Tag Archives: Manuel Harlan

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

 

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

 

Bitter Wheat
★★★★

Garrick Theatre

Bitter Wheat

Bitter Wheat

Garrick Theatre

Reviewed – 19th June 2019

★★★★

 

“a richly entertaining piece of theatre driven by starry performances”

 

“Nobody minded bad behaviour as long as the public didn’t get to hear about it” Louis B. Mayer once told his young star, Mickey Rooney. Since the birth of Hollywood this has been a truism, sustaining the myth of the movie mogul as profane, vulgar, cruel, rapacious and philandering. The only real change these days is that the public does get to hear about it more and more. There is currently one name that everybody will no doubt associate with Barney Fein, the sleaze-ball producer masterfully played by John Malkovitch in David Mamet’s “Bitter Wheat”. But Mamet’s writing points the finger at a longer line of tycoons to produce an amalgam which adds more dimensions to the character. Malkovitch seizes this opportunity to add humour and human traces. But never sympathy.

Nobody escapes the machine-gun fire of Fein’s vitriol that turns to lasciviousness when he meets young actress, Yung Kim Li, to discuss her new film. He promises stardom, and we all know in return for what, especially as he has just had a high dose of a libido-enhancing drug that is just kicking in. Ioanna Kimbook catches on just as quickly with an impressive portrayal of the ingénue’s growing discomfort. It’s in this scene that Mamet’s wit really shines through, with faux-pas in abundance that soon take a darker turn when the inevitable career defining threat arrives.

Sadly, neither character comes out of this well. Nor does the second act which seems to be racing towards its rather farcical conclusion. Naturally, when the police are brought in Fein’s life falls apart. But the actress’ career is destroyed too, before it has started. Fein’s long-suffering secretary is also out of a job. Doon Mackichan downplays the contempt she feels for Fein perfectly – pitching it just right: high enough to be recognised but low enough to avoid the counterattack.

The subplots and sub characters that are tagged onto this central story seem unnecessary. An illegal immigrant who assassinates Fein’s terminally ill mother serves little purpose. The opening scene of the play, on the other hand, in which Fein refuses to pay a screenwriter his due fee is underexplored and unceremoniously discarded. It is in these moments that we are given a stronger insight into the psyche of the extraordinary character that is Barney Fein; and into the machinations of Hollywood. There is a quirkiness to the dialogue that is unmatched by the predictability of the sexual assault headlines.

Overall though, this is a richly entertaining piece of theatre driven by starry performances. Mamet manages to display his usual, exhilarating and unique flair with words, tackling an uncomfortable subject. If anything, however, the humour makes it all a bit too comfortable and doesn’t necessarily advance the issues it is addressing. In this case truth is stranger than fiction.

Reviewed by Jonathan Evans

Photography by Manuel Harlan

 


Bitter Wheat

Garrick Theatre until 21st September

 

Previously reviewed at this venue:
Rip It Up – The 60s | ★★★ | February 2019

 

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