Tag Archives: Rebecca Howell

The Third Man

The Third Man

★★★

Menier Chocolate Factory

THE THIRD MAN at the Menier Chocolate Factory

★★★

The Third Man

“There is an elegance to all the performances that skilfully navigate the plot twists with boundless energy”

 

You’re familiar with the platitude; ‘you never get a second chance to make a first impression’. I’ve never really agreed with the expression. Or rather with the inference that the ‘first impression’ is permanent, and cannot be overridden. Impressions always evolve. Often rapidly. Trevor Nunn’s production of “The Third Man” reinforces my opinion.

We walk into a transformed auditorium. Paul Farnsworth’s powerfully evocative set recreates the monochrome decay of post-war Vienna. The musical strains of the zither clashes with, but also sharpens, the tension. It is a familiar sound, reassuring yet haunting. The dusky mood is established as lost souls wander through the blackened city. Holly Martins, a bankrupt ‘hack’ novelist, wanders into the debris looking for his old friend Harry Lime. Ignoring the smoky undertones, he incongruously bursts into song. “This is Vienna… not like the movies”. It is almost as if we are being instructed to resist the impulse to compare this stage adaptation to the original 1949 iconic film. Which is sound advice.

Sam Underwood convincingly portrays Holly Martin, lost in a sea of intrigue; and driven to the brink and to drink. Discovering that his old friend has been killed in a car ‘accident’, he smells a rat and decides to pursue it with a feline tenacity. Edward Baker-Duly’s upper crust, hard-headed military policeman, Major Calloway, continually tries to throw him off the scent. Everyone has something to hide, especially the initially affable Baron Kurtz (a sinister Gary Milner). There is an elegance to all the performances that skilfully navigate the plot twists with boundless energy, but the pace and focus are severely hindered by the music and lyrics.

It is as though the composer, lyricist and writer worked in separate rooms, only coming together at the last minute. Nobody got the memo, it seems, and the result is a bit like channel hopping, only we’re not in control of the remote. Just as our interest is being drawn into the dialogue, we suddenly find ourselves in a song that has sprung from nowhere. And just as you are in the shadowy world of film noir, you suddenly catch yourself fluttering among the pages of a Mills and Boon. George Fenton’s score is undeniably impressive, but it is the underscoring that stands out and evokes the true atmosphere of the piece. The musical numbers themselves appear to have been plucked off the shelf.

Nevertheless, the staging is quite majestic, and Nunn draws out excellent performances from his cast. Natalie Dunne, as Anna Schmidt, gives a very watchable, husky and cool performance as Harry Lime’s grieving girlfriend. Her commitment is unwavering – it is her solo numbers that, despite being moments of beauty, are wondering what they are doing here. Part of the answer lies in the choice of Schmidt being a cabaret singer instead of an actor, but it is a contrived decision.

The major plot twist is weakened by the libretto, even in the face of Simon Bailey’s natural charm as the morally dubious Harry Lime. Yet it is hard to believe that the character can elicit the levels of emotion that are trying to be conveyed. Normally song should be able to express a feeling better than putting it into words. “The Third Man” is billed as a musical thriller, but it should have opted for one or the other.

“It makes no sense at all” Holly Martin sings as we approach the finale. We can’t help agreeing with the sentiment. Paradoxically, however, it is an enjoyable and finely crafted piece of theatre. That does make sense, given the weight of expertise and experience of the individuals behind its creation. It needs more time and thought to bring it together. Ultimately, “The Third Man” deserves a second chance to correct the first impression.

 

Reviewed on 20th June 2023

by Jonathan Evans

Photography by Manuel Harlan

 

 

Previously reviewed at this venue:

 

The Sex Party | ★★★★ | November 2022
Legacy | ★★★★★ | March 2022
Habeas Corpus | ★★★ | December 2021
Brian and Roger | ★★★★★ | November 2021

 

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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

 

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