alinewaites

When I Have Fears – Noel Coward

When I have fears, as Keats had fears,
Of the moment I’ll cease to be
I console myself with vanished years
Remembered laughter, remembered tears,
And the peace of the changing sea.
When I feel sad, as Keats felt sad
That my life is so nearly done.
It gives me comfort to dwell upon
Remembered friends who are dead and gone
And the jokes we had and the fun
How happy they are I cannot know,
But happy I am who loved them so.

The LIZZIE PLAY
By Deirdre Strath, adapted from ‘The Fall River Murders’ by Angela Carter.
at the George Bernard Shaw Theatre, RADA
“You can’t chop your poppa up in Massachusetts.” This song was in the movie New Faces of 1954 and was one of the many ditties, poems and reports devoted to the murder in 1892 of millionaire Andrew Burden and his second wife Abby in Fall River Massachusetts. The youngest of Andrew’s two daughters, Lizzie, was accused of the murder and spent some time on remand, but nothing was proved and she was acquitted. Lizzie Borden has been written about many times and never will be I think forgotten.
The last time I saw the Lizzie Borden story it was a musical In this production there is no specially written music, but the show starts with harmonic arrangements of a nursery rhyme ‘Three Blind Mice’ while three main protagonists Andrew Burden, Abby and his daughter Lizzie are sitting on chairs blindfolded as the five strong ensemble sings. The play is lit up from time to time with snatches of other nursery rhymes sung by the company. No musical director is credited so the harmonies must have been organically produced by the actors themselves.
One of the ensemble plays Emma, Lizzie’s elder sister and she narrates for us the story of that Hot day in 1894 when millionaire Mr Boren and his grossly overweight wife were found murdered in their home. She had nineteen cuts on her and he had eleven.
Andrew Borden was an unpleasant character. He was a self-made multi-millionaire and a miser. His house was in the less classy area of the town and the only plumbing was on the first floor where he had his office. He owned all the women in the house, they were all under his thumb. Abby was extremely jealous of both girls, it is no secret that Abby was looking forward to inheriting Andrew’s fortune when he died. Something the girls feared. But it was Lizzie who was his favourite and it seems he frequently molested her sexually.
This is a very interesting interpretation of story full of unsolved mysteries. What happened on Lizzie’s visit to Florence, what made the whole family ill just before the murder, the mysterious burglar, the possibility that Lizzie might have performed the act in a kind of coma.
The production was put on as part of the Rada Festival but it showed a great deal of flair and imagination from the writer Deirdre and director Nona Shepphard. It is certainly worth running as a commercial venture, if the finance can be found.
I look forward to seeing it again.

INSTRUCTIONS FOR AMERICAN SERVICEMEN IN BRITAIN ****
Dan March, Jim Millard, Matt Sheahan and John Walton
This play begins in the best possible way. With some music from the second World War. So as the whole audience was ’Hanging out the Washing on the Seigfried Line’ my youthful neighbour said to me ‘I didn’t know there was this kind of music before The Beatles.’ I knew what she meant. Songs about ordinary people that meant something to the man in the Street. When the actors finally appeared, the audience were all in great form, ready to laugh and they certainly did.
Just three guys, two Americans – one a bombastic colonel and the other an ex Broadway musical performer who meet up with an English Major. The Major (Mat Sheahan) is treated as a different species by the others. He is not smartly dressed in uniform but is in shorts with jolly socks. Dan March plays the outrageously aggressive American Colonel and James Millard plays an ever- smiling ex vaudeville comedian who is now an officer in the Army
The audience are supposed to be GI recruits and the officers lecture us, ignoring the fourth wall, attacking odd members in the front row, a ploy that helps the comedy along beautifully. We are all expected – nay commanded -to join in – even to do several steps of an English Morris dance.
It is of course a definitive version of “two nations divided by a similar language” as I think Winston Churchill said. Mr Churchill known to the Yanks as The President of London. The consider him ok because he was half American.
Another very funny piece by Mat Sheahan (as The English Major) about the British pre-decimal monetary system as he explains it to the American visitors with the use of a blackboard. Including confusing descriptions of farthings, tanners, ha’pennies, half crowns and even the invisible guinea.
The show is freely adapted from a 1942 pamphlet discovered by John Walton, director and producer and they appealed to him as endearing and very funny. The pamphlet was to prepare GIs for their new home and stop the Bosh from making trouble between the allies.
The play is broken up into sketches and the three actors take on many different roles, but for my money, the three servicemen are the funniest.
One of the sketches feels close to home. The villages cricket match is confused when the men try to turn it into baseball which the British think of as Rounders.
Many truths are spoken here but the main thrust of this show is the wonderful comedy actors and their performances They are brilliant – mostly working their own and John Walton’s material.
A few of the sketches don’t completely succeed but you can never have everything. I give it five with love and laughter.

