PRODUCERS of modern blockbuster musicals spend a fortune acquiring the best equipment and expertise to ensure that the mixture of music and vocals on offer to their audiences is ideal for the show they are presenting. If you look at the sound desk these experts have to deal with for a show like The Lion…
FIONA Williams’ production of Puccini’s classic weepy, La Boheme, has been whisked from the garrets of Bohemian Paris and relocated in student bedsit land in Worthing! The touring Opera Holloway production, brought by Artsreach to Stalbridge village hall, comes complete with a live mini orchestra and surtitles that translate the original Italian libretto for a…
THERE’S a fashion for adapting films into stage shows to be performed by actor-musicians – capturing the cinematic atmosphere at the same time as involving the audience. You won’t see a better example than Sean Foley’s The Man in the White Suit, on stage at Bath until 21st September and opening in London later in…
THIS production is a near-perfect example of a modern musical making maximum use of all the latest theatrical technology. It has taken weeks to reorganise the stage and auditorium of the Bristol Hippodrome to accommodate the staging and lighting effects, which are presented flawlessly to help make the production a visual treat. Add to that…
BEHIND every great story, there are the facilitators whose work is both indispensible and invisible. That’s the idea behind Isobel McArthur’s brilliant reworking of Jane Austen’s classic. If you have ever gathered a group of friends, layed out all your clothes and performed a play, swapping characters as the script demands, you’ll get the picture….
TONY and Gill Horitz’s trilogy of plays about the effects of World War I on Wimborne came to an end with Aftermath, performed in the Dining Room of the Hanham ancestral home, Dean’s Court. Following Tommy’s Sisters and The Gathering, this was a play set in the days and weeks immediately after the cease-fire was…
FIFTY-two years on, and Alan Ayckbourn’s comedy of miscommunication is still as sublimely funny as it ever was, as the packed audience at Salisbury Playhouse will vouch. It’s a four-hander about infidelity, acutely observed by the then 28-year-old writer. If the setting in Jo Newman’s brilliant production in Salisbury is extravagantly 60s, even down to…
IN the week when the beloved Harold Peto Cloister at Iford Manor was dismantled to make way for builders to reinforce the failing foundations, Iford Arts opened the flaps on its geodesic dome in the magnificent gardens of Belcombe Court at Bradford on Avon and welcomed audiences to Donizetti’s L’Elisir D’Amore. After 25 years, it was…
AFTER writing more than 60 plays for stage, television and radio, many of them with strong political themes befitting someone who was at the heart of student politics when he chaired the Socialist Society at Manchester University at the end of the 1960s, David Edgar breaks cover and appears on stage in this virtual one…
AS I drove back from the Quicksilver Mail on Wednesday, pondering the meaning of the Swan Theatre production of Ashes to Ashes, Professor Laurie Taylor was on the radio, in a programme called Ghosts in the Machine, exploring the world of auditory illusion. It seemed weirdly appropriate. Harold Pinter’s plays are notoriously elusive, sometimes menacing,…