Following their successful adaptation of David Williams’ book The Midnight Gang last year, Chickenshed present their 2018 summer production, an adaptation of a Walliams’ best-seller, Mr Stink. 12 year old Chloe is unhappy at home, overshadowed by her “multi-talented” younger sister Annabelle, and has no friends at school. No friends until, one day, an unlikely friendship blossoms when she approaches a local tramp and his dog.
The show’s larger-than-life set (Keith Dunne) is wonderful to look at, with Chloe’s family home consisting of two floors and looking like it has jumped straight out of the pages of Walliams’ book. The show is set during the Christmas period, signified through the use of understated, yet effective, fairy lights, framing the set.
The role of Chloe is shared between two young actresses but, on this occasion, Lucy-Mae Beacock took on the part. Lucy-Mae most definitely shines as Chloe, displaying high levels of energy as well as a lovely singing voice. Mother Crumb, Chloe’s posh mum, is entertainingly played by Belinda McGuirk who creates numerous laughs through the delivery of her character’s lines. Although these particular performers stand out, the entire cast should be commended for their efforts and the work that has clearly gone into all of their performances.
The show includes some fantastic chorus work, with the performers working well together as townspeople. They showcase some great choreography and vocals and provide enjoyable interludes between the main scenes. Original songs by Musical Director, Dave Carey, and Director, Lou Stein, meet the usual high standard of Chickenshed and are catchy, as well as complimenting the story well.
There’s no doubt that Chickenshed have triumphed with this show. An already heart-warming story is brought to life by a talented group of performers and creative team. It seems fitting that a theatre company that celebrates diversity and inclusiveness should create a stage adaptation of a story that does the same. Engaging, touching and fun, I thoroughly enjoyed Mr. Stink – well done, Chickenshed!
“the stilted opening gives way to a no less thought-provoking play
Told from the perspective of the seemingly deaf and mute patient ‘Chief’ Bromden, ‘One Flew Over the Cuckoo’s Nest’ takes place in a psychiatric ward in 1950s Oregon. The impetus for the story is the arrival of R.P.McMurphy, a gambler who has tried his luck feigning psychopathy to spend a sentence in the relative relaxation of an asylum rather than toiling on a prison farm. However, he finds that things won’t be such plain sailing when he meets the inimitable ‘Big’ Nurse Ratched.
As the weak and pliable Dr Spivey (Jonny Morton) explains to the patients, the ward is a microcosm of society at large. Whilst on one level we are watching corruptions of power and primitive tolerance of mental illness in fifties asylums; one can also read this as a allegory for the much larger machinations of state action and punishment of those who challenge the status quo. Particular attention is drawn to notions of masculinity, often tied up in sexual prowess, and how the power this exercises over individuals can have devastating consequences.
Olivier Leclair is excellent as the dynamic, lovable rogue McMurphy. His antics bring life to the ward developing a sense of camaraderie between the characters and building their confidence through fun and friendship.
Paul Harris gives a standout performance as Harding, whose droll and cerebral manner feels out of place from the rest of the patients. Harris’ feisty challenge of McMurphy builds perfectly in intensity, until he flips from anger to resignation to comic effect. Bradley Davis’ stoicism as Chief Bromden creates a steady pace which anchors the piece, whilst Lauren Cambridge as Candy Star makes a big impact during her short appearances, acting as a bright and stark contrasting female figure to the controlled and cruel Nurse Ratched, played by Belinda McGuirk.
Robin Don’s set design is relatively sparse but carefully considered. The window, which is the only link between the ward and the outside world, looms over the middle of the stage, illuminating the centre floor with rings of painted light slowly fading to grey. This acts as a constant reminder of the possibility of escape from the patients, in some cases voluntary, commitment to the ward.
The 1975 film version of the story, starring Jack Nicholson will inevitably be a draw for audiences. And although the energy of the piece is carried by a few members of the large cast, the stilted opening gives way to a no less thought-provoking play.