King kong
by Daniel Clarkson
At the Vaults
A bombastic movie maker of the 1930s wishes to make a movie of the famous thriller. If I saw King Kong as a child I think I would even then have found the whole thing rather ridiculous. I certainly have no fearsome memories of the giant ape though I remember the story well. My son loves the film so maybe I took him to see it when he was little.
Here it is treated as a joke- which I always felt it should be. Bob Crouch is suitably tyrannical and misogynistic as Carl Denham, old style director with ambitions to be D.W.Griffith but turns out to be more of a Mack Sonnet, with occasional sly references to the present day president of America.
He gathers together a useless mob of creative talent and sets on a task to find a dumb blonde to play the part of Fay Wray. What he does not see under his nose is a Fay Wray look alike – a sexually attractive blonde brought to him by casting director (Brendan Murphy in one of his many roles). Ann (Alix Dunmore) is highly intelligent and solves most of the venture’s problems with simple logic but her wit is not appreciated or even heard by the Master until they are repeated by a male member of the crew – the aforementioned Murphy plus Benjamin Chamberlain as Jack and Sam Donnelly as the Skipper all of whom get a chance to shine in the first part of the evening.
Eventually time is running out and there are no other women around so Denham finally notices Ann and she is given the part of the doll like heroine.
This is a hilarious kind of romp that should appeal to anyone over the age of about five. A pantomime complete with political allusions – but sadly no songs. Songs would help it along when the silliness begins to wears a little thin and to my mind the production falters when they are forced to concentrate on the plot and rely on puppetry and slapstick. Until that time, the fun rests on the shoulders of the hugely good natured and shamelessly OTT cast. They enter into the style with infectious enjoyment. After that there is too little wit and too much slapstick for my liking.
As for the star eponymous character – you’ll have to see the show to meet King Kong in person. It is on until 27th August.

LORNA DALLAS ‘HOME AGAIN’ *****
At the Crazy Coqs
‘You’ve still got it’ shouted one of the distinguished artists that made up the audience for this magical lady’s return to the UK. She began her set with ‘As If we never said Goodbye’ with special humorous lyrics written by her producer Barry Kleinbort. And she certainly had still got it. Twenty years ago, she made regular appearances on the West End Stage. One of the very best vocalist in the business. And I would say certainly the best soprano. She is a lovely warm hearted woman wrapped in turquoise satin with a tremendous vocal talent that can cover anything as she effortlessly goes from one style to another with apparent ease.
Her voice is a true operatic soprano and along with her acting talent and the kind of versatility that can wring your heart one minute and make you laugh at the next with her playful sense of humour, she creates an atmosphere of happiness. .
For me the most impressive of her talent is her presentation of Ivor Novello. This is a composer that I usually avoid because his numbers have been mutilated by many second rate sopranos. But after hearing Lorna with her thrilling voice and perfect diction gives a new impression of his work. The combination of You are Love and Look in my Heart is an amazing double that throbs with emotion and her final number is another from Novello My Life belongs to you.
Her personality is vibrant and unusual. She is still as beautiful as she was twenty years ago and her voice is probably even more powerful. She works mostly solo except on the one occasion when she duets with her accompanist, the hugely talented musical arrange Jason Carr.
Her show is quite short – only an hour and one is so sad when it finishes. I walked back through rain soaked Piccadilly cheered by her songs which still filled my head – and still do.
It is important to mention that she is doing only one more set at the Crazy Coqs on 4th July.
It would be advisable to book as soon as possible as this is a theatrical coup that should be experienced.
BOOK NOW.

