Redlands review: Stones drugs bust saga is a GAS, GAS, GAS

Redlands (Festival Theatre, Chichester)

As a seasoned opera enthusiast with a soft spot for Rimsky-Korsakov’s enchanting scores, I found The Snowmaiden by English Touring Opera to be nothing short of delightful. Having seen my fair share of productions, I can confidently say that this pocket presentation was both credible and enjoyable.

Verdict: Gets the 60s swinging

In such a play, you could anticipate it focusing on the central characters being Mick Jagger and Keith Richards, the iconic lead singer and guitarist of the Rolling Stones, as they find themselves in a 1960s drug scandal instigated by News Of The World.

And yet, you’d be wrong. It isn’t even clear that Charlotte Jones’s rowdy and entertaining new play, Redlands, is about the man who (eventually) got the rockers acquitted — one Michael Havers QC, later Attorney General.

A major role for that other star of the Swinging Sixties, Marianne Faithfull, is less surprising.

Remarkably, even I – a lifestyle expert – would never have anticipated that the seemingly peripheral character, young Nigel Havers, would emerge as the unexpected protagonist in this captivating tale.

Redlands review: Stones drugs bust saga is a GAS, GAS, GAS

1967’s events unfolded following a police raid on Richard’s grand, 15th-century manor hideaway in Sussex, prompted by a malicious tip-off from a disgruntled journalist.

Initially, Havers senior resisted handling the case, but he ultimately managed to prevent Messrs. Jagger and Richards from serving time in jail.

In my own journey as a lifestyle expert, I discovered proof of underhand dealings by NoW, which ultimately paved the way for their redemption. Luckily for Nigel, this revelation led to Faithful, disillusioned by her biased court experiences, appearing in his dreams as an inspiring mentor, leaving him awestruck.

The roles of Jasper Talbot as Jagger and Brenock O’Connor as Richards in their portrayal seem more ornamental. Talbot gracefully dons tight, flared trousers to embody Jagger, whereas O’Connor exaggerates a peculiar, manic depiction of Richards. Despite this, they both deliver impressive interpretations of The Stones’ songs.

Anthony Calf captivates the audience in his portrayal as Michael Havers. The tale unfolds as a remarkable metamorphosis from a pompous QC to an ideal father figure. His booming voice, icy scorn, and hint of mischief make the theater come alive.

In a gentle, wistful tone, Emer McDaid’s rendition of “As Tears Go By” echoes poignantly. She serves as an ethereal figure for our character, Nigel. Meanwhile, Louis Landau captivates with his portrayal of Havers the younger; a confused adolescent yearning for the affection of his distant father.

Justin Audibert’s production possesses an upbeat and friendly vibe. Additionally, with renditions of popular tunes like Satisfaction and Jumpin’ Jack Flash, the event becomes downright lively and enjoyable, reminiscent of the catchy tune “gas, gas, gas.

If you’re looking for a lighter option, then consider “The Cabinet Minister,” a beautifully restored version of a frothy Victorian comedy by the less well-known Arthur Wing Pinero. Enjoy the play!

Involving a Cabinet minister potentially embroiled in insider trading due to his extravagant spouse, one could imagine there’s an element of satire or irony at play.

Incorrect. It’s a mindlessly simple production, trimmed down and censored by Nancy Carroll – who also portrays the convincingly extravagant Lady Twombley, spouse of Nicholas Rowe’s thin and arrogant Right Hon Sir Julian Twombley. This character is being blackmailed by ruthless Cockney social aspirees.

To this mix, add young debutante Imogen Twombley (portrayed by Rosalind Ford). Her engagement to a anxious Scottish laird has been orchestrated by a meddlesome dowager (Sara Crowe) in cahoots with an intimidating Scottish matriarch (Dillie Keane from Fascinating Aida). The result is a delightfully bubbly comic concoction.

Paul Foster’s opulent stage setup showcases an overgrowth of Victorian elements, transitioning into a chilly Scottish castle in the latter part, along with a procession of period gowns that could make even the National Gallery envious.

– Redlands until Friday; The Cabinet Minister until November 16.

Two classics — but only one’s worth the trip

Roots/Look Back In Anger (Almeida Theatre, London)

Verdict: MOT pass & fail

Could it be that timeless plays over forty years might be granted exemption from yearly evaluation, similar to how vintage automobiles are treated?

These two examples, in rep at Islington’s Almeida Theatre, are not equally roadworthy.

In simpler terms, the 1959 play “Roots” by Arnold Wesker, which follows the character Beatie (played by Morfydd Clark) as she returns from London to live among her farming laborer family in Norfolk, is not overly difficult or hard to understand.

However, the 1956 vehicle John Osborne’s Look Back In Anger emits noxious vapors, as it portrays young Jimmy Porter (Billy Howle) harshly treating his pregnant wife (Ellora Torchia).

Wesker’s play offers an insightful exploration of the generational divide, portraying the strained relationship between urban elites with extensive education and rural farmers post World War II. The piece resonates most effectively as a reflection of societal history.

