Frank Ruhrmund
Although the weather was “positively macabre”, and that’s
putting it mildly, at the Minack on Monday, the spirit of the Cygnet Theatre
Company remained blithe, not to say willing.
Having already suffered the loss of its dress rehearsal, a handicap which
was hardly noticeable, it refused to let rain stop play and came up with a
performance of Noel Coward’s “Blithe Spirit” of which the
playwright would have approved.
He called has classic comedy an improbable farce, and the whole improbability
of the occasion would have confirmed all he believed about “Mads dogs
and Englishmen:.
There were moments on Monday when I
felt that we - actors and audience alike - were all barking mad.
Who else, other than crazy natives of this country, would sit outdoors on,
if I may coin the words, a most un-blithe-like evening, to watch a most un-Minack-like
play?
First produces in the dark days of
1941, despite the fact that its conventional setting - the Condomines’
home somewhere in Kent, whose occupants dress for dinner and are waited upon
by a maid - has long since disappeared from the stage, with the characters
themselves seeming almost like ghosts, its repartee is as relevant and as
witty as it ever was, and the play stands the test of time well.
Director Alistair Ganley makes no concessions
at all to the Minack: it is as if the set has been air-lifted from the New
Theatre, Exeter, and landed here, minus walls, roof and proscenium arch.
That is works at all, in the circumstances,
is remarkable and says much for the standard of performance. ANything by Noel
Coward demands to be played with style, sophistication was his trademark,
after all, and director and cast hit just the right note.
Thankfully, the dialogue is delivered
“trippingly on the tongue”, with every word being distinct and
easy to hear.
Jillian George-Lewis as the be-cloaked, beaded and feathered, medium Madame
Arcati, although we are denied sight of her bicycle, convinces that she really
can see something in her crystal ball.
Toby Leetham as the somewhat cynical
novelist Charles provides a suitably smug target for his wives’ war
of words, and as his two wives, Rut Baldwin gets all the detached irony possible
from her lines as the glacial Ruth, which Caroline Tate enjoys every minute
as the mischievous, passed over but earthy, Elvira.
They are strongly supported by Jonathan
Cade as the good as gold Dr. Bradman, Caroline Colomei as his eager for ethereality,
and far from shrinking, wife Violet, and Catherine Lambert who makes the very
most of being a “Yes’m” maid.
Altogether a neatly sustained, epigrammatic, ectoplasmic experience, it deserves better weather: not only to keep the company’s spirit blithe, but to dry out its costumes and furnishings after Monday’s monsoon.
Cygnet is a trained theatre and, if the performances I saw last night are anything to go by, they are training the acting stars of the future.
It’s rare treat to see a live production of Blithe Spirit - Coward fans
all know the film with the superb performance by Margaret Rutherford as Madame
Arcati.
It’s a formidable act to follow
but Jillian George-Lewis certainly gives her a run for her money.
She was a delight as were Catherine
Lambert as the servant girl Edith, getting a round of applause for her in-character
set changes and the serenely beautiful Caroline Tate as the spoilt spirit
Elvira.
This was a strong ensemble piece performed with perfect comic timing - you have to be fast to pick up on Coward’s ironies - which led to a delightful evening.
Anne Broom
Energy and commitment are the cornerstones of this lively production which
is firmly stamped with the exuberance of youth.
Strong production is evident in the deft touch of guest director Roger Redfarn
throughout this ensemble performance, set in the intimacy of the round and
seen in the total involvement of the 16 strong cast.
The actors deal creditably with the constraints of
the musical’s precise rhythms, with some clear true voices in solo pieces
and gain strength in the chorus work in which they fill the space with colour
and movement.
There is a freshness, spontaneity and simplicity in
the style of this production, epitomised in its pretty girls in crisp gingham
and pert bows.
A simple set with open-sided wooden structures representing
the warmth of the homestead - which contrasts with the menacing Smoke-house,
home of morose hired hand Jud Fry - is dressed with hay bales and rocking
chair and used with confidence and imagination.
Accents are well sustained and the strong choreography
of the fight scene provides moments of high drama, revealing tragedy lurking
beneath the gaiety.
Special praise goes to Zoe Crowder, whose delightful
voice and huge expressive eyes give us a sincere and charming Laurey, strongly
partnered by Toby Leetham as the handsome Curly.
Jillian Stewart’s dominant Aunt Eller is a nicely
observed characterisation while Catherine Lambert makes the most of the comedy
in the ingenious Ado Annie with her wonderfully funny gauche movement.
Josh White’s portrayal of Jud Fry provides a
powerful dramatic contrast.
Roger Redfarn has fully exploited the talents of these young actors who rise to the challenge and appear to enjoy every moment.
King Lear
Cambridge Shakespeare Festival
There is a lot in Shakespeare's famous tragedy that cent be enhanced by setting the action outside rather than on the wooden stage of a theatre.
For one thing, it injects realism into the scenes when Lear is wandering in the wilderness searching for his sanity.
This mode of production is probably closer to the Bard's idea 400 years ago. Long before the luxurious days of plush-carpeted theatres, tiered-seating and lorgnettes, there would have been mud and nutshells underfoot.
Besides this, the contemporary and academic minds behind this production have transcended the original text in some brave and innovative ways.
A brilliant Fool, (played by Catherine Lambert) nurses the most sorrowful afflictions and yet still manages to inspire hope in Lear.
The epileptic and, I think, cerebral palsy sufferer at one point had me so convinced I almost reached for my mobile phone to call an ambulance.
The company also takes the daring step of attributing an action, believed to be the most brutal display of theatrical violence in the history of theatre, to a women. It is a departure from the text but a clever one.
When Regan (Sarah Rutherford) gouges out the eyes of Gloucester, the effect is sickening. It is a powerful moment in a production that refuses to blank out the evil that can underlie human motivation.
The humanity given to Lear by Livy Armstrong almost from the outset ensures that the King's pitiful demise strikes the emotions of the audience.
It is good to see a multi-layered Lear, especially when so many of the characters are raving lunatics. Sarah-Jane Brindley (Goneril) and Simon Edwards (Edgar as Mad Tom) have cornered the madness market in this production.
With her uncontrollable laughter and his nonsensical ramblings I felt like an inmate of Ward Six.
Lear is a foolish, lovable, rogue able to make you chuckle. It is a welcome relief from the pervasive devastation.
The production is very good for many reasons. It is
not a light-hearted play but there is plenty to keep your eyes glued to the
action.
There is also mulled wine on offer in the interval and the chance to wk uneventful
gardens.
Takes cost £10 or £7 concession and are available on the door
or in advance from city boogie, Wheeler Street.T el: 01223 357851. Performance
take accede (except Sound) until August 19th