Macbeth at St Paul’s Churchyard, Covent Garden
Iris Production
“Who would have thought the Old man to have so much blood in him.”
Well we certainly saw plenty of it spattered over members of the cast in this intelligent and entertaining production of Macbeth directed by Daniel Winder in the normally serene gardens of the Actors Church
I have heard it said ‘Doctor Winder loves Blood’ well he certainly does, and you can be sure that there will be plenty of it mingled with the poetry in all his Shakespeare tragedies. It is helpful that Daniel Winder’s wife is a brilliant historian and between them they extract every ounce of psychological meaning from the script. Barbara Winder also writes a dissertation in the programme about how and why Shakespeare was so inspired and how he captured the mood of the people at that time
Richard the Third was a triumph a couple of years ago and this is an unbeatable production of the Scottish play. Every line has been carefully worked upon so that we are totally in the head of everyone who speaks it. Of course, David Hywel Baynes, one of our best Shakespeare actors absolutely inhabits the mind of Macbeth like no one I have ever seen before and his beautiful lady played by Mogali Masuku uses her enormous charm to help fire her furious ambition. At the start of the play when MacB is a conquering hero and she his loving wife, there is acute sexual feeling between them and their great love is highly convincing. It is all more heartrending to see how his ambition and hers destroys them along with their loving relationship.
The most extraordinary scene is set not in the garden but inside the actual church. The banquet scene when Macbeth confronts the ghost of murdered Banquo really chills the blood is set within the surroundings of the exquisite Inigo Jones church. The scene is really terrifying as the ghost comes and goes as if by magic and seen only by Macbeth whose reaction is that of a screaming uncontrolled madman. As we leave through the anteroom of the church there is even more horror to behold.
The creation of the witches has a touch of genius about it. These are creatures which would be more familiar to Dr Who than to MacB and Banquo. One of them is a giant figure on stilts who dominates the action from the beginning of the play. In the original the witches would have been invented to cause feelings of unease and perhaps fear to the members of the audience So it is appropriate in the modern day that they resemble characters from outer space.
This is a Macbeth like no other. It is a promenade production which moves us around many of the gorgeously landscaped gardens surrounding the Actors Church.

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JOHN BUCCHINO AND FRIENDS
AT THE St James Studio 2013
John Bucchino is a charismatic and hugely talented multi award winning Broadway composer who writes songs about relationships.Some sentimental – some cynical – many of them heart breaking. The nearest thing we have these days to my particular hero, Lorenz Hart.
Bucchino’s songs have been recorded by Art Garfunkel, Liza Minnelli, Patti Lu Pone, Barbara Cook, Michael Feinstein – the list goes on. I know Michael Feinstein will not object to being quoted here. His songs are ‘continuing the evolution of classic American popular song’ You just have to read the titles of the songs to get that feeling of anticipation, knowing there is going to be something heartfelt – a universal emotional high. “That Smile”, “I miss you when you’re here”, “Contact High”, “Don’t ever stop saying I love you”, “I’ve learned to let things go”. The experiences of each song are so different but so acutely observed and recognisable to anyone who has ever been in love.
Last year I missed his performance when he appeared at the St James Studio to rapturous applause in his sell out concert – this year I was determined to be there to see his work performed by 10 established first class singers.
There are some highlights for me Jonny Barr sings ‘If I ever say I’m over you’ a song that drags the tears out of your heart. “One white dress” sung by Sophia Ragavelas – about a tomboy who is getting married and her reaction to her wedding dress is pure ecstasy. Matthew Barrow sings an up tempo number “Painting my kitchen” (many coats of colours). Danish singer causes gasps of admiration the minute he appears because of his handsome appearance – which is matched by the beauty of his singing voice.
John himself sings the most amusing song about his vengeance on an ex lover “On my bedside table”
A privilege to spend a Sunday afternoon with this enchanting man!
Performers include John Barr, Amelia Cormack, Sophia Ragavelas, Matthew Barrow, Ashley Robinson, Christian Lund, Phoebe Coupe, Linnea Stenbeck, Suzanna Kempner, Belinda Wollaston & Hila Plitman.

