★★★★

“an enjoyable and important revival of a play that has become a modern classic”

Alan Bennett’s much-loved play celebrates the 20th anniversary of its National Theatre first performance with a new production and a national tour (Director Seán Linnen). The period is firmly established from the outset with walk-in music made up of 1980s bangers – Soft Cell, The Human League, Pet Shop Boys – and we hear more of this throughout the show (Sound Designer Russell Ditchfield).

The set (Grace Smart) is the outside of a grim grey building – Cutlers’ Grammar School for Boys, Sheffield – which when it revolves will let us into a classroom laid out with plain square tables and the ugliest red plastic, stackable chairs.

A line-up of eight boys enters performing rather nicely a close harmony, doo-wop number before breaking into their schoolboy characters. Music is an important part of this production (Musical Director Eamonn O’Dwyer), some of it embedded into the plot, at other times as entr’acte music during scene changes. The onus in the solo numbers falls on the vulnerable, questioning character of Posner (Lewis Cornay). Cornay’s made in heaven harmonies soar above the ensemble and his solo performance of Rodgers & Hart’s ‘Bewitched, Bothered and Bewildered’ is truly beautiful. Not forgetting Yazdan Qafouri as Scripps playing the piano quite brilliantly too.

The plot centres on the differing teaching methods of the nearing-retirement Hector (Simon Rouse) and the newbie Irwin (Bill Milner) as they coach the eight sixth formers towards their Oxbridge entrance exams. But the importance of the play and the main interest lies in the developments of each character. Being teenagers, conversation revolves much around sex and we hear a blow-by-blow account of Dakin’s (Archie Christoph-Allen) conquest of the school secretary. But there is also common knowledge of Hector’s fondness for fondling the private parts of his pupils whilst they ride pillion on his motorbike home from school. Despite this being a period piece, the casual acceptance by the boys that this is acceptable behaviour, makes me extremely uncomfortable. It takes the words of the only female teacher Mrs Lintott (Gillian Bevan) – “a grope is still a grope” – to voice out loud that what Hector is doing is wrong. Bevan’s no-nonsense approach to the role allows us to believe that she alone is the wise one amongst the school staff. The Headmaster best described by Mrs Lintott as “a twat” is played perfectly in this manner by Milo Twomey – approaching Basil Fawlty levels of hysteria when roused.

Two important intimate scenes: Posner looks for solace from Hector and Dakin’s attempt to mislead Irwin lack the necessary poignancy for full effect. It is the schoolboy ensemble that is most impressive – the natural chatter between classes and the laddish hijinks – and Timms (Teddy Hinde) stands out of the crowd with just the right amount of cheek and arrogance. A showstopper number of Stand and Deliver despite a lot of banging, stamping and chair-fighting lacks sufficient punch (Movement Director Chi-San Howard). Amplification of the singing might help.

The biggest laugh of the night comes from Rudge’s (Ned Costello) assertion that “History is just one fucking thing after another” claimed with a down to earthiness that, after nearly three hours on stage, this feels just about right.

This is an enjoyable and important revival of a play that has become a modern classic but at times, the highs don’t quite reach high enough and the emotional parts don’t quite reach deep enough.

THE LORD OF THE RINGS at the Watermill Theatre

★★★★★

“The nuances of the characters are beautifully executed, particularly up close on the small stage.”

‘When Mr Bilbo Baggins announced that he would shortly be celebrating his eleventy-first birthday with a party of special magnificence, there was much talk and excitement’. And so opens J. R. R. Tolkien’s monumental “The Lord of the Rings”; one of the best-selling books ever written. Since my early teens, I’m not sure I have met anybody who hasn’t read it. The Sunday Times once stated that “the English-speaking world is divided into those who have read ‘Lord of the Rings’ and those who are going to read it”. Peter Jackson’s trilogy of films echoes the epic scale of fantasy and adventure. How, then, can the story translate to a two-hundred-seater theatre in the Berkshire countryside? A good question, and one that becomes swiftly answered as we wander through the Shire, under an open sky, into Bilbo’s much anticipated birthday party. Woodsmoke drifts from the gardens of the old mill down to the stream, with the scent of Hog roast floating among the jugglers and minstrels, while Hobbits mingle with ‘the Big Folk’. As the party reaches its end, we are ushered inside where the adventure begins. A very big adventure in a pretty small space, but The Watermill Theatre have concocted a production in which each element of the stagecraft would put the most hallowed wizard to shame.

