Tag Archives: Angus Chisholm

The Hound of The Baskervilles

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Abney Park

The Hound of The Baskervilles

Abney Park

Reviewed – 17th September 2019

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“one of the finest promenade productions to be seen for some time”

 

A wonderfully atmospheric and well-adapted new version of the classic The Hound of the Baskervilles proves that there’s no plays like Holmes when it comes to murder mysteries.

β€œOne false step means certain death to man or beast – so tread carefully!” The warning given by one of the characters in the production could hardly be more appropriate for the audience who walk around Abney Park Cemetery as night falls in this clever and engaging promenade version from the 09 Lives company.

Director Lil Warren avoids tiresome clichΓ©s (there’s not a deerstalker in sight and no whiff of β€œElementary, my dear Watson!”) and creates a thrilling reworking of the 1901 detective story with a freshness and sense of fun which would surely delight Conan Doyle himself.

Such is the ability of the actors that it’s easy to overlook the fact that there are only six of them. In a couple of cases there is a genuine murmur of surprise from the audience when they cotton on to the fact that the performer who disappeared down one twilit track has reappeared in another guise only seconds later.

It’s a good notion to have Conan Doyle (Angus Chisholm) narrate the story in each scene and lead the way in the movement around the park, as it leaves the other actors free to concentrate on the drama without having to worry about promenading practicalities. Chisholm gets the measure of the writer, who had an interest in the magical and mysterious, and there’s a twinkle in his eye when he declares β€œthe game’s afoot!”

Giorgio Galassi is fantastic casting as Holmes, giving the well-known character a completely original take without feeling the need to draw any inspiration from Jeremy Brett, Basil Rathbone, or Benedict Cumberbatch. His is an arrogant and irritating consulting detective showing little patience with his companion and the hint of the actor’s Italian heritage adds a splendid touch of fiery Latin temperament to this most British of fictional creations.

Despite being the most famous – and oft-produced – Sherlock Holmes adventure the sleuth himself vanishes for the central part of the narrative, so Galassi also dons an outrageous moustache to play the Baskerville butler Barrymore.

Holmes’ absence means a lot hangs on Dr Watson and Gary Cain also resists copying others who have played the part of the diarist and companion. Instead we are shown a loyal sidekick who is not treated entirely kindly by his eccentric friend and who has more than a mind of his own.

Dan de la Motte is a suitably stiff upper lipped Mortimer but has some fun with the devious naturalist Stapleton who hides his own family secrets, while Andrew Phipps is a jovial Sir Henry Baskerville, whose family appears to be cursed by the legend of the diabolical hound.

Playing the two female roles is Sarah Warren – founder and artistic director of 09 Lives – who gives some welcome feminine strength to the feisty Beryl Stapleton and a sense of duty to the unfortunate Mrs Barrymore.

The piece is completed by its creepy sound design (Yvonne Gilbert), with a convincing hound occasionally heard howling in the trees and SLAY’s installation design, which allows us to be transported effortlessly from Baker Street to Baskerville Hall, Merripit House, Grimpen Mire and other locations in the Dartmoor setting, with each location perfectly chosen. We even glimpse two fierce red eyes of the hound peering through a Devon fog.

This Hound of the Baskervilles is a well-produced treat and is certainly one of the finest promenade productions to be seen for some time.

 

Reviewed by David Guest

Photography by Terrill

 

 

The Hound of The Baskervilles

Abney Park until 29th September

 

 

 

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The Orchestra

The Orchestra
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Omnibus Theatre

The Orchestra

The Orchestra

Omnibus Theatre

Reviewed – 31st January 2019

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“Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival”

 

In the 1950s, France is attempting to mask the emotional and moral effects of the war and return to an appearance of normality. Jean Anouilh’s prolific output, rarely performed today, ranges from drama to farce. ‘The Orchestra’ leans towards what he categorised as his ‘black’ work (as opposed to β€˜pink’, β€˜brilliant’ or β€˜grating’), contrasting with poignant wit the dramatic change the German Occupation had on the country. Here, Anouilh mirrors this with a small cafΓ© ensemble whose polished performance juxtaposes the smouldering frustrations, rivalry and revelations which seep out between movements, the sugary lightness of the music enhancing the discord. The orchestra represents the female-dominated, close-knit society of the time. Stuck in a dull provincial spa town they repeat over-familiar tunes to an unappreciative audience. But they are also keen to unwrap each other’s secrets and the collaboration question.

Jeremy Sams’ translation brings to life the radiant facade and cutting jealously, even if the language is sometimes somewhat updated, but the setting of time and place in this play is essential to the characters’ behaviour. A culturally diverse cast with varied accents changes the ambience and, moreover, means that it is quite often hard to get past understanding the actual words and we lose the nuances of the script and personalities. Amanda Osbourne as Madame Hortense controls the group with strong authority (if not the voluptuous shape described by Anouilh) as it writhes with uncomfortable truths. The violin β€˜desk partners’ reveal their personal domestic realities and there is amusing chitchat between the flautist and the viola player. Even the cellist admits deliberately playing out of tune to German audiences. Pedro Casarin as Monsieur Leon, the pianist, gives the most dramatic about-face but it is the fighting over him by Madame Hortense and Suzanne, the cellist, which culminates in the darkest moment…as the band plays on.

The breezy melodies (Felix Cross) camouflage the searing tensions but the quality of the soundtrack doesn’t do justice to the energy and expression of recorded live music. Learning to mime playing a stringed instrument is a highly commendable feat and Sarah Waddell (the violinist, Pamela), in particular, makes a convincing impression. Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival of a writer and genre which has long been neglected and captures the forced smile of a period desperate to gloss over the recent past.

 

Reviewed by Joanna Hetherington

Photography by Jacob Malinski

 

The Orchestra

Omnibus Theatre until 17th February

 

Last ten shows reviewed at this venue:
Mortgage | β˜…β˜…β˜…β˜… | March 2018
My Dad the Magician | β˜…β˜…β˜…β˜… | March 2018
The North! The North! | β˜…β˜…β˜… | March 2018
Gauhar Jaan – The Datia Incident | β˜…β˜…β˜…β˜… | April 2018
The Yellow Wallpaper | β˜…β˜…β˜…β˜… | June 2018
Blood Wedding | β˜…β˜…β˜… | September 2018
Quietly | β˜…β˜…β˜… | October 2018
To Have to Shoot Irishmen | β˜…β˜…β˜…β˜… | October 2018
The Selfish Giant | β˜…β˜…β˜…β˜… | December 2018
Hearing Things | β˜…β˜…β˜…β˜… | January 2019

 

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