Tag Archives: Lauryn Redding

The Worst Witch

★★★★

Vaudeville Theatre

The Worst Witch

The Worst Witch

Vaudeville Theatre

Reviewed – 28th July 2019

★★★★

 

“The energy of the performance carries the story along, sweeping the audience up in a tide of laughter”

 

This review is a joint effort by me and nine year old Manu, a big fan of the Worst Witch books and TV series. We both enjoyed it a lot.

The book was adapted for the stage by Emma Reeves, who also devised the TV series. She has a real understanding of Jill Murphy’s books, and has done a great job of bringing the world of Mildred Hubble and her friends to the stage. Manu says it was as good as the TV episodes, but different. Theresa Heskins, the director, was faced with a host of challenges including disappearing people, broomstick flying, cats, and a Shenanigans spell. Luckily she had a magic advisor, John Bulleid, an esteemed member of the magic circle, who clearly knows a thing or two about how to make the impossible happen. We were still trying to figure out how they got Enid into the suitcase, as we walked to the tube station after the show.

Danielle Bird is a wonderfully endearing and hopeless Mildred, Out of her depth but brave enough to stand up to bullies big and small and to fight for her friends. Manu’s favourite characters from among the children were Ethel and Enid, played by Rosie Abraham and Consuela Rolle. He said Ethel was really good at being mean and just full of herself and Enid was crazy funny. I agree with him, Abrahams kept Ethel at just the right pitch of vile, making her change of heart quite poignant, and Rolle’s Enid is a real force of nature. Mildred and her best friend Maud, played by Rebecca Killick did an impressive piece of comedy aerial work on their broomsticks and developed their friendship through adversity very nicely.

Manu’s favourite adult in the show was the hugely impressive Polly Lister, who played both Miss Cackle and Agatha, her evil twin. Before the show started we read the programme, and wondered how she would manage to do both. Manu tried to figure out how she would be able to manage if she had a scene that both characters were in. Well, we discovered that she managed very well indeed, giving an absolute tour de force performance in the second act, belting out songs, killing a sock and generally becoming hilariously unhinged. It was Manu’s ‘best bit,’and mine too.

Manu’s final comment is that he would tell his friends to go and see it, because it’s really good and they would like it.

Simon Daw’s simple, quirky design nicely evokes the feeling of a school for witches, and the sound and lighting, by Leigh Davis and Aideen Malone conjure magic when needed, and the right atmosphere all the time. There are some cracking songs too, composed by Luke Potter. I’m humming one as I write this. The music is performed by four versatile cast members, two of them playing multiple instruments.

The Worst Witch is a fabulous fun show for kids and adults. The energy of the performance carries the story along, sweeping the audience up in a tide of laughter, drama and a real empathy for girls like Mildred. It’s a show with a big heart and a large helping of joy.

 

Reviewed by Katre

Photography by Manuel Harlan

 


The Worst Witch

Vaudeville Theatre until 8th September

 

Previously reviewed at this venue:
Lady Windermere’s Fan | ★★★★ | January 2018
Them/Us | ★★★ | June 2019
Three Sisters | ★★★★ | June 2019

 

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The Hired Man
★★★

Queen’s Theatre Hornchurch

The Hired Man

The Hired Man

Queen’s Theatre Hornchurch

Reviewed – 30th April 2019

★★★

 

“the songs range from rousing ensemble numbers through romantic duets and tortured solos in time-honoured musical theatre fashion”

 

The Hired Man was published in 1969; the first part of Melvyn Bragg’s Cumbrian trilogy. It is set in and around a small Cumbrian village and follows the fortunes of John Tallentire, a farm labourer and miner, from his youth at the turn of the century, through the first World War, until the time just after his wife’s death, about twenty years later. Bragg wrote it as a homage to his grandfather, and it is an unashamedly nostalgic take on Britain’s rural past.

The story begins at a hiring fair, and John is taken on as a farm labourer. His young wife Emily comes to the town to join him, but her eye soon strays and she finds herself yearning for another local man, Jackson Pennington, who begs her to leave with him. John discovers their love and the men fight. Emily stays with her husband. Act two is set sixteen years later. John is now a miner, and he and Emily have teenage children. WWI then enters the story. John, his brothers and his son Harry (just shy of eighteen) join up and Harry dies. John returns, narrowly escapes a mining disaster, Emily dies, and John rejoins the ranks of hired men to re-begin his life on the land.

It’s a straightforward tale, and is ably told, by an energetic cast of actor-musicians. Jean Chan’s production design is well realised, and Douglas Rintoul directs with a sure hand. There are some striking stage moments – the trenches and the mining rescue are particularly effective – and the songs range from rousing ensemble numbers through romantic duets and tortured solos in time-honoured musical theatre fashion, but there is nothing here to really seize the imagination or the heart.

Oliver Hembrough and Lauryn Redding take the main roles of John and Emily, and each gives a committed and connected performance, but the pedestrian nature of so many of the songs, both lyrically and musically, means that they can never really take flight. Similarly, Samuel Martin was in good voice and exuded charm as John’s devil-may-care brother Isaac, but he had nowhere to go dramatically, and despite losing his leg in the war, remained the same sporting fellow he was when he first appeared.

Ultimately, The Hired Man is a one-dimensional nostalgic confection. There is no complexity of plot or character; men work, drink, fight and sport, and women exist purely in the domestic sphere. It is a version of England with which we are all familiar, and has been continually repackaged for the past 100 years, from the Hovis ads to Call the Midwife. ‘I’d be happy in a place like this/Now I see what I’ve always missed’, Emily’s daughter sings at the beginning of the second act. The key to this show is whether or not you agree with her.

 

Reviewed by Rebecca Crankshaw

Photography by Mark Sepple

 


The Hired Man

Queen’s Theatre Hornchurch until 18th May

 

Previously reviewed at this venue:
Rope | ★★★★ | February 2018
The Game of Love and Chai | ★★★ | April 2018
Priscilla, Queen of the Desert | ★★★ | May 2018
Abi | ★★★★ | September 2018
Abigail’s Party | ★★★½ | September 2018
Once | ★★★★★ | October 2018
Haunting Julia | ★★ | November 2018

 

Click here to see more of our latest reviews on thespyinthestalls.com