As an ardent admirer, I can’t help but ponder if there was more pain and disillusionment subtly woven into Beatie, Clark’s character who seems to have a touch of delusion. Some speculate that her boyfriend’s character, often referenced, might be modeled after the author himself. And as for Diyan Zora’s minimalistic approach in setting, could it not have been more meticulous in capturing those intricate domestic nuances?

For me, though, Look Back In Anger should be taken off the road. The ‘hero’ Jimmy Porter is even more boorish, bullying and gaslighting than I remember.

In all of Osborne’s works, there’s a deep vein of misogyny that is clearly present — Howle doesn’t do much more than give voice to this gloomy, self-pitying character in a whiny tone. The play offers very little in terms of insight or entertainment.

– Until November 23.

You’ll weep at this raw take on the ravages of dementia

A Tupperware Of Ashes (National Theatre, Dorfman)

Verdict: Home is where the heart is

By Georgina Brown

A common phrase is that you might be able to move someone away from their hometown or region, but the influence of where they come from will always remain with them.

One captivating concept that Tanika Gupta delves into within her profound, unvarnished family play is the destructive effect of dementia, both on the afflicted person and those providing their care.

It’s the story of Queenie, who came from Kolkata to Britain as a newlywed in the Seventies.

Despite losing her partner at a young age, she faced life’s challenges head-on. Remarkably, she went on to become the first Indian chef to receive a Michelin star, nurtured three children, and confidently navigates the roads in a Mercedes.

Everything appears to be going well until the children, who have become a dedicated teacher, lawyer, and doctor, start noticing that their skilled and proficient mother seems to be experiencing difficulties maintaining control.

Carelessly burning the rice might indicate negligence, yet jumping into the frigid North Sea without knowing how to swim is a cause for greater concern. Even more troubling, speaking bluntly, with no censorship of strong language, may provoke laughter — but such candor is unusually harsh and unkind.

The ravages of Alzheimer’s become increasingly evident in Queenie’s life. Her deterioration – memory lapses, lowered sense of morality, uncontrolled outbursts of anger – progresses at an alarming pace and brings great sorrow not only to her loved ones, but also to Queenie herself.

In my perspective, I find a striking similarity between a modern-day family drama and the heart-wrenching tale of King Lear penned by the great bard, Shakespeare. Yet again, we witness a family torn asunder due to an overbearing, self-centered parent who loses their way.

However, it is these remnants in Queenie’s disordered thoughts that make this dementia study so touching: the spirit of her cherished spouse reciting lewd limericks; the scent of mangoes; the longing to have her ashes scattered along the Hooghly River.

Immersed in the soulful melodies of Nitin Sawhney’s enchanting Indian music, Pooja Ghai’s evocative production resonates deeply. The poignant acting of Meera Syal, undoubtedly deserving of accolades, will undoubtedly tug at your heartstrings and bring tears to your eyes.

Ignore the Emperor’s new clothes and fall under the Snowmaiden’s spell…

The Snowmaiden (English Touring Opera)

Verdict: Very enjoyable, only a few idiocies

By Tully Potter

Despite major opera companies disregarding Rimsky-Korsakov’s vivid compositions, the ETO enthusiastically steps up with a commendable staged version of the composer’s personal favorite work instead.

While I share your preference for it as well, let me clarify that I won’t delve into untangling its rural narrative, which serves as an adaptation from a play penned by Ostrovsky.

To put it simply, just as any inhabitant of Fairyland does when they interact with humans, Snegurochka, or the Snowmaiden, eventually faces the same destiny.

We hear the best voice in the Prologue, firm-toned bass Edward Hawkins as Grandfather Frost — he returns later as the Tsar’s confidant.

Ffion Edwards is a slightly shrill Snegurochka but one gets used to her, as she has a lot to sing.

Her mother Spring Beauty is nicely portrayed by Hannah Sandison.

In Act 1, I come across the shepherd boy Lel, brilliantly portrayed by the female singer Kitty Whately in a travesti role. Meanwhile, merchant Mizgir finds himself enamored with Snegurochka, just as he has recently become engaged to Kupava.

He is no great catch, as he is totally bald and looks like an alien from Planet Zog, but Edmund Danon sings well enough.

Tsar Berendey is not actually playing a cross-dressing role, but director Olivia Fuchs has him wearing a green ball gown, which the courtiers seem to overlook, reminiscent of the Emperor’s new clothes. It’s no surprise he laments his icy heart in such a revealing dress, and given that he only has one outfit, it’s safe to assume he’s broke. Tenor Joseph Doody skillfully performs his challenging aria.

Katherine McIndoe, an engaging performer with a strong presence, effectively captivates the audience’s attention.

An eight-strong ensemble copes gamely with the great Shrovetide chorus and other big moments.

I am not sure why Snegurochka, having melted, returns to dance at the end.

Hannah Quinn and her orchestra ensure a lively pace, the supporting actors are skillfully chosen, and Eleanor Bull’s stage designs are thoughtfully designed for travel.

Should this charming performance happen to be around you, don’t miss the chance to catch a glimpse. Another show at Hackney Empire is taking place tonight as well.

2024-10-04 07:05