Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
When Elwood begins to introduce Harvey to guests at a society party, he tests the tolerance of his socialite sister, Veta. To shield herself and her daughter Myrtle Mae from future embarrassment, Veta decides to have her brother committed to a sanitarium. However, in a veritable comedy of errors, the doctors commit Veta instead of Elwood. But when the truth unfolds, the search is on for Elwood and his pooka...
Opening night adrenaline was clearly in force throughout the performance, so much so that Wilson’s (Giles Littlewood) manhandling of Elwood took its toll on the set. However, this lead the way for Tom Crowley as Dr. Sanderson to exhibit some great improvisational skills, bemused to find a frame knocked off the wall and a lamp smashed on the floor.
Indeed, the cast went on to make up for this minor mishap. The acting was slick and sharp in some of the moments of pure frenzy. Lauren Watters' performance was a notable example of this. She stole the show, giving a strong, convincing portrayal of the hysteric Veta Louise Simmons. Sami Michael also gave a fantastic performance as Dr. Chumley and was responsible for much of the hilarity of the play. Similarly, Wilson’s advances on Myrtle Mae (Stephanie Bigley) were another brilliant source of laughs, albeit slightly undermined by Littlewood’s inability to keep a straight face.
However, the play was not just about the comedy. James Quelch’s warm, mild-mannered Elwood had a peculiar effect on doctors and viewers alike, producing audible ‘aw’s from the audience and beginning to ask us questions about what truly makes reality.
There were a few inconsistencies throughout, namely Littlewood’s erratic grasp of the American accent and Danielle McGrath’s somewhat flat, unpersuasive performance of a male cab driver. Yet, inspired direction from Pippa Caddick, an ingenious use of lighting and an energetic cast made sure that this was a thoroughly enjoyable evening. This production of Mary Chase’s Pulitzer prize winning comedy was definitely not one not to be missed.
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