When two men meet by chance on a train journey, little do they know the impact this life-changing encounter will have. As they relax into their journey, the drinks begin to flow and stories of their lives are shared. As hopes, dreams and life’s troubles are discussed an idea emerges which will have an untold impact on both their lives.
Based on the novel by Patricia Highsmith which was adapted for the cinema by Alfred Hitchcock in 1951, Craig Warner’s Strangers on a Train is a sinister tale of persuasion. Smiling psychopath Charles Bruno (Chris Harper) charms architect Guy Haines (Jack Ashton) into revealing his innermost thoughts then hatches a plan to commit what he thinks are the perfect murders, clever and calculated in a way the truth could never be uncovered. Of course something as dark as murder could never be so simple, the plan quickly begins to unravel & suffocate Guy as a manipulative and unhinged Charles becomes ever-present and looms large in all aspects of Guy’s life.
Chris Harper and Jack Ashton are entirely convincing in their individual roles. Harper is commanding and brash as Charles, obnoxious, obsessive and chillingly intense, he perfectly embodies a man on the edge of madness. Perfectly paired with Ashton’s calm and relaxed presence which becomes increasingly strained as the horror off his characters situation takes over, pushed past the point of no return by a tormentor he barely knows, he takes on the role of cornered victim well, keeping up appearances believably whilst battling with an increasingly manic oppressor.
While both leads and the ensemble deliver strong performances the pace of the play lets the production down, leaving a feeling that a good chunk could have been edited in order to allow the chilling tension the cast are so clearly capable of delivering to florish.
David Woodhead’s set while wonderfully intricate with sliding panels revealling hidden rooms at times muffles conversations & in several scenes blocks cast members from view for audience members sitting anything but bang central.
While some scenes are drawn out others feel rushed, with only fleeting appearances from Helen Anderson and John Middleton as Helen Anderson and Arthur Gerrard, both are excellent and draw attention each time they are on stage.
While there are some excellent performances which hold your attention for the duration of the production, the promised chill is never quite felt. Trimmed down this could be an excellent and gripping piece of drama.
On at the Opera House until Saturday 10th February tickets available here.
This is comedic theatre at it’s finest; director Mark Bell has crafted a night of pure unadulterated fun that I could watch over and over again. The cast work their socks off, with an endless barrage of slapstick and physical comedy very much in the tradition of Laurel and Hardy, or Buster Keaton, all of the cast do exceptionally well but the stand out performance goes to Kazeem Tosin Amore, as Robert and Thomas Colleymoore, whose performance at one point had audience members howling with laughter with a little a hint of fear for the actors safety. In addition Steven Rostance as Jonathan and Charles Haversham who plays the least convincing dead body you are likely to see.
The Weir is a play based entirely round the art of storytelling in which writer Conor McPherson delivers the loneliness of small-town life in Ireland for his isolated characters with humanity and heart. Past and present intertwine as stories are shared and the ghosts of times gone by are reimagined and redelivered. Links to folklore litter the narratives as incidents and goings on become more peculiar and harder to explain, lives woven together by circumstance bonded over many years through the sharing of tales and the comfort of company now have a new source of narrative in the intriguing and attractive out of towner, Valerie (Natalie Radmall-Quirke).
At approximately 90 minutes straight through The Weir captivates entirely, each actor on stage delivering a compelling and gripping performance, from the deadpan put downs to the infectious Irish charm. Director Adele Thomas is happily includes awkward silences, a taste of the daily norm in The Weir. While there is great poignancy there is also great wit in McPherson’s script, presented with impressive skill by this incredibly strong cast.
Tour director Nigel Harman has focussed on ensuring individual performers really get their chance to shine in this current incarnation, no more so than Shrek’s loyal steed Donkey, portrayed to perfection by Marcus Ayton. A little underused in previous productions his great one-liners, exaggerated expressions and hilarious bray ensure this Donkey has some serious stage presence, without doubt the best portrayal of Donkey I’ve seen.
Tim Hatley’s set, costume and puppet design are top class, the constantly changing set, boosted by Duncan McLean’s projections is bold and striking, as are the incredibly intricate costumes and as for the dragon, well you’ll just have to watch and see.
Shrek is an enormously fun production, with a cheeky humour that casts its magic on all ages. The traditional is turned upside down as this all-singing, all-dancing extravaganza delivers a special message right from its giant green heart, that we’re all special & we should fly those freak flags high & proud, a perfect introduction to musical theatre.
Opening Night 