” Informative and enjoyable to watch, but lacking the pace, nuance and character development to match the brilliance of this writing”
World War II was and will always be one of Europe’s darkest history. For us today we see it as a distant past, something younger generations learn in school but are no longer connected with; unless one is Jewish or knows people still alive who were still alive around that period.
Kindertransport written by Diane Samuels in 1993 is a beautiful analysis and depiction of stories in World War II that we often don’t hear about. Until this play I had had no knowledge of the kindertransport programme. This programme saved Jewish children in Germany, allowing them to safely live in England under a foster carer but it was only the children that were allowed to live in the UK.
The play begins in present time where Faith is going through her Grandmother’s attic, clearing out her mother’s things. As the play develops, Faith begins discovering her family’s harrowing past that had been locked away and never spoken about. This play beautifully analyses a mother and daughter’s relationship and how painful some secrets once uncovered can be.
This production was rare, in that the writing shone more than the acting and direction. Diane’s poetic writing, is beautifully structured as we are taken from the present to moments in the past of a young Jewish German girl called Eva played by Katrin Kasper. Katrin’s performance of a 9, 15 and 17 year old was surprisingly believable. Admittedly, I tend to detest actors playing young children, but this young actress managed to convince me and drew me to her world. However, the character development for young Eva was heading towards the right direction, but I didn’t feel that Katrin managed to go all the way.
Unfortunately, this was a mishap that happened to all the characters in this piece. I found I wasn’t able to fully invest myself in the characters. Perhaps, it was partially because I knew the story to be too painful and thus didn’t want to have to go through that amount of sadness.
However, without ruining the plot, the biggest character development has to be of that of Evelyn’s. This character goes from being your typical jolly, well spoken and articulate mother to a withering mess. A task too big for Ruth Sullivan (who played Evelyn). Ruth didn’t bring the emotional vulnerability required for this character. In a monologue where she was completely broken and crying, I didn’t feel anything with her. I was left wanting more.
This piece needed to, at times, quicken its pace. It had stuck to the same pace and thus ruined the importance of some scenes. Surprisingly, it wasn’t that it was boring or too slow; on the contrary, the play whizzed through and I was engaged throughout, but particularly in the scenes where the characters were having an argument the pace of these scenes didn’t work for the writing and the situation and thus really didn’t do justice to the way the play written.
Amanda Waggott as Lil was great and I immediately fell in love with her. She played Lil as such a lovely woman that at times left me laughing a bit too loud. However, again the same issue arises with Amanda’s performance in that Lil was a one tone pony. Her character never really went any further than being a nice lady. Her performance lacked depth and believeability where we often found Lil delivering lines in the same way or holding herself in a very stereotypical old lady pose with her hands constantly resting on her hips as she hunched her back. I understand that this was a tool to demonstrate to the audience the difference between the older and younger Lil but unfortunately Amanda Waggott got too stuck with this physicality and thus lost the truth in her character.
This production of Kindertransport was unfortunately unmemorable. Angharad Ormond (the director) had the elements to create a beautiful piece with very interesting elements such as shadow imagery and live music. But even these elements lacked structure and at times didn’t bode well with the overall feel of the piece. Although, Paul Willcocks as the masked Postman/Guard/Officer and Organiser added a comedic energy and subtlety that was thoroughly enjoyable.
Overall, Kindertransport was informative and enjoyable to watch, but lacked the pace, nuance and character development to match the brilliance of this writing.
“the strong musical performances saved this damned production”
I will confess, I am new to the works of Jim Steinman and haven’t watched many West End musicals, mainly because when I was younger I felt musicals were lazy in storytelling. Since then I have been blown away by some fantastic musicals, but Bat Out of Hell brought back all those previous prejudices I held. This was a thoroughly disappointing production in a storytelling perspective. The story – very cliché; another young white boy (Strat) falls in love with another white girl (Raven) and both feel as though they can’t live without the other.
Set in an apocalyptic world in the year 2100 where diversity no longer exists (i.e if you were anything but white or mixed race sorry to say you didn’t make it in this apocalypse). The rich live in high towers and the anarchist youth have the Peter Pan syndrome as they are mysteriously genetically frozen to be 18 forever – because being 18 forever means you will never mature. Bat Out of Hell at times felt like Romeo and Juliet particularly in the scenes when Strat gazes up at Raven hidden upon her tower or Twilight when their love is in jeopardy for she will grow old and he will be young forever.
The dialogue was jarring, which of course didn’t give the actors much to work with, leaving the casts’ acting much to be desired, particularly the scenes with Strat and his crew, – leaving me often cringed at this caricatural acting. Many sins were committed on that stage (and I’m not even talking about the awkward projected sexy scene with Strat and Raven).
The set design aspect of this production really did it for me. Jon Bausor’s design transported the audience into the world of this production. I found myself discovering new aspects of the staging throughout the piece. One thing I also really liked was the concept of the projection of scenes as they were happening on stage. Although, this did lack structure and at times it really felt out of place and in those moments I struggled to understand the reason as to why the director had decided to have certain scenes project and others not. It did create some distancing from the acting, but I am always one for having a bit of Brechtian alienation (if there is a point to it).
Whilst the book and acting left much to be desired; the strong musical performances saved this damned production. Andrew Polec as the lead Strat delivered one of the best performances, filled with energy and passion. Vocally Polec really brought the house down and engaged us in his world.
Christina Bennington, on the other hand, as the spoilt and irritating Raven may have somewhat delivered musically but her overall performance was unforgiveable. Awkward to watch, lacked stage presence and honestly, as a storyline point I could not see why Strat was falling in love with this girl. Perhaps, it was solely her ‘purity’ he was wanting after all.
For me, I would have much rather have Danielle Steers (who played Zahara) in the role of Raven. Danielle’s characterisation of Zaraha, her presence and enchanting performance of Two Out of Three Ain’t Bad and Dead Ringer for Love left me wanting to see more of this actress. Also, not only would Danielle have brought more talent and a fantastic performance for Raven, she too would have brought a different dimension to this character and storyline; an interracial couple, a relationship we often don’t see depicted on stage.
Rob Fowler and Sharon Sexton as Falco and Sloane were rightly a dynamic duo. Even as disillusioned lovers, they still had a chemistry that was envying to watch. Particularly in their smash performance of Paradise by the Dashboard Light, their vocal range and performance were just incredible.
Sharon Sexton delivered a hilarious show stealing performance and was in my eyes one of the strongest actresses in this piece.
Whilst maybe cliché the audience on the opening night revelled in this production as they loudly cheered and gave standing ovations to the actors, which I don’t blame them for; the phenomenal house band and performances are what made this show entertaining. I just wish somebody else had written the book because most elements were there.
I guess Heaven Can Wait because I don’t see this production ascending to the top.
