Tag Archives: Pamela Raith

The Secret Diary of Adrian Mole Aged 13 ¾ – The Musical
★★★★★

Ambassadors Theatre

The Secret Diary of Adrian Mole Aged 13 ¾ - The Musical

The Secret Diary of Adrian Mole Aged 13 ¾ – The Musical

Ambassadors Theatre

Reviewed – 3rd July 2019

★★★★★

 

“joyful, energetic and hilarious, with some moments of real tenderness and yearning”

 

I admit to being unsure if Sue Townsend’s geeky Mole would translate well as a piece of musical theatre, and I’m happy to say that my scepticism was unfounded. The show is joyful, energetic and hilarious, with some moments of real tenderness and yearning that bring a tear to the eye. It is a piece that truly reflects the time in which it was written and is set, the early 80s. There are lots of references that older audience members clearly enjoyed; Pebble Mill at One, Malcolm Muggeridge and, of course, the Royal Wedding. And it matters not at all that the younger ones don’t pick up on those moments; the lives of Adrian and his friends and family have plenty for everyone to relate to and enjoy.

The children’s parts are each played by a rotating cast of four. Adrian was played by Rufus Kampa this evening, and the huge applause and standing ovation he received were richly deserved. His Adrian had all the awkwardness and angst of Townsend’s much loved young teen, coping with his parent’s awful marriage and break up and discovering himself as an intellectual with a passion for the feisty, pretty new girl at school – Pandora. And Rebecca Nardin’s Pandora was pitch perfect; the flame that called to Adrian’s moth, sparkling, feisty and very funny. Her voice has a range and depth that are unusual in such a young performer, and she has a wonderful comedic instinct. Jeremiah Davan Waysome played Adrian’s friend, and rival for Pandora’s attention, Nigel with a lovely cheeky energy and the school bully, Barry, was made suitably odious by Jack Gale.

The adults in the cast also play children, and were clearly having a lot of fun doing so. The poignant moments between Adrian’s parents, Pauline and George, played by Amy Ellen Richardson and Andrew Langtree, were beautifully moving, and Richardson’s song ‘Perfect Mother’ was so full of sadness and regret that it hurt. ‘How Could You?’ a painful and powerful argument between Pauline and Grandma allowed both women to let rip with passion, a serious and intense moment, and a reflection of many such a confrontation from the real world. Rosemary Ashe’s Grandma is, by turns, fun, interfering and helpful to Adrian and his Dad, and she brings verve and a fabulous voice to the role. Ian Talbot gave a good turn as the grumpy communist Bert and Laura Denning clearly relishes hamming it up to just the right degree as Miss Elf and Doreen Slater. The final member of the adult cast is John Hopkins, and he somehow managed to strut, bluster and give a storming performance that was always just on the right side of overacting. His vile Mr Scruton, the headmaster, was a great, bombastic villain, and the sleazy lothario, Mr Lucas from next door, was just deliciously awful.

Jake Brunger and Pippa Cleary first wrote the book, music and lyrics in 2012, when they were ‘a pair of naive twenty four year olds.’ They met Sue Townsend and she was so impressed that she sold them the rights for a pound. She was worried that the story may be dated but, as Brunger and Cleary explained to her; ‘Despite the internet and mobile phones and all those terribly modern things, spots were still spots, school was still school, and boys still measured their things.” Director Luke Sheppard has translated their vision into a show that bounces with life and allows the early eighties to exist without trying to alter things for our contemporary sensibilities.

There is some inspired and very funny, choreography from Rebecca Howell and Mark Collins and the musicians do a great job with the score. The lighting design, by Howard Hudson, is unusual and effective and Tom Rogers’ set is an evocative, flexible home for the action. I found myself humming ‘Misunderstood’ on the way to the tube. This show has some good tunes too! The Secret Diary of Adrian Mole Aged 13 ¾ – The Musical is an excellent adaptation vividly brought to life by an outstanding cast

 

Reviewed by Katre

Photography by Pamela Raith

 


The Secret Diary of Adrian Mole Aged 13 ¾ – The Musical

Ambassadors Theatre until 12th October

 

