Yasmina Reza, translated by Christopher Hampton

Directed by: Bruce James

Venue: Connaught Theatre

Date: Tuesday 8th May 2007

It was good to see a production of this play that didn’t have such well-known names. Neither Steve nor I had seen these actors before, so there was no baggage to contend with, and it was interesting to find different aspects of the relationships come forward. Yvan, the peacemaker, was very well rounded, which gave a fresh perspective to lines about him losing weight, and his comment about being a lightweight…. spiritually became a lot funnier.

The set was as usual, and otherwise the play was the same, but I got more of a sense of the relationships, and how the characters felt. I don’t remember this from previous productions, but when the characters did their little monologues, they were spotlit. A very good production.

© 2007 Sheila Evans at ilovetheatre.me

September Tide – April 2007

2/10

By: Daphne Du Maurier, adapted by Mark Rayment

Directed by: Ian Dickens

Venue: Connaught Theatre

Date: Tuesday 17th April 2007

Oh dear, this was a dismal evening for the usually reliable Connaught. The play concerns a young (in his 30s) artist, who marries the daughter, and falls in love with the mother. Eventually he informs her of this, they have one night alone together because a tremendous storm stops the daughter from getting back to the house (this is Cornwall, after all), and then she tells him he must leave for all their sakes, and he does. Ho hum. It may be the original play has more to it (and I’ve no idea why an existing play should need an adapter, anyway), but this version was decidedly slight and humdrum. Very Mills and Boon (and that may be an insult to Mills and Boon, I’ve no idea). The cast did their best, but there wasn’t much give in the text, so sadly the evening was not that enjoyable.

Kate O’Mara was too old to play the mother convincingly, and there was no psychological depth to any of the characters, at least none that I could see. Admittedly I did nod off a few times, but that’s partly because there was so little going on. Last night’s performance didn’t lose its grip for a second, so tonight I have to assume that it was the play rather than me.

© 2007 Sheila Evans at ilovetheatre.me

Sailor Beware – March 2007

8/10

By PhilipKing  and Falkland Cary

Directed by Ian Dickens

Venue: Connaught Theatre

Date: Tuesday 27th March 2007

This is a great example of the perils of in-laws. Albert Tufnell, a sailor who’s been an orphan from his early days, was about to marry Shirley, only daughter of Henry and Emma Hornett. This play covered the afternoon and evening leading up to the big day and the morning itself. Things didn’t go according to plan, at least not to Emma’s plan which was all she seemed to care about.

The play started with Edie, Henry’s sister, and Emma. The wedding cake had just arrived, and in her confusion Edie put the hot teapot down on Emma’s lovingly polished sideboard, leaving a mark. Ructions ensued, as Emma browbeat Edie into polishing the mark to see if she could get it out. At first, I had some sympathy for Emma, as Edie was one of those nervous, bumbling, people who can really get on my nerves, but as events unfolded we came to see Emma as she really was – a domineering woman who didn’t let anyone have a moment’s peace. She felt it her duty to point out everyone else’s mistakes and shortcomings, of which there were many. I thought when Shirley came along we’d see a different type of woman, but amazingly, Albert had fallen for a younger version of Emma! And despite spending a couple of long leaves with the family, as well.

Thanks to Edie, with whom Albert flirted outrageously, he found out that Emma had put down a deposit on a house three doors along the road, and with Shirley’s connivance. He’d been planning to move a few miles away to get work when his stint in the Navy was finished, and he wasn’t at all happy to hear this news. He gave Shirley several opportunities to tell him about it, but she flunked them all. He spent the night thinking about this, and decided not to go to the wedding the next morning. He came back to the house afterwards though, to ask Shirley to marry him but on his terms. She agreed, and the play ended with the family heading back off to the church for the wedding.

There was lot to enjoy in the play and in the performances. I liked the balance between the characters, and the fact that there was no black and white – everyone had their good points. Edie was annoying, but kind. She’d been left at the altar herself, so she decided there’s a curse on the family when the same thing happened to Shirley. Henry was seriously henpecked, but did speak up for himself increasingly as the play goes on. His final outpouring, after Albert and Shirley had come to an understanding, was great fun, especially as he didn’t just rubbish his wife for making everyone’s lives miserable. He knew she was also the one who made the comfortable home he was living in, who had put up with Edie for over twenty years, and who had his meal on the table every evening; there was a reference to other wives who are down the pictures when their husbands come home, with fish and chips in the oven for them – the Reverend winced when he mentioned this. Henry coped by having his ferrets to look after – they’re a good deal more affectionate than his wife. One of Rosie’s litter died on the morning of the wedding, and there was some fun when Henry and Edie tried to hide the body from Emma.

