Tag Archives: Ellen Cheshire

REDLANDS

★★★★

Chichester Festival Theatre

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REDLANDS at the Chichester Festival Theatre

★★★★

“Justin Audibert’s direction infuses the production with energy, enhancing the psychedelic ambience of the time”

Redlands, a new play by Charlotte Jones, deliciously delivers an enthralling portrayal of a pivotal moment in cultural history. This fictionalised account of the infamous 1967 trial of Mick Jagger and Keith Richards in the quiet Sussex city of Chichester explores generational conflict and societal change, highlighting the tension between The Establishment and the emerging rock and roll aristocracy.

In the summer of 1967, Keith Richards hosted a party at Redlands, his country house in West Wittering, near Chichester. Their revelry is abruptly interrupted by a police raid, leading to Mick and Keith’s arrest on drug charges. Jones deftly captures the clash between the youthful idealism of figures like Mick and Keith and the entrenched authority represented by Michael Havers, the leading QC defending them. This is no straightforward courtroom drama; it masterfully blends history and fiction, capturing the spirit of an era while examining the generational rifts that define it.

Central to the narrative is 17-year-old Nigel Havers, son of The Rolling Stones’ lawyer and an aspiring actor. Serving as a meta, fourth-wall-breaking narrator, he bridges the old guard and the new generation. Here, Nigel develops a relationship with Marianne Faithfull, whose portrayal in the tabloid press after the raid prompts her to re-evaluate her career and relationships. Their shared background of family and societal expectations, along with noble titles, adds emotional depth, highlighting the personal stakes amidst the public spectacle of the trial.

The show transcends the typical courtroom or coming-of-age drama. It examines the class system of late sixties UK, the reliability of the press and justice system, and the nature of fandom and fame. With ten songs from the Rolling Stones and Marianne Faithfull’s back catalogue performed live by cast members and an on-stage band, the play captures the exuberance of the era. Jasper Talbot (Mick Jagger) and Brenock O’Connor (Keith Richards) excel in their roles, skilfully channelling the unique moves and charisma of their real-life counterparts, particularly in musical numbers featuring classics like “Ruby Tuesday,” “Jumpin’ Jack Flash,” and “I Can’t Get No Satisfaction.” Emer McDaid conveys the complex emotions of Marianne Faithfull, transitioning from the wild atmosphere of the party to moments of vulnerability in her relationship with Nigel.

In addition to father and son Michael Havers QC (Anthony Calf) and Nigel (Louis Landau), we also meet Michael’s father, Cecil “Bongo” Havers (Clive Francis). Despite being a prestigious lawyer and judge, Cecil is depicted as having more in common with his grandson than with his stuffy son. This trio adds both emotional depth and humour to the narrative as they navigate the weight of generational expectations.

Justin Audibert’s direction infuses the production with energy, enhancing the psychedelic ambience of the time. The vibrant set (Joanna Scotcher) and evocative lighting (Matt Daw) immerse everyone in the chaos and excitement of the era, creating a truly dynamic experience. Chichester’s thrust stage brings the action close to the audience, enhanced by direct interactions between performers and audience. Actors dance in the aisles, and two small platform stages above the exits serve as additional performance spaces during the musical numbers, as well as for commentary by journalists and witness boxes during the trial. The hardworking ensemble cast take on multiple roles, from comedic police officers to legal staff to journalists, bringing their characters to life with charisma and depth. Standouts include Adam Young, who plays both the drug dealer sent to Redlands and the News of the World journalist believed to have sent him there, as well as Havers’ other son, Philip. Akshay Sharan shines as Michael Havers’s legal colleague, who is smitten with Jagger.

Redlands cleverly juxtaposes the liberated spirit of the ’60s with the conservative values of an older generation, creating a dynamic commentary on the cultural upheaval of the time, alongside contemporary themes of youth culture and the struggle against societal norms. This celebration of rock and roll rebellion serves as a timely reminder that the clash of ideals continues to shape our world. The audience in Chichester was more than satisfied, despite the city and its residents being the butt of many jokes.