JAMES BONNEY MP

JAMES BONNEY MP
By Ian Buckley
AT THE White Bear Theatre, Kennington.
Described in the blurb as a Swashbuckling moderate, James Bonney is a labour politician who doesn’t know his left from his right – he obviously swept into parliament during the Blair era. He is baffled by Malcolm R ose (Ciaran Lonsdale) an ardent supporter of Socialism who is living with his dearly beloved daughter Kate( Ellan West)– a girl who loves her rich and popular Daddy as much as she loves her Socialist boyfriend – and Yoga. It must have been a shock to him in the same way as Jeremy Corbyn was to the Blairites in the labour party.
To complicate things further, James Has a loving and trusting wife Christine (Karen McCaffrey) who even cleans his office for him – I think it’s his office, the scenery is discombobulating as I will explain in a minute. But he is also having a torrid affair with Jennifer, his secretary, played by Louise Tyler. He gets an email which accuses him of the misdoing. and James is worried that if a scandal gets in the Red Tops he will not get his expected seat in the cabinet. The bearer of the bad news is his Agent George Jenner who is of course in love with Christine. So there are complications within complications.
The reason for my discombobulation is that Buckley has decided to write this play in very short scenes – as if it was a television script. In that way, it is very confusing mainly because Oscar Selfridge the set designer has invented a highly complicated arrangement of doors and screens which the actors operate themselves, so the only convincing performances they can give is that of scene shifters. as we are too distracted by them moving stuff around to concentrate on the dialogue. I’m sorry but this was a totally daft idea and the director, Georgia Leanne Harris, should have had the sense to prevent it happening
In Act two, the scenes are longer and there is lots of fun – a dramatic scene between Kate and Malcolm, and a madcap venture from Christine in revenge for her desertion . Yes, there are laughs in Act Two and it’s worth coming back after the interval. Like so many comedies, there is a lot of setting up to do in Act one. So please can we lose the scenery and allow us to watch the play and enjoy the dialogue and the performances.
If it was just Act two I would give it four stars. I think it has the makings of a very funny play.

THE KITE RUNNER

THE KITE RUNNER
AT THE PLAYHOUSE THEATRE
Adapted by Matthew Spangler
From the novel by Khaled Hosseini
Life in Kabul before the revolution was serene and secure. There were religious problems between the Sunni and the Shi-ite, but these did not concern the two boys who played happily together and practised their expertise at kilt flying. Every year there was a celebration of kite flying and the one who won the competition was the champion of the year. Amir was keen to win to please Baba, his father, a seriously rich merchant, handsome, courageous and a kind of hero to his son. The other boy and the kite runner was Amir’s friend Hassan, and son of Ali, Baba’s dearly beloved servant.
Amir loved and feared his father but Baba was ashamed of him, because he wasn’t strong and brave – all he wanted to do was write stories. He only got encouragement from Rahim Khan who appreciated the boy’s talent.
Hassan saves Amir from danger and suffers for it leading to a lifetime of guilt for Amir. As the years go by, the revolution happens, the soviets invade Kabul and Baba and Amir escape to Pakistan and eventually to San Francisco where they start a whole new life with Amir’s new wife Soraya. It is here that Amir learns that the Taliban has arrived in Kabul and have banned kite flying. This and a letter from Rahim Khan saying he should come back to Kabul, makes up his mind to return.
David Ahmad has taken over the leading role of Amir and acts as narrator of the family history so is onstage throughout the evening. During the length of the show he manages to extract every ounce of honest feeling and Andrei Costin performs perfectly the humility and courage of his friend Hassan.
Probably one of the most handsome man in the business is Emilio Doorgasingh who plays Amir’s glamorous father. If ever Omar Sharif needed a double, here he is. Karl Seth plays he kindly Rahim Kahn along with other roles. Lisa Zahra plays the beautiful Soraya and shows off her dancing skills accompanied by Hanif Khan who creates a haunting atmosphere as he underscores the entire play with his expertise on the drums. It is worth getting to the play early hear his overture which he plays a half hour before the beginning of the show.
The setting is memorable as it comprises a stark background of tree stumps which changes easily into sky scrapers for the American scenes and for more lavish settings there are two vast decorated fans that unfurl and cover the whole of the stage.
Of all the shows in the West End, The Kite Runner is the most thrilling, spellbinding, and heart-breaking. I saw a hard man leaving the theatre with tears pouring down his cheeks – and he was not the only one. We love these characters so much and we want things to go well for them. Their whole lives are laid before us and the characterisations are so perfect that we fall in love with every one of them – well maybe not the psychopath Assef, played by Bhavin Bhatt with real menace and yet without melodrama. (He and his cohorts play jolly Afghanistan refugees in San Francisco in a different section of the play.)
It is perfectly directed by Giles Croft, and the exceptionally beautiful design is by Barney George. Everything works well together.
Here is a show that should run forever. As well as the main themes of Guilt, Atonement and familial relationships, there is so much to learn about Eastern cultures, the people’s attitudes to each other and shows how intolerance can lead to tragedy.