Emma herself was quite a character, and held the whole plot together. This performance was excellent and got across her personality, warts and all. There were too many good bits to list them all, but a special mention must go to the scene where the Reverend wanted a quiet word with Albert and Shirley and Emma naturally assumes that meant her as well!

Albert was the other main character in this comedy. He was the first person to stand up to Emma since she was born, from the looks of things, and he came across as being lively but with good common sense. Now that he’d put his foot down, hopefully Shirley won’t turn out like her mother.

The rest of the characters weren’t so significant, but there were some good performances all the same. Carnoustie, Albert’s Scottish pal from the Navy who was going to be his best man, was an uptight puritanical type to begin with, but he loosened up after Daphne made a play for him. She was Shirley’s cousin and one of the bridesmaids, and game for anything by the looks of her. Shirley was quite snippy with her at first – after all, she walked in the room to find Albert holding Daphne’s rather shapely leg. Shirley was a close copy of her mother, but was obviously feeling guilty about not telling Albert about the house deposit. She managed the change into a more reasonable human being very well.

The next door neighbour made a few appearances, always when there was a pot of tea arriving at the table. She even swiped the cup intended for Shirley, after the trauma of being jilted. The main problem I had was not being able to hear her dialogue very well, while all the others came across loud and clear. Finally, there was the Reverend, who only turned up towards the end. I found this performance rather out of keeping with the rest of the production – a bit over the top, with a loud voice and clumsy gestures. I got the impression it’s an understudy’s part – not too much to do, so the ASM can take it over if the understudy’s called on for a bigger role. There were still plenty of laughs, but I felt there was more there.

It was a very entertaining evening, and a cut above the Connaught’s usual fare. Even though it was obviously of its time, this play had a directness to it that made it seem very modern. Good fun all round.

© 2007 Sheila Evans at ilovetheatre.me

The Alchemist – February 2007

5/10

By: Paul Coelho, adapted by ???

Directed by: Dominic Knutton

Venue: Connaught Theatre

Date: Tuesday 27th February 2007

This was a bit of a disappointment. I haven’t read the book, but the opening set up looked promising. A couple of the actors, in costume, were selling programmes inside the auditorium. The programmes consisted of a plastic bag, containing a piece of paper with production information, some sand, a pebble, and a chocolate (bagsy the chocolate!). The other three actors were on stage. I think only one was playing the music, while the rest sat and listened. The stage itself had a large round mat in the middle – a story-telling circle. On it were some large reddish coloured blocks. Outside the circle were instruments and various impedimenta of the production. At the back I could see poles and wires, with small bundles of coloured cloth in various places. It looked like these would be raised up to create a backdrop, and indeed they were. There were three streamers in the middle, and two on each side, which were raised at different times to create different effects. The actors wore basic tops and trousers, except for the woman who was actually playing a woman – the other actress was playing the boy at the heart of the story. Headdresses were added as needed, and I particularly liked the sheep’s heads that most of them wore at the start.

The story is simple – a boy herding sheep has a recurring dream. I lost track of what he was actually dreaming about. One the one hand he seems to see a beautiful woman, and on the other, it’s a child who takes him off to the pyramids to find buried treasure. Anyway, he sets off in search of the treasure, while keeping an eye open for the woman. He has various adventures, arrives at the pyramids, and unravels the mystery, presumably ending up wealthy and with the love of his life, although this adaptation ends with finding the treasure.

Firstly, we found it difficult to ignore some massive coughing coming from our right in the early stages. It was so loud, that I briefly thought it might be part of the performance. Secondly, the delivery from a couple of the actors was on the weak side. The Connaught isn’t a large theatre, and we were seated in row G, yet I lost about half of the dialogue through lack of projection. I felt the production was designed for smaller auditoria – studio spaces perhaps, or theatre in the round. Thirdly, the blocks in the circle sometimes became a distraction, as the actors moved them around to create various settings. Normally, I love this kind of thing, but here it seemed very dull, lacking in imagination, and noisy enough to add to my hearing difficulties. Finally, the story itself seemed a bit simplistic and lacklustre, and I didn’t feel as engaged with it as I would have liked.