REDLANDS at the Chichester Festival Theatre

Reviewed on 29th September 2024

by Ellen Cheshire

Photography by Ikin Yum

 

 

 

 

 

 

Previously reviewed by Ellen:

BARISTA THE MUSICAL | ★★★ | CAPITOL THEATRE | September 2024
THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024
THE WEYARD SISTERS | ★★ | RIVERSIDE STUDIOS | August 2024

REDLANDS

REDLANDS

Click here to see our Recommended Shows page

 

BARISTA THE MUSICAL

★★★

Capitol Theatre

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BARISTA THE MUSICAL at the Capitol Theatre

★★★

“a valiant new work with potential and moments of real pleasure”

Barista The Musical is a new, original production that deserves recognition simply for not being based on an existing format or film franchise. In a time when much of musical theatre leans on familiar franchises, this fresh work is a bold effort. While it doesn’t always hit the mark, there’s enough here to applaud.

The show opens with a dramatic gut-punch as Isabella (Sara Bartos) leaves Colombia to study in London, seen off by her protective brother, Luis (Daniel Lobo). It’s 2006, and though Luis insists this is for her own good, an undercurrent of danger lingers. A flashback to 20 years earlier reveals their father (Marc Serratosa) being murdered by his business partner, Matias (Jay Faisca), followed by an implied rape of their mother, Maria (Charlotte Shalkey). This emotionally charged opening is unexpected, given the lighter tone suggested by the show’s marketing.

Scene 3 introduces us to Scott’s Café, an independent London coffee shop around which the plot revolves. In the effective montage number Want a Coffee, we witness the passing of time from 2006 to 2009. Through brief snapshots, we observe a pregnant woman who progresses to having more children, a man who starts with two dogs and ends with one, and other locals whose lives subtly evolve. It’s a clever, engaging sequence that showcases the versatile six-person ensemble and gives us a sense of the broader community.

However, the lead characters lack the same connection. Andy (George Crawford), the café owner, is in a romantic relationship with Isabella, who works at the café while studying at university, but there’s little chemistry between them. It’s hard to understand what Isabella, the central focus, sees in him, and their relationship feels underdeveloped, weakening the story’s emotional core.

Musically, the show has poignant moments. Andy’s solo Proud of Me reflects on his childhood and his grandfather, from whom he inherited the café, while Isabella’s Stronger, the Act 1 finale, delivers a powerful moment of resolve. Sara Bartos carries the emotional heft of the show and is an engaging stage presence, particularly in the Spanish-language song La Única Manera, where her emotions are deeply felt despite the language barrier. George Crawford brings charm to his role, though his character feels less fleshed out.

On the lighter side, the comedic numbers shine. No Chance, where bankers reject Andy’s loan request, is a satirical highlight that sets the stage for a shady business deal threatening both his relationship with Isabella and his café. Another standout is Smoothie Man, performed by Sue (a comedic force and guardian-angel-like figure played to perfection by Colleen Daley), who brings the house down with witty double entendres like “squeeze me, zest me, juice me,” while being lifted, spun, and twirled by a trio of men in gold lamé. Sue’s banter, complete with her obsession with Zumba and references to Liam Neeson’s “particular set of skills,” firmly roots us in 2009.

The choreography, by Strictly Come Dancing’s Pasha Kovalev, shines particularly in the comedic numbers and later in the second half when the action returns to Colombia. The Latin American rhythms and a sultry tango sequence add vibrant energy, contrasting with the earlier scenes in London.

There’s a lot percolating in Barista The Musical—perhaps too much. With book, music, and lyrics by Nigel and Anna Newman, several plot threads are introduced but left unresolved. Still, director Sarah Redmond keeps things engaging, with the action moving briskly enough to hold attention even when clarity falters.

In the end, Barista The Musical is a valiant new work with potential and moments of real pleasure. It’s not a perfect cuppa, but in a theatre landscape dominated by adaptations, it makes for an engaging night out.

 


BARISTA THE MUSICAL at the Capitol Theatre

Reviewed on 13th September 2024

by Ellen Cheshire

Photography by Josh@JustSocials

 

 

 

 

 

 

 

Top shows this month:

GUYS & DOLLS | ★★★★★ | BRIDGE THEATRE | September 2024
THE PLAY THAT GOES WRONG | ★★★★★ | DUCHESS THEATRE | September 2024
THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024

BARISTA THE MUSICAL

BARISTA THE MUSICAL

Click here to see our Recommended Shows page