Tag Archives: Iris Theatre

St Anne Comes Home

★★★★

St Paul’s Church, Covent Garden

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St Anne

St Anne Comes Home

St Paul’s Church, Covent Garden

Reviewed – 30th August 2020

★★★★

 

“The three singers each give pitch-perfect, passionate performances that lift the material beyond the realm of ‘folk’, allowing the listener to hear the underlying grander potential”

 

Stories are everywhere; and the inspiration behind these stories can spring up in some of the most unlikely places. This is certainly true for Jack Miles, the writer/composer of “St Anne Comes Home”. There was nothing particularly special about his bus ride through a rain-soaked Vauxhall, his spirits as damp as the pavement outside his window. There was nothing special about the man in the church doorway, whose solitary, melancholic profile flickered past as the bus turned away. Yet half an hour later that vague shadow had morphed into a multi-coloured, multi-faceted scenario in Miles’ mind.

We all do it, at some point. Paul Simon famously scribbled the lyrics to the iconic folk song “America” while imagining the lives of his fellow Greyhound bus passengers. Finding the drama within the minutiae of the mundane is a skill that Miles has put to good use in this new ‘folk musical’ premiering in the centre of Covent Garden, as part of the Iris Theatre Summer Festival in the garden of St Paul’s Church.

James (Jordan Castle) is the focal character; homeless and, to the annoyance of the local fair-weather parishioners, has made a temporary home in the doorway of St. Anne church. Estranged from his young daughter he seems initially to be running away from his problems. Here he meets Bridget (Rebecca McKinnis) who is trapped in an abusive marriage and struggling to raise her own child. Over tea and sympathy, they share their stories. Meanwhile Russell (Mathew Craig), the Catholic priest, battles with his own demons, torn between letting James into the flock or, by bowing to his congregation’s unchristian intolerance, rejecting him.

It is within the songs that one gets the true sense of the story, rather than the dialogue of platitudes that link them. The three singers each give pitch-perfect, passionate performances that lift the material beyond the realm of ‘folk’, allowing the listener to hear the underlying grander potential. At times, however, the emotion outweighs the content. The storyline follows a predictable path along which the stakes are never raised high enough to warrant the sheer outpouring of grief and anger that these singers convey. If this is an obstacle to being swept away by the characters, we do have the consolation of being blown away by the charisma of the cast.

And Jack Miles has crafted a selection of very fine songs. Miles himself accompanies on guitar, alongside Claudia Fuller on violin and Ben Jones on Double Bass. Under Joe Beighton’s assured musical supervision the delicacy of the arrangements highlights the fluctuating moods and melodic structure. Jones switches from bowing to picking in a beat, matching the emotional U-turns of the characters, while Fuller’s violin soothes and angers in perfect time to the libretto.

From the back seat of a bus to a front seat in London’s theatreland (albeit in the open air, while most of the theatre’s doors are still closed) this musical has been a year in the making so far. Director Martha Geelan has been at the helm in shaping the drama, moulding the imagination of Miles into a refreshing new piece of musical theatre. I don’t think they should stop here though. The journey is only just beginning, but that is meant as a sincere compliment. At the moment it comes across as a storm in a teacup, but its horizons are so much wider than that.

 

Reviewed by Jonathan Evans

Photography by Harry Grout

 


St Anne Comes Home

St Paul’s Church, Covent Garden

 

Previously reviewed by Jonathan:
Tell It Slant | ★★★ | Hope Theatre | February 2020
The Importance Of Being Earnest | ★★★½ | The Turbine Theatre | February 2020
Closed Lands | ★★★ | The Vaults | March 2020
Max Raabe & Palast Orchester | ★★★★★ | Cadogan Hall | March 2020
The Kite Runner | ★★★★ | Richmond Theatre | March 2020
The Last Five Years | ★★★★ | Southwark Playhouse | March 2020
A Separate Peace | ★★★★ | Online | May 2020
The Understudy | ★★★★ | Online | May 2020
Godspell Online in Concert | ★★★★★ | Online | August 2020
Henry V | ★★★★ | The Maltings | August 2020

 

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The Hunchback of Notre Dame

★★★★

St Paul’s Church Covent Garden

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The Hunchback of Notre Dame

The Hunchback of Notre Dame

St Paul’s Church Covent Garden

Reviewed – 7th August 2019

★★★★

 

“carries the audience along on a tide of smiles, while keeping enough of the darkness of the original story to balance the madcap hilarity”

 

This production fizzes with life as the cast of six talented actor musicians lead the audience through the streets of Paris, transforming the garden and interior of St Paul’s Church into Notre Dame Cathedral, dangerous slums, the site of gallows, pillories and court rooms, as they weave the tale of Quasimodo and Esmeralda. Be prepared to move from place to place, becoming the Parisian crowd and taking sides as the story unfolds. Don’t worry though, there are plentiful seats at each destination. There is a lot of audience participation, and engagement with the actors, all done with such jovial good humour that even the most timid audience member wouldn’t shy away.

It can’t be easy to write a show based on a book that has already had so many incarnations on film and stage, but Benjamin Polya has written a version of this well known story that is vibrant and alive. He has given the actors well rounded characters to play with, and they rise to the occasion with gusto. When we first meet the cast they introduce themselves as a troupe of players who will be putting on a show. They make their appearance in the bar area of the garden, and shepherd the audience into the first scene, already primed to enjoy the evening, grinning from the intro.

It’s a real ensemble piece, and each actor plays multiple roles. Katie Tranter has a genius for comedy, and an ability to really get the audience on her side. Her rather inept and earnest Pierre is one of the standout performances of the evening; hilarious, sweet and endearing. Ed Bruggemeyer is a powerful Frollo, bringing menace and darkness into the mix with his obsession for Izzy Jones’ charming and mercurial Esmeralda. Darrie Gardner is by turns a rousing ringmaster and a mother still grieving the loss of her baby, twenty years ago, bringing her anguish to balance the fun. Max Alexander-Taylor goes from king to lover to magistrate at the drop of a hat, and Robert Rhodes is an excellent Quasimodo, vulnerable, brave and, at times, heartbreaking. But it is the way that all the actors work and play together that make this such a good show.

Michael Malone’s songs and music mesh with the set and costume design, by Isabella Van Braeckel and Cieranne Kennedy-Bell to create an enticing and fascinating world. The fight scenes, choreographed by fight director Esme Cooper, are exciting, and director Bertie Watkins pulls everything together beautifully, creating a play that carries the audience along on a tide of smiles, while keeping enough of the darkness of the original story to balance the madcap hilarity.

This version of Hunchback is a real treat, full of laughter and drama. A magical summer evening in a garden, a high energy show full of humour and compassion. And there’s even a magical goat.

 

Reviewed by Katre

Photography courtesy Iris Theatre

 


The Hunchback of Notre Dame

St Paul’s Church Covent Garden until 1st September

 

Previously reviewed at this venue:
The Tempest | ★★★★ | June 2018
The Three Musketeers | ★★★ | August 2018
Anna Karenina | ★★★ | November 2018
Parenthood | ★★★ | May 2019

 

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