On the good side (and there has to be good side, or I wouldn’t have given it 5/10), I did like the music (more of that, please), the use of the cloth streamers at the back, the excellent sheep at the start, and the use of mime throughout to avoid perilous props, e.g. crystal glasses. I perked up when one of the characters is revealed to be Melchizedik, especially as he seemed to have uncanny knowledge of the young lad and his search. The effects with the wind, desert and the hawks were excellent, so perhaps all this production needs is time to bed down. We did see it on the opening night in Worthing; I don’t know how many other performances they’ve done. The actors are certainly talented enough, so good luck to them.

© 2007 Sheila Evans at ilovetheatre.me

If I Were You – January 2007

8/10

By: Alan Ayckbourn

Directed by: Alan Ayckbourn

Venue: Connaught Theatre

Date: Tuesday 30th January 2007

This was good fun – another Alan Ayckbourn special. Like a lot of his recent work, he sets up the situation in detail in the first half, and you have to wait for the second half to see the full comic potential emerge. In this case, it’s a family situation, with two abused wives and two macho husbands, unthinking and uncaring, subjecting their wives to serious unpleasantness, and even violence. There’s also a son who’s still at school, to add to the mix.

Mal and his wife, Jill, are a married couple with two kids – Chrissie, who’s married to Dean, and has a young baby, Liam, and Sam, still at school and wanting to act, which his father disapproves of. Thinks acting is for poofs – you know the sort. We see Mal and Chrissie go through their day – Mal as the bullying, aggressive manager of a furnishing store, and Jill the depressed housewife, hardly getting dressed before her son gets home from school. Chrissie comes round to go shopping with her Mum, and ends up spending the day with her, doing her best to give her support. During this time, we discover that she’s being beaten fairly regularly by Dean, the apple of Mal’s eye – a “real” man as far as he’s concerned. Dean works with Mal, and joins him in the boozing and bullying. Sam, on the other hand, seems more sensitive, and doesn’t enjoy regular schooling. We’re aware that he’s probably got a crush on his English teacher, which is why he’s so keen to do the acting, but when we see his Francis Flute later on, he’s not bad. More on that later.

Mal has refused to sign a form that Sam needs in order to be involved in a production of A Midsummer Night’s Dream, being done as part of an open-air theatre program, not part of the school’s drama work. His mother has promised to sign another copy of the form, and to keep it from Mal, and to help Sam with his lines the next day. Mal has had to deal with a sick secretary, Sandra (he’s threatened to fire her if she’s not in work the next day), a stroppy client whom he’s told to “fuck off”, and his lover, Trixie, whom he sees at lunchtime, with Dean covering for him. A visit from Head Office is also pending, so he’s feeling pretty stressed. Jill is obviously depressed, and could do with getting out of the house by getting a job, while Chrissie needs to find some way to hold her own against Dean. Not Happy Families, this.

At the end of the day, with Mal leaving the remains of his curry stinking up the living room, and refusing to engage in conversation with his wife, we’ve seen the worst that men have to offer their partners, and some of the depths that women plumb trying to live with them. With no explanation given, Ayckbourn is confident enough in his writing skills to have Mal and Jill change personalities during the night, so that Jill wakes up in Mal’s body and he in hers. This we see just before the interval, and Jill/Mal’s scream as she sees herself in the bathroom mirror was a joy to hear. We then spend the second half getting to see how these characters deal with their role reversals, and how the other characters handle the changes. Brilliant fun.

Sam is the first to notice the differences – his Mum is now clearing her chestiness in the morning rather loudly instead of his Dad. Mum no longer knows where anything is in the kitchen, while Dad has put on a pinny and Marigolds, and is cleaning the place up. At least Sam eats breakfast for once – his Mum’s never barked the order to eat at him so fiercely before!

While Mal/Jill is gracelessly coming to terms with being domesticated for the day, Jill/Mal is bonding with everything in sight. She empathises with Sandra, whose “feminine problems” are keeping her off work for another day, and advises her to see a doctor as soon as possible to get it sorted out. She organizes a whip-round at the store for Charlie’s wife, who’s just had a baby, so they can send some flowers. And she deals with the stroppy customer, back for a return bout, by agreeing with everything and promising nothing – apparently that’s the best way to deal with that type. Towards the end of the day, she also deals with Trixie, whom she has not visited during lunchtime, by telling her that Jill knows, and is terribly jealous. She makes out Jill is coming into the room with a knife and (screams)…..end of phone call. Trixie probably won’t be back.