Last ten shows covered by this reviewer:
The Thread | ★★½ | Sadler’s Wells Theatre | March 2019
Yamato – Passion | ★★★★★ | Peacock Theatre | March 2019
Hell Yes I’m Tough Enough | ★★½ | Park Theatre | April 2019
Little Miss Sunshine | ★★★★★ | Arcola Theatre | April 2019
Man Of La Mancha | ★★★★ | London Coliseum | April 2019
Sh!t-Faced Shakespeare: The Taming Of The Shrew | ★★★★★ | Leicester Square Theatre | April 2019
On Reflection | ★★★★★ | Underbelly Festival Southbank | May 2019
Zara | ★★★★★ | Geraldine Mary Harmsworth Park | May 2019
Elixir Extracts Festival: Company Of Elders | ★★★★★ | Lilian Baylis Studio | June 2019
Napoli, Brooklyn | ★★★★ | Park Theatre | June 2019

 

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

 

Amélie
★★★★★

Watermill Theatre & UK Tour

Amélie

Amélie

Watermill Theatre

Reviewed – 17th April 2019

★★★★★

 

“There were audible gasps of admiration from the audience at the moment one aspect of the set was revealed”

 

From book to film, book to stage or stage to film, literary works often make successful transitions to new media, but a theatrical interpretation of a film is one of the most difficult to pull off. How to cram all of the colour and spectacle of a much-loved feature on to a few square metres of bare boards? And how to make it work as a musical?

Amélie was an award-winning, quirky and nostalgic French romantic comedy released in 2001. Anyone who has seen it will have strong memories of its unique look and of the charismatic performance of Audrey Tautou as the shy waitress Amélie Poulain.

The Watermill Theatre is staging its own winning production of a musical adaptation of the film, written by Craig Lucas with lyrics by Nathan Tysen and Daniel Messé, who also wrote the music. Originally premiered in the US in 2017, this new version has been re-worked for a British audience. According to Director Mike Fentiman, ‘Amélie is a musical that seeks connections… [with a] strange, foreign, melancholic, philosophical, gentle, elusive world’.

Watching this celebration of Parisian life after the disastrous fire at Notre Dame was a particularly poignant experience. Almost the entire story of the film is told on stage in a series of twenty five musical episodes that amongst others reference Sondheim, Lloyd Webber and gospel music. Amélie is brought up in the seventies by remote parents that protect her from the real world and from real feelings. She works as a waitress in a Paris café populated by lonely eccentrics who she determines to try to help, until she finally finds love herself.

The writing is witty and satisfyingly avoids the obvious. The first number contains a lovely theme that recurs throughout the show, performed by the entire cast playing, amongst others piano, flute, percussion strings and an accordion. This is a multi-talented group of performers, led by the charismatic and ‘mignon’ French-Canadian Audrey Brisson, with Chris Jared as Nino Quincampoix, the photo-booth obsessive, with whom she quickly becomes fascinated. His singing voice is a delightfully mellow contrast to her brighter sound.

Since the story is set in Paris in the 1990s, there is even a rollicking pastiche by a brilliantly swaggering Caolan McCarthy of Elton John’s ‘Candle in the Wind’, which was performed in 1997 at the funeral of Princess Diana. When much of the rest of the show is so animated, Johnson Willis brought a pleasingly quiet poignancy to his portrayal of Dufayel, the ‘glass man’. There were other delightful moments from the entire cast, not least Samuel Morgan-Grahame as Joseph and Fluffy, who managed to make a simple telephone call hilarious.

The design, by prize-winning Madeleine Girling, is simply a marvel. The stage at the Watermill is tiny, and enormous creativity has gone into providing spaces in which to represent the film’s many scenes. There were audible gasps of admiration from the audience at the moment one aspect of the set was revealed, with some wonderful detailing that beautifully captured the spirit of the film.

Somehow two pianos (with some unexpected surprises within), a dozen performers acting and singing whilst playing violins, cellos, double bass, flute and accordion and a photo-booth on wheels all manage to simultaneously bring the small space to delightful life thanks to the immaculate direction of Michael Fentiman. Movement direction by Tom Jackson Greaves deserves a special mention.

This is a fast-moving, feel-good and heartily recommended show.

 

Reviewed by David Woodward

Photography by  Pamela Raith 

 


Amélie

Watermill Theatre until 18th May then UK Tour commences

 

Last ten shows reviewed at this venue:
Teddy | ★★★★★ | January 2018
The Rivals | ★★★★★ | March 2018
Burke & Hare | ★★★★ | April 2018
A Midsummer Night’s Dream | ★★★★ | May 2018
Jerusalem | ★★★★★ | June 2018
Trial by Laughter | ★★★★ | September 2018
Jane Eyre | ★★★★ | October 2018
Robin Hood | ★★★★ | December 2018
Murder For Two | ★★★★ | February 2019
Macbeth | ★★★ | March 2019

 

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