It is telling that this adaptation by Shaun McKenna and Matthew Warchus (with music by A. R. Rahman, Värttinä and Christopher Nightingale) is referred to as a ‘musical tale’ rather than a musical. Shunning convention it avoids formulaic showtunes. Instead, the soundtrack follows the pulse of the emotions rather than the narrative; the underscoring seamlessly merging into song. Impressively performed by the actor-musician cast and ensemble, Mark Aspinall’s orchestrations ranges from folk to bar-room jigs, through to bombastic percussion-driven anthems, back again to the mysticism of the Celtic harp, whistles, fiddles and gorgeous voices.

“Each member of the cast deserves mention, and each could threaten to steal the show”

Frodo, who has inherited the One Ring from his cousin at the birthday party has to undertake the quest to destroy the ring in the fires of Mount Doom. Louis Maskell carries the role with an instinctive ease that belies the demands of the emotional journey required. Nuwan Hugh Perera, as his companion Sam, is an unexpected voice of reason, merging light relief with solid support for his fellow hobbits. Across the board, the portrayal of the characters is natural, and paradoxically believable in all their other-worldly implausibility. Peter Marinker’s Gandalf has the wizened wisdom that keeps his power in check. Both Georgia Louise, as the Royal Elf Galadriel, and Aoife O’Dea as Arwen, enchant us with their performances and musicality. Each member of the cast deserves mention, and each could threaten to steal the show. The largest threat being Matthew Bugg’s Gollum, who weaves his way into the second act: feral, feline and fluid. Bugg moves as though underwater, defying gravity as easily as abusing the hobbits’ trust.

The nuances of the characters are beautifully executed, particularly up close on the small stage. But remarkably, when required, the epic proportions magically come into full force. Paul Hart’s staging is phenomenal. Simon Kenny’s ingenious design utilises every nook and cranny of the playing space. With the stunning combination of Adam Fisher’s sound, Rory Beaton’s lighting, George Reeve’s projections, Charlie Tymms’ puppetry and Anjali Mehra’s choreography (to name a few of the key creatives), the effect is that of a sweeping panorama. Only later, in retrospect, does one wonder how it is achieved.

“The Lord of the Rings: A Musical Tale” is little short of a miracle. As we are led back outside, back to the Shire, darkness has fallen. We bid farewell to Frodo. Emotions are running high. Our senses have been caught in the storm of a spectacle, but we have still heard the intimate sounds of extraordinary theatre making. Most people who have read Tolkien’s high-fantasy novel would agree that they could read it again. Everyone, I’d like to think, who sees this adaptation at The Watermill will agree that they could see it again. And again.

THE HISTORY BOYS at the Cambridge Arts Theatre

★★★★

“an enjoyable and important revival of a play that has become a modern classic”

THE HISTORY BOYS at the Cambridge Arts Theatre then UK tour continues

Reviewed on 1st October 2024

by Phillip Money

Photography by Marc Brenner

Previously reviewed at this venue:

THE HISTORY BOYS

THE HISTORY BOYS

THE LORD OF THE RINGS at the Watermill Theatre

★★★★★

“The nuances of the characters are beautifully executed, particularly up close on the small stage.”

“Each member of the cast deserves mention, and each could threaten to steal the show”

THE LORD OF THE RINGS at the Watermill Theatre

Reviewed on 1st August 2023

by Jonathan Evans

Photography by Pamela Raith

Previously reviewed at this venue:

The Lord of the Rings

The Lord of the Rings