Meantime, Mal/Jill has attempted to dress smartly – in a flowery tangerine top and leopard print trousers that go way beyond clashing. Makeup is likewise not too successful, but you have to give the poor man marks for effort. Sadly, he doesn’t spot that the vacuum is full to the brim, so to get it to work he takes it to pieces. Chrissie arrives at this point, and the vacuum gets put to one side so they can have a natter over a cup of coffee. Naturally, during this talk, Mal/Jill discovers that his blue-eyed boy, Dean, has been beating his daughter, the only woman he seems to prize. He also finds out later, from Sam, that lots of things have been kept from Dad, as otherwise they wouldn’t be able to do anything, to which Mal/Jill can only agree. He does at least carry out Jill’s promise the previous day to help Sam with his lines, and during this finds out about the crush on the English teacher. He’s much relieved.

Sam gives a demonstration of Thisbe’s final speech – a very moving one, depending on how it’s done. This time the emotions came across, and Mal/Jill and Chrissie are obviously engrossed. This is the time when Dean came in the previous day and checked the football results when the women were watching a TV show – totally inconsiderate. Today he comes in when Sam has finished Thisbe’s speech, and is so out of place, and so unpleasant, that Mal/Jill punches him, knocking him onto the couch. Hooray! Chrissie finally has her leverage over Dean, and she asks her family not to tell anyone Dean was knocked out by a woman, because if anyone’s going to tell his friends at the rugby club, it’ll be her.

Jill/Mal shocks Sam even more by offering to make him something to eat – like a lot of teenagers, he seems to be living off cans of fizzy drink – and as he leaves with his sandwich, he unwittingly expresses the reality of the situation by saying “Thanks, Mum”.

As they go to bed, Mal and Jill seem to be coming to terms with their situation, but as they go to sleep, with Jill/Mal counting sheep, they change back again, and now comes the biggest question of all. With all that these two characters have learned during the day, how have they changed? Will they stay changed? Their final coming together suggests that their relationship will be better than before, if not perfect, but then few of us can manage that.

The bulk of the comedy in this was clearly in the male/female conflicts and differences, and there were some tremendously funny bits throughout, mostly in the second half as the role reversal plot developed. I liked that Ayckbourn is tackling more serious subjects in his comedy, if that doesn’t sound too contradictory. Ayckbourn obviously respects women more than men – these women manage to do far more, and more effectively than the men, and it was lovely to see Jill/Mal gain in confidence when doing her husband’s job as well as a good deal of her own. I also found Sam an excellent character – well acted, and he gave us a vital perspective on the changes in both main characters, as well as a pivotal moment in the plot.

But the main acting credits must go to Terence Booth, stepping in to take over the part of Mal, and Liza Goddard as Jill. Both were excellent, especially in portraying the other’s character after the change. It was always clear to us who was who, and that made the whole thing work marvellously well.

The set was typical Ayckbourn – part of a kitchen, a bedroom, and a sitting room. Change the lighting, and voila! we’re in the furnishing showroom. Marvellous economy, and very effective.

© 2007 Sheila Evans at ilovetheatre.me

Arsenic And Old Lace – November 2006

Experience: 6/10

By Joseph Kesselring

Directed by Robin Herford

Venue: Connaught Theatre

Date: Wednesday 22nd November 2006

          This was a very entertaining evening. The play is a marvellous comedy, and this production brought out a lot of the humour. The two old ladies, played by Louise Jameson and Sherrie Hewson, were excellent – I particularly liked Sherrie Hewson as Aunt Martha giving a little shiver of excitement when a new prospect turned up. Ian Targett as Mortimer Brewster handled all the double takes and the emotional rollercoaster very well, which set off the aunts’ dottiness perfectly.

I’d forgotten just how many twists the plot has, with dead bodies being bundled hither and thither, and lots of tables being turned. It’s great fun to see the scene setting at the start, with these two delightful old ladies in their peaceful house, knowing what’s really going on, and one of my favourite parts is when Jonathan realises his dotty old aunts have matched him in murder! Priceless.

Wayne Sleep was also very good as Dr Einstein, and the rest of the cast gave excellent support. We had an understudy for Elaine Harper tonight, and although I couldn’t hear her very well in the first scene, she’d sharpened up her delivery after that (possibly someone let her know she wasn’t carrying enough?) and every word came across just fine. An excellent night out and the best thing I’ve seen at the Connaught for a while.

