Pamela Raith Archives - Page 29 of 31

★★★½

“Macbeth is at its greatest when it takes these audacious liberties with the source material”

Directed by Mary Swan, the Proteus Theatre Company’s version of ‘the Scottish play’ is boldly set in the City in October 1987 just as Black Monday sent financial markets reeling into chaos.

The action takes place in snappy suits, with cocaine snorted off glass tables and dialogue barked into office telephones. The production picks up on the themes of corporate greed and ambition that famously characterise that era. I would have liked them to have done much more with this notion and fully explore those ideas, but the stock exchange context provides a visual backdrop rather than an integral, driving element in how the story unfolds.

A cast of just five actors ambitiously take on all the major parts. Macbeth himself is played by Riz Meedin, who if anything seems a little too casual and unruffled in his delivery to truly carry off the complexity of the role. There’s something missing – an intensity, perhaps. Danny Charles ably tackles Duncan, MacDuff and Lennox, while Umar Butt is fairly solid as Banquo. But all three males are often upstaged by the two female leads. Alexandra Afryea is especially strong as Lady Macbeth and the scene in which she sleepwalks, visibly tormented by her deeds, is perhaps the most memorable of them all. Meanwhile, Jessica Andrade proves herself hugely versatile as Malcolm, Lady MacDuff, the doctor and one of the witches.

It was an inspired choice to play 1980s pop and new-wave music over the sound system between scenes. Bursts of Bronski Beat, Echo & The Bunnymen, The Eurythmics, Japan, Joy Division and The Smiths are highly effective. Better still is the wonderful surprise moment near the beginning when the cast suddenly start moving in time to the stark drum-machine mechanics of ‘Blue Monday’ by New Order. It’s both funny and startling. A later scene, just as powerful, has Jessica Andrade lip-syncing to Prince’s ‘Sign o’ the Times’. Macbeth is at its greatest when it takes these audacious liberties with the source material – those brief instances when it veers off into almost surreal interpretation and embraces the worlds of dance and mime. It’s less successful at delivering the primary narrative. Despite a running time of more than two hours, much of the plot progression felt rushed and disjointed. It’s perhaps inevitable that large chunks of Shakespeare’s writing need to be done away with in any modern adaptation, but it sometimes seemed that these edits were made at the expense of logic or clarity. If you are already familiar with the play in its entirety, though, you’ll find that there’s plenty to enjoy here.

Reviewed by Stephen Fall

Photography by Pamela Raith

Ain’t Misbehavin’

Mercury Theatre Colchester

Reviewed – 20th March 2019

★★★★

“The energy that flowed from the musicians was infectious as they recreated the nightlife of the era”

Stepping into the Mercury Theatre to see Ain’t Misbehavin’ was like stepping into the Jazz clubs of Harlem in the 1920s. The smooth tones of the music transported us deep into the life of Fats Waller, the iconic African-American jazz pianist, organist, composer and comedic entertainer. The show, not prescribing to any linear structure or story, explored the musical talents of Waller by embracing a selection of his work including ‘Your Feet’s Too Big’ and ‘The Viper’s Drag.’ The songs were performed by Adrian Hansel, Carly Mercedes-Dyer, Landi Oshinowo, Renée Lamb and Wayne Robinson, who each, with their own impressive array of talents, added a unique flair to every tune. The quality was outstanding, as each performer amazed with their booming voices and effortless dance moves choreographed to perfection by the brilliant Oti Mabuse.

Making his directing debut, Tyrone Huntley proved his creative talents extend to offstage as well as on. He has ensured that every element of the show conveys the period and the true essence and freedom of Jazz.

At first, the absence of a storyline was noticeable and I caught myself thinking that the presence of scripted dialogue could have tied the songs together more efficiently. However, by the second act this thought was disregarded as we journeyed into more slow and sombre numbers.

‘The Viper’s Drag’ was a particularly impressive number, hypnotic as it stirred a silent excitement in the audience. Waller’s words filled the theatre, as Wayne Robinson smoked away, singing about getting high and dancing slickly across the floor. The audience watched as his feet slid across the stage, his body resembling ‘The Viper.’ The song ‘Black and Blue’ delved into the topic of race and importantly touched upon typical white American views towards black identities at the time. The power of the lyrics, “I’m white inside, but that don’t help my case, Cause I can’t hide what is on my face,” created a story and perhaps indicated Huntley’s vision of allowing the music to speak for itself.

It would be criminal not to acknowledge the excellent live band that performed alongside the outstanding cast. The energy that flowed from the musicians was infectious as they recreated the nightlife of the era enhanced by the stunning period set and costume design (takis).

Ain’t Misbehavin’ was hugely entertaining. A beautifully crafted piece of theatre from the Made In Colchester stable reflecting the talents of a bygone era.

Tag Archives: Pamela Raith

Macbeth
★★★½

Jacksons Lane

Jacksons Lane

Reviewed – 21st March 2019

★★★½

“Macbeth is at its greatest when it takes these audacious liberties with the source material”

Directed by Mary Swan, the Proteus Theatre Company’s version of ‘the Scottish play’ is boldly set in the City in October 1987 just as Black Monday sent financial markets reeling into chaos.

Reviewed by Stephen Fall

Photography by Pamela Raith

Macbeth

Jacksons Lane

Previously reviewed at this venue:

From Ibiza to the Norfolk Broads | ★★★ | March 2018

La Traviata | ★★★★ | May 2018

Intronauts | ★★★½ | January 2019

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

Ain’t Misbehavin’
★★★★

Mercury Theatre

Mercury Theatre Colchester

Reviewed – 20th March 2019

★★★★

“The energy that flowed from the musicians was infectious as they recreated the nightlife of the era”

Making his directing debut, Tyrone Huntley proved his creative talents extend to offstage as well as on. He has ensured that every element of the show conveys the period and the true essence and freedom of Jazz.

At first, the absence of a storyline was noticeable and I caught myself thinking that the presence of scripted dialogue could have tied the songs together more efficiently. However, by the second act this thought was disregarded as we journeyed into more slow and sombre numbers.

It would be criminal not to acknowledge the excellent live band that performed alongside the outstanding cast. The energy that flowed from the musicians was infectious as they recreated the nightlife of the era enhanced by the stunning period set and costume design (takis).

Ain’t Misbehavin’ was hugely entertaining. A beautifully crafted piece of theatre from the Made In Colchester stable reflecting the talents of a bygone era.

Reviewed by Maddie Stephenson

Photography by Pamela Raith

Ain’t Misbehavin’

Mercury Theatre Colchester until 30th March

Previously reviewed at this venue:

The Turn of the Screw | ★★★ | March 2018

Pieces of String | ★★★★ | April 2018

Europe After the Rain | ★★★★ | May 2018

Silence | ★★★★ | October 2018

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