” attempts to deal with some intriguing themes but unfortunately falls short”
Upstairs at the Gatehouse is one of London’s historic fringe theatre venues that exude a strong community spirit inside. The Gatehouse, within which the theatre is located, is steeped in local history and it seems only right that it should house a play focused upon the passage of time and memories such as Ian Grant’s After the Ball.
The story follows William (Stuart Fox) and Blanche (Julia Watson) spanning sixty years, starting in 1914 in the moments just before the outbreak of WW1 and ending in 1971. Its emphasis is upon the ways in which we take responsibility for our individual actions and, consequently, how this affects those around us.
The roles within After the Ball are purposely written for older actors by Grant who believes that not only does it offer the challenge of playing a variety of ages, but also provides substantial new material for ageing actors which is often lacking in modern theatre today. Therefore it is rather intriguing to see both actors constantly transition as the story moves backwards and forwards in time throughout. Aside from this characterisation, the costume design is the greatest indicator of which time period each scene is set in. As each character is introduced throughout the story, they bear the clothing of that particular time. However, this was not consistent towards the end of the play as their daughter, Joyce, appears in a variety of period costumes whereas the remainder of the cast do not.
Whilst the plot revolves around William and Blanche’s relationship over time, it seems the story is much more focused on William’s journey and often asks for the audience to sympathise with his emotional turbulence. William is presented as a four-dimensional character as we learn to understand the reasoning behind his mistakes throughout life. Unfortunately this was not the case for the characterisation of Blanche that at times felt superficial.
Memory is the headlining theme of After the Ball and this is most evident in the creative set (Natalie Pryce) and sound design (Chris Drohan). The soundscapes often blended into one another, as did the minimal set which frequently reminds one of searching into their memories, and the ways in which we can manipulate our memories over time.
After the Ball attempts to deal with some intriguing themes but unfortunately falls short through its execution on stage. Whilst the idea of centring the play around two older actors playing a variety of ages is refreshing, it was sometimes unclear as to which specific point in the timeline the scene was taking place. Additionally the story pays too much attention to the male struggles during wartime, and places less upon those of the female characters.
“a heartfelt tribute, created and delivered, by a team who believe in the power of music to enrich our lives”
With the ninetieth Academy Awards fast approaching, Aria Entertainment is laying on a well-timed celebration of the annual event through song, dance and stories. Charting the ‘Best Song Award’, it is the story of the Golden Age of Hollywood, part celebration and part eulogy: a kind of memento mori to a lost world.
There is so much to cover in one evening that it seems to be an impossible task to undertake, but writer Chris Burgess has a keen sense of balancing the informative with the entertaining. This is not just a shuffle through the pages of the American Songbook, it is also a rapid-fire chronicle (albeit sometimes perfunctory) of America’s social history in the mid twentieth century, and how Hollywood has always mirrored society, rather than vice versa. But let’s not get too bookish; “A Night at the Oscars” is billed as a musical revue, and it is foremost a glorious reminder of the sheer wealth of the songs, composers and craftsmanship that existed in that bygone era.
The four singers have total control over the material. Kieran Brown, Steven Dalziel, Natalie Green and Laura Sillett all effortlessly span the octaves and emotions needed to tackle the likes of Gershwin, Berlin, Porter, Kern, Bernstein (to name just a few) at their best. They each shine individually, but when they are in unison the harmonies are spot on. Accompanied by Musical Director Ben Fergusson on piano, Will Henderson on double bass and Ben Burton on percussion, the combined effect is dynamic and passionate.
There are many highlights, most notably “The Man That Got Away” that closes the first act, and “They Can’t Take That Away From Me” which heartbreakingly reminds us of Gershwin’s untimely, early death. Other moments of high emotion, such as the tribute to Charlie Chaplin, are offset by moments of high comedy injected into the well-documented Bette Davis and Joan Crawford feud.
The second act is slightly more fragmentary and we feel that the cast are in a bit of a hurry to reach the end. But in fairness this reflects the changing face of Hollywood. As Hollywood battles with the changing politics and fashions it also has to compete with the legislation that strips if of its monopoly and power. And of course with the birth of television. It is a whole new world, and historically the music suffers too. It is perfectly fitting that the evening’s show ends at 1973. The poignancy of “The Way We Were” rings through the auditorium: an anthem to the sad fact that the traditional ‘Oscars’ song is no more. What happens next is another show entirely.
But for now “A Night at the Oscars” should be enjoyed for what it is. Fittingly it ends on a rousing chorus of “That’s Entertainment”. Entertainment it unquestionably is. It is also a heartfelt tribute, created and delivered, by a team who believe in the power of music to enrich our lives.
