Tag Archives: Matthew Malone

Treason

Treason the Musical

★★★

Alexandra Palace

TREASON THE MUSICAL at Alexandra Palace Theatre

★★★

Treason the Musical

“The show is visually stunning, Jason Taylor’s lighting taking centre stage in the vast auditorium while Philip Witcomb’s looming, slatted set opens and closes to successively release and confine the protagonists”

Just as the fireworks are beginning to die down across London, the new musical “Treason” blasts into town on a wave of publicity that casts its fire glow across the rooftops of N22. The light is thrown on a handful of the conspirators who planned to blow up the House of Lords during the State Opening of Parliament on 5th November 1505. It is a day that everybody “remember remembers” even if the detail is buried in the archives. “Treason the Musical” presents us with some of the background which, like the real events, gets a bit lost behind the celebration of the occasion.

We all know Guido ‘Guy’ Fawkes who was hanged for his part in the failed gunpowder plot (no – he wasn’t burned on a bonfire), but – be honest now – who can name the others? It was, perhaps, Robert Catesby (impressively played here by Connor Jones) who masterminded the scheme, spurred on after King James the First backtracked on his promise of greater religious tolerance towards the English Catholics. A reluctant recruit was Thomas Percy, and it is the relationship between Thomas and his wife Martha that dominates much of the story. Guy Fawkes is given the role of narrator, distancing himself from the action while filling us in with the details. It is a neat device, successfully pulled off by the writers Charli Eglinton and Kieran Lynn; but the credit surely goes to Gabriel Akamo who commands the space as Guy Fawkes. With booming voice and charisma, he laments his fame, decrying his status as scapegoat, all the while commenting and directing. It is Akamo who opens and closes the show, instructing us to “remember me”. We would like to see more of his presence in between and sometimes long for him to step down into the throng.

Leading the ensemble are Sam Ferriday and Nicole Raquel Dennis as the newlyweds Thomas and Martha Percy. Ferriday and Dennis form a dynamic duo. No sooner are they married than are wrenched apart as Thomas goes off to “fix things” for the Catholic cause. Jones’ formidable Catesby has recruited him into the gang, along with Robin and Timothy Wintour (Alfie Richards and Lewis Edgar) and Jack Wright (Kyle Cox). All are exceptional singers, with breath-taking harmonic skill in the rousing ensemble numbers, and a controlled, emotive power in their solo numbers and duos. Of which there are plenty. Ferriday and Dennis again shine when they come together in song. Another one to watch for is Emilie Louise Israel – as the peripheral, though striking character, Anne Vaux – whose voice and personality cuts through the chorus to grab our attention.

“This show lights the blue touch paper but again the real explosion eludes us”

On the other side of the fence is Joe McFadden’s King James. Arrogant but a bit dim, McFadden initially plays him for laughs. He is not the villain, as his descent into paranoia manifests itself in the second act, but manipulated by Oscar Conlon-Morrey’s more reprehensible, yet comedic, Robert Cecil who historically uncovered the gunpowder plot (though in this production it is somewhat unclear how or when the whistle was blown and by whom). All the principal players are buoyed by the ensemble, giving justice to Ricky Allan’s anthemic score.

The show is visually stunning, Jason Taylor’s lighting taking centre stage in the vast auditorium while Philip Witcomb’s looming, slatted set opens and closes to successively release and confine the protagonists. There is often an ecclesiastical feel, which does pour over into the narrative, resulting in the show feeling a bit like a sermon in places. The emotions run high, but we often feel it comes from the pulpit rather than from the heart. The overall austere approach is a touch at odds with the attempted quirkiness, and at times the echoes of ‘Les Misérables’ clash with those of ‘Hamilton’.

In 1605 the gunpowder plot failed in its mission. This show lights the blue touch paper but again the real explosion eludes us. There are definite sparks, though, within the plot and between the characters that reach us and make us fizzle momentarily. They say not to return to a firework that doesn’t go off. “Treason the Musical” invites us to ignore that safety rule and we are tempted to give it another go to see if it can find its true light.


TREASON THE MUSICAL at Alexandra Palace Theatre

Reviewed on 9th November 2023

by Jonathan Evans

Photography by Danny Kaan

 

 

 

 

 

Previously reviewed at this venue:

Bugsy Malone | ★★★★★ | December 2022

Treason the Musical

Treason the Musical

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The Hunchback of Notre Dame

★★★★

St Paul’s Church Covent Garden

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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