The harder they come
Reggae legend Jimmy Cliff died in November. As a young Black man growing up in Britain during the 1970’s, I remember only too well the first time I saw the film, The Harder They Come (Stratford East), in which he starred and wrote some of the songs, including the title track. And now playwright Suzan-Lori Parks’ stage adaptation of Perry Henzell’s 1972 film is back after another sell out run last year. This is the story of Ivanhoe “Ivan” Martin (inspired by real-life outlaw Rhyging) – arriving in Kingston from rural Jamaica determined to become a star, getting up to all sorts of rude bwoy business along the way, ending up as fugitive. It is a tale of determination, protest and violence.
Let’s get my minor criticism out of the way, the storytelling sometimes meanders in a way that I know only too well from home life, but trust me all is forgiven when those tunes get going, with a few old-time reggae greats. These include Pressure Drop (Toots and the Maytals), Rivers of Babylon, original version, (The Melodians), I Can See Clearly (Johnny Nash) and my personal favourite Shanty Town (Desmond Dekker).
The focus is on Natey Jones as Ivan and the man is rough and tough with a voice full of quality, character and charm and a proper bad man attitude. He is matched by Chanice Alexander-Burnett with her poignant portrayal of Elsa and the mellifluous voice that is sweet as honey and pulsing with emotion. Yet the moment that had me close to tears and my body filling up with goosebumps was when Rachel John, who plays aggrieved mother Daisy, give her rendition of Many Rivers to Cross.
Choreographer Shelley Maxwell mixes up some moves that will have you wanting to leap out of your seat, be that a euphoric church scene or some bump and grind dancehall. Even when not dancing the cast are moving in ways that is street life Jamaica as though you were there, full of bravado and swagger. And then of course there is that Jimmy Cliff title song that brought reggae music to a whole new audience and Matthew Xia – who directs stylishly throughout – deftly introduces it and then builds into a crescendo that tears the place down. It’s a party show and all are welcome.
From reggae legend to circus legend…
Barnum – on tour
American Phineas Taylor Barnum was born on 5 July 1810. He was a businessman, politician, author, publisher and philanthropist. Most of us remember him as a showman and for the Barnum Circus. He is also remembered for celebrating hoaxes. That tradition continues today with hoaxes now a part of everyday life so while watching a very entertaining production of Barnum (Woking Theatre) last night, I pondered candidates from our current crop of celebrities and politicians who could be considered as twenty first century hoaxers.
Jonathan O’Boyle’s eye-catching musical show designed by Lee Newby – gaudy nineteenth century Americana, brash and colourful – features a large cast of actor-musicians and acrobats, which ironically begins and ends with the song There is a Sucker Born Ev’ry Minute. Lee Mead revels in the lead role, charisma in abundance, and a fine singing voice which captures the highs and lows of a complicated man. Monique Young plays his wife Charity, ebullient and argumentative, in a sweet and loving way, and they have a lovely rapport. He knows who wears the trousers. She too impresses with excellent, passionate vocals.
Talking of which the undoubted ‘voice of the show’ so to speak, is Penny Ashmore who plays Jenny Lind, a Swedish opera singer, known as the ‘Swedish Nightingale’. This quality of singing voice makes you sit up and take notice filling the auditorium as it does with a magnificent sound. Meanwhile the ensemble of multi-skilled performers are a talented bunch who play a variety of instruments, sing, dance and execute acrobatics, sometimes simultaneously. It’s wonderful stuff and though at times you would like a pause for breath it certainly evokes the big-top atmosphere.
Hokum, humbug and hoaxes, there really is no business like show business.
Barnum – on tour – www.kenwright.com
Photo credit: Pamela Raith
Giffords Circus
How many of us, in our wildest dreams, have thought of running off to the circus, sleeping in colourful caravans, waking up in differentlocations every few weeks, dressing in flamboyant outfits and being able to perform acts that keep audiences in a state of wonder? Me, I’m one of them and watching Gifford’s Circus (Chiswick House) in their new production, Waterfield, on Thursday evening brought those feelings gushing back. I was both envious and in awe of what turned out to be spectacular show. It began well with some scrumptious food and drink and I’m not talking popcorn or candy floss. First steps inside the tent we were greeted by a colourful motley crewof jugglers, clowns and all sorts of other taster acts to get us in the mood.