© 2006 Sheila Evans at ilovetheatre.me

Little Women – November 2006

Experience: 5/10

By Louisa M Alcott, adapted by Ali Gorton

Directed by Ali Gorton

Venue: Connaught Theatre

Date: Tuesday 7th November 2006

This was a good adaptation, and a reasonable production, marred only by poor delivery from many of the cast, more used to TV work than theatre.

I liked that the adaptation only covered the first of the books, Good Women, from Christmas to Christmas, and although they still couldn’t include everything, we got enough of a sense of the events they went through and how they were affected, though it wasn’t as good as reading the book, obviously. There were some cumbersome scene changes, but then the set had to cater for quite a few locations, mainly the Marches living room, but also Mr Laurence’s study, a ballroom, and the garden.

The performances were good, too, apart from the delivery. The various characters came across very well, especially Amy, and some scenes came across more clearly than I remembered from the book – like the problem with Meg and Jo sharing gloves. Overall it worked very well, and I felt this was one of the better adaptations this company has done.

© 2006 Sheila Evans at ilovetheatre.me

Funny Money – August 2006

Experience: 2/10

By Ray Cooney

Venue Connaught Theatre

Date: Tuesday 29th August 2006

Not one of Ray Cooney’s best. We smiled a fair bit, laughed out loud several times, and we’re happy enough to support the Connaught, but I wouldn’t go out of my way to see this one again.

Man picks up wrong briefcase, finds it’s full of money, tries to run off with his wife, ends up running off with almost every member of the cast. Lots of homosexual innuendo (haven’t we outgrown that yet?) people having to pretend to be other (imaginary) characters, and two identical briefcases. The cast did their best and there were some fun moments, especially when things went wrong, so the evening wasn’t completely wasted. At least Ray Cooney keeps it short!

© 2006 Sheila Evans at ilovetheatre.me

Star Quality – June 2006

Experience: 6/10

By Noel Coward

Adapted by Christopher Luscombe

Venue: Connaught Theatre

Date: Thursday 22nd June 2006

This was a reasonably enjoyable evening, marred only by being nearly blinded by a badly positioned mirror in the dressing room scenes. Fortunately, the offending mirror was partly covered as the set was redressed, so I was OK, but the poor chap next to me was still being dazzled. Unfortunate, and it did spoil the end scenes for me.

I find this a wordy and rather arch play – still fun, but nothing like as enjoyable as Coward’s main works. The performances were fine, set design and lighting (with one exception) fine, though not on as lavish a scale as the previous production (seen at Richmond Theatre). I particularly enjoyed Miles Western as the director’s “personal assistant”, and the short scene where the star gets the better of the director at the end, convincing him of her vulnerability. Good fun.

© 2006 Sheila Evans at ilovetheatre.me

A Touch Of The Sun – May 2006

Experience: 3/10

By N C Hunter

Directed by Joanna Read

Venue: Connaught Theatre

Date: Thursday 25th May 2006

This was an old-fashioned play, not just because it was written and first produced in 1957, but because the values it expressed seemed so dated. A socialist schoolteacher, who works in a lesser public school for backward boys (goodness knows what term we would use now!) scrimping and saving to make ends meet, gets invited to Cannes for a holiday by his brother, the new husband of a relatively wealthy woman. This sets up all sorts of stresses and strains on the family relationships, especially between the teacher and his wife and him and his son.

His wife enjoys herself enormously at Cannes. She’s being entertained by a charming business man who’s inherited his wealth, and although she doesn’t fall in love with him, she’s very prepared to take full advantage of his time and companionship. The son is also keen to take advantage of an offer of work at his company. This probably upsets the father more than anything else, as his plan was for his son to become a schoolteacher. Eventually, he seems to realise he can’t run his son’s life, and accepts that he’s free to make his own choices. I did enjoy one bit where he comments on what he’s taught his son “since he was old enough to think for himself”! Seems like it’s OK to think for yourself as long as you think the same way Dad does.

There’s also his own father who’s being shuttled around between the families, although he ends up with the long-suffering schoolmaster as the flighty young Canadian sister-in-law just does not get on with him – he gets in the way of her socialising.

It was an interesting play to watch. It gave an insight into the concerns of its time, the period after WWII when ideals and materialism clashed. It would seem ludicrous now to have a character so obsessed with despising wealth and so completely incapable of having fun. But in this context it worked, and the acting was good enough to make it believable. There was good all round support, and the only drawback was that it all seemed a bit pointless – an historical debate that’s not so relevant today, but worth seeing for the different perspective.

© 2006 Sheila Evans at ilovetheatre.me