THERE were, apparently, 85 episodes – or about forty two and a half hours’ worth - of this comedy shown on TV during the 1980s, but you’ll be relieved to hear that this stage version is condensed considerably and runs for just slightly over two hours, including an interval.
AMAZINGLY, RMDS has been going strong for 100 years, hence the title of this annual event which I always look on as my end of term treat, since it is generally the last production before a short break in local theatre shows.
I’ve always rather fancied the idea of going to a health farm to be pampered for a few days, but after watching this comedy farce by Derek Benfield I’ll maybe think again. It is set in just such an establishment, where a businessman has gone for a relaxing break – which quickly becomes anything but, as his secretary, his daughter and his wife arrive in rapid succession.
I've always rather fancied the idea of going to a health farm to be pampered for a few days, but after watching this comedy farce by Derek Benfield I’ll maybe think again. It is set in just such an establishment, where a businessman has gone for a relaxing break – which quickly becomes anything but, as his secretary, his daughter and his wife arrive in rapid succession.
CHRISTMAS – the very mention of the word is enough to fill many a sane person with dread at the thought of having to spend time with those we would prefer to run a mile to avoid. Perfect material then for a playwright who specialises in revealing heartache behind laughter.
IT is perhaps unusual to begin a review by focusing on the set, but even by BLTC’s high standards this one was outstanding and – forgive the pun – set the scene well for what was to follow. Built, as usual, in-house by company members (take a bow designer Alastair Griffith, who also designed the excellent lighting), it looked exactly like I would imagine a house in up-market Pangbourne to be. I hesitate to mention the slight irritant of a crooked picture at the rear of the set, as I suspect the director would tell me it was intentional, but …
HCP are celebrating their 40th anniversary with this evening of music, dance and comedy, and I doubt that this particular ruby’s brilliance and polish could be eclipsed by any other gem.
SOMETIMES all the ingredients in a show come together to create an almost perfect whole – but it doesn’t happen by chance so every congratulation must go to the company and their production team of Lee Redwood (director), Jean Roach (musical director) and Sonia Gilson (choreographer) for their hard work in providing such a thoroughly enjoyable evening’s entertainment that is a credit to everyone involved.
FOR reasons too complicated to explain I found myself reviewing the dress rehearsal of this production rather than an actual performance, but luckily there were enough of us watching for the performers to get at least some audience reaction – and very positive it seemed too.
CABARET is always a dark musical, showing human relationships being played out in an increasingly fraught manner as the spectre of Nazism begins to rear its ugly head in pre World War II Berlin - although it does, nonetheless, have its brighter moments.
HAVING seen and loved the film, I was particularly looking forward to seeing this production – and I can’t have been the only one, as the theatre was absolutely packed, which is pretty rare these days. Not only does it have a cast positively littered with household names, but it is apparently on its final ever tour and in September next year becomes available for amateurs, hence the fact that even now I know of four local companies who have obtained the rights to perform it before the end of 2012.
FORTY years after it was first conceived, this slightly amended and beautifully staged revival is proof, if proof were ever needed, that Noel Coward had considerably more than just ‘a talent to amuse’.
This incredible production has been devised, designed and performed by AUCB third year students on the BA (Hons) courses in Acting, Costume with Performance Design, Make-up for Media and Performance, Illustration, Model making and Fda Digital Media Production.
HAVING spent rather longer than expected in a foreign airport departure lounge last weekend, due to a delayed flight back to Gatwick, there were certain aspects of this intriguing bitter sweet comedy with which I could most certainly identify.
THERE’S a well-known saying that if you can remember the 1960s then you weren’t there. Not true, and this musical brought the memories flooding back for those of us who lived through what very possibly were the greatest days of our lives.
HAVING neither read the original novel nor seen the more recent film, this absolutely charming play was completely new to me and yes, I really was enchanted by it. There was more than a feel of a romantic novel to the evening and it was almost as if I had curled up comfortably by the fire to read and the characters had come alive.
IN previous years the AUCB graduating students have performed their final showcase at a London theatre, but thankfully the decision has now been made that this event should take place in Bournemouth, giving local audiences the opportunity of observing the results of three years’ study.
IN the 20 years since I began reviewing I have rarely, if ever, seen performers splashing around in water. I have seen this group just twice, and on both occasions they have done just that – taking baths in their production of Candleford and, in this Alan Ayckbourn play, paddling in a fountain and getting rather wet. A Redlynch peculiarity, I presume.
NOEL Coward’s delightful comedy is one of my favourite plays, and over the years I have seen it countless times so was very much looking forward to re-acquainting myself with its sparkling script. This production proved, in the event, to be a little like the curate’s egg - good, even brilliant, in parts, a little lacking that certain something in others.