What happened next was thrilling. The show is positively magical, a smorgasbord of well-honedcraftsmanship, each act providing enthrallingand gobsmacking entertainment. The theatrical fun and games combined with daring physicality, sometimes death defying, acrobatics often leaving your heart in your mouth. There was an acrobatic Ethiopian troupe, Addis Ababa, simply brilliant and great personalities. The Wheel of Death was exactly what it says onthe tin and the Valencia Flyers executed it all with such incredible daring and precision. When their contraption started spinning I was actually frightened to watch and when it was over we applauded wildly and breathed an enormous sigh of relief.Thankfully Ratty & Mole provided clowning silliness aided and abetted by Los Rivelinos. They got up to all sorts and reminded me of old school buffoons who know how to play the crowd. There was a band, a singer, aerial gymnasts and the whole troupe provided tip top entertainment.
In summary, the show lingers long after it ends, replaying routines, and the vibrancy of the live music. Covering the eyes at times and laughing outrageously along with the rest of the audience. When if at first you don’t succeed (the motto of this production) you try again. A standing ovation of cheers erupted as the ambitious routines were delivered with great teamwork and trust. A very visceral experience when the desired secure landing was achieved and we could all breath. A testament to the days of practise needed to bring such a feel-good production to life. The costumes, the storytelling, the live music and a horse, pony and goose all enlivening the big top. Chiswick House is a very atmospheric setting too and Gifford’s Circussmashed it – you won’t want to miss it!
Gifford’s Circus – www.giffordscircus.com (7June and tour)
Fawlty Towers The Play
Let me start with a confession. When asked to reveal a guilty secret, I have many, I confess to how I only eat the cream of a cake, go to daytime cinema with a flotilla of snacks and watch endless episodes of Judge Judy. In my world they are the bee’s knees. When I knew I was to review Fawlty Towers The Play (Woking Theatre) I was hoping to hear four particular words, those being “Don’t mention the war!” Because if I did it would almost certainly mean it hadn’t been watered down so as not to upset a modern audience. In fact this is as true to the original as you can get so sensibilities may be stretched for some, but the result is uproarious hilarity. In fact, just like my guilty secrets John Cleese’s stage adaptation (he wrote the original TV series with Connie Booth) is a merger of three of the most popular episodes from the series. Yes, the best bits. Two hours later you will be in bits and fits because this is comedy at its finest, including elements of farce, ridicule and wacky eccentricity that is quintessentially English.
Basil has over time become a comic icon and Danny Bayne is John Cleese in disguise, such is his superb portrayal. Voice, expressions, mannerisms and frantic moves are the personification of ‘Mister Fawltee’, yes Manuel, the persecuted Spanish waiter, brilliantly recreated by Hemi Yeroham who when he says “Barthelona” is still as ridiculously funny as it was over fifty years ago. Their communication problems are a highlight throughout as is the relationship between Basil and his exasperated wife Sybil, another tip top performance from Emily Winters who apart from her wrangles with her husband brings added comedy with the countless gossipy telephone conversations with her anonymous friend.
Caroline Jay Rangers’s direction is crisp and brisk with an energy that keeps everything fresh and yet true to the original, meaning when it gets bonkers it is taken to another level which on stage is almost funnier than on a TV screen. Not difficult to do when you consider the three episodes on which this production is based are ‘Communication Problems’, ‘The Hotel Inspectors’ and ‘The Germans’. And yes Basil does goose step. The script is writing brilliance, physical and observational humour coupled with a bounty of witticisms which are so funny that our laughter is incessant, almost to the extent that we miss the next quip. The humour leans into slapstick, basic silliness with stuff falling off the wall and a welter of things going wrong due to misunderstandings. Disaster awaits around every corner.
Making huge contributions to all of this is the other motley crew of characters who inhabit the hotel. Joanne Clifton’s Polly an apparently sane and sensible waitress tries desperately to be the voice of sanity during Basil’s escapades only to find herself embroiled in mad masquerades. Meanwhile veteran Paul Nicholas, I remember him as Jesus in Jesus Christ Superstar (1972), is a wonderfully irrational Major, deaf and defiantly living in his own world and Jemma Churchill’s cantankerous Mrs Richards is how many of us would like to age, disgracefully.
The design by Liz Ashcroft, both costumes and set are authentic and evocative, an upstairs (bedrooms) downstairs (reception and dining room) scenario and an ideal set up for the farcical goings on and shenanigans. The best of Fawlty equals the best of times.
Fawlty Towers The Play – www.atgtickets.com
