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You Won’t Believe the Shocking Truth About Hitchcock’s Latest Double Bill

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 North by Northwest (Theatre Royal, York and touring)

 Verdict: Packs a punch 

Currently, Alfred Hitchcock is all the rage. However, one might argue that his 1959 masterpiece, North by Northwest, is hardly adaptable for stage performance. The story unfolds in New York City initially, then journeys across the vast Prairies, culminating atop the iconic Mount Rushmore.

However, everything serves as raw material for director Emma Rice in her stylishly sophisticated reinterpretation process.

Movie enthusiasts will recognize this as the film where Cary Grant plays Roger Thornhill, a smooth Manhattan advertising executive who becomes entangled in a deadly case of mistaken identity. To prove his innocence – and stay alive – he embarks on a cross-country chase that takes him through the heartland. For Rice, after Hitchcock, it’s a prompt for humor, elegance, and creative flair. Her production is reminiscent of some of the most innovative staging since Patrick Barlow’s frequently revived adaptation of yet another Hitchcock masterpiece, The 39 Steps.

This venue boasts four large rotating entrance doors, adorned with colorful bottles reminiscent of a trendy cocktail lounge. The clothing styles range from trench coats, hats like fedoras, and sunglasses – inspired by Grant’s incredibly stylish grey suit.

Ewan Wardrop adopts a casual, Grant-like manner. With a wit as sharp as a martini on the rocks, he exudes an air of nonchalance reminiscent of a cucumber: his hands casually tucked into his pockets, standing as if waiting for a bus by a cornfield… until a biplane buzzes him (just to clarify, that’s not a term related to modern gender identities).

Patrycja Kujawska seems to embody Ingrid Bergman rather than Eva Marie Saint, portraying the captivating icy queen who helps him escape danger; on the other hand, Karl Queensborough effortlessly takes on the role typically associated with James Mason’s cold-hearted antagonist in pursuit of Thornhill.

In a playful manner, Katy Owen narrates with a witty British charm and a touch of whimsy, wearing a trilby hat. The dialogue could benefit from a sharper, snappier delivery. While the lively dancing scenes sprinkled throughout are adorable, they could potentially be omitted without significant impact. Overall, this production offers a captivating blend of Hitchcock’s style, seasoned with a refreshing twist of zesty flavor.

 

Alfred Hitchcock Presents – The Musical (Theatre Royal, Bath) 

 Verdict: Toils of the unexpected

Rather than Alfred Hitchcock Presents – The Musical delivering more with less effort, it seems to put forth considerable effort yet achieves relatively little. Despite its good intentions, it could benefit from a stronger unifying concept. I had anticipated an entertaining blend of the master of suspense and music, but John Doyle’s production appears to lean heavily on nostalgia for classic black-and-white TV.

Indeed, these tales are adapted from Alfred Hitchcock’s 1950s TV series titled “Alfred Hitchcock Presents.” Scarlett Strallen portrays a disgruntled wife of an unfaithful police officer in the story “Lamb to the Slaughter,” which was penned by Roald Dahl. Damian Humbley takes on the role of a diminutive filmmaker, who is infidel with Nicola Hughes’s character, a ravenous jazz singer. Additionally, Sally Ann Triplett delivers an energetic yet mischievous performance as not one, but two cunning grandmothers in this production.

Musically, it’s a score by the late Steven Lutvak that borrows melodies from various sources, much like a magpie, with numbers reminiscent of show tunes. These are connected through conversations that delve deeply into emotions, akin to Sondheim’s style. I wished for more explicit themes and a finale where the larger character breaks into song!

North By Northwest, York until April 5; Alfred Hitchcock Presents – The Musical until April 12.

 

The poop hits the fan in the Swinging Sixties…1660s!…as women take to the stage for the first time

 Playhouse Creatures (Orange Tree, Richmond) 

Verdict: Too glossy  

‘Anna Chancellor’s character, Mrs Betterton, an esteemed actress from the 1660s London stage, notes that a wide-open mouth can take you far in theatre,’ emphasizes Chancellor. She exudes her fervor for articulate delivery to aspiring actors, and she firmly states, ‘We are artists.’

Mrs. B plays a crucial role, yet April de Angelis’s 1993 play feels more like an unsatisfying history lesson in a lively historical series rather than a fulfilling drama.

As a devoted admirer, I’d like to share my perspective on a film series that seems more like a collection of unconnected scenes rather than a narrative with tension or character growth. Instead, it appears to be a string of episodes, subtly tied together, often showcasing the female actors’ ample cleavage. This, in turn, seemed to depict them as objects of desire, with an expiration date on their appeal.

Unfortunately, the Chancellor hastily displays her method of expressing emotions by slightly adjusting her proud chin towards various clock positions: ‘Feeling ashamed at 20 minutes past seven, feeling despair at five minutes past midday’. Ignore that. Her captivating portrayal of Lady Macbeth’s sleepwalking scene during the era left me momentarily spellbound and filled with ‘heavenly ecstasy’ at exactly noon.

In a kind of recalling device, a sturdy and unflappable wardrobe-cum-production manager named Dona Croll reminisces about times when the theater was a brutal arena. As female actors entered the scene, they were often the ones being set up for challenges.

Under constant insults as if she was a prostitute, the spirited character Mrs. Marshall, portrayed by Katherine Kingsley, responds with a barrage of profanities. Subsequently, her antagonist throws filth, some of which embeds itself in her beautiful tresses.

Nell Gwynn, a resourceful oyster vendor played by Zoe Brough, believes that the stage might offer more opportunities for meeting influential people. Indeed, it does. In a spontaneous and unskilled dance, she manages to draw attention, particularly from the King himself.

It isn’t always the case that every girl enjoys such good fortune. The pregnancy of Nicole Sawyerr’s wife, Mrs. Farley, unfortunately brought an end to her professional life, compelling her to return to the streets.

In Michael Oakley’s performance, there seems to be a lack of genuine ambiance and realism: extravagant acts by elegantly coiffed performers conceal the grime, perspiration, and emotional turmoil that were characteristic of challenging theatrical periods.

Until April 12, then touring (orangetreetheatre.co.uk)

By Georgina Brown

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2025-03-28 03:34

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