Review – The Bay at Nice, Menier Chocolate Factory, 21st April 2019

The Bay at NiceI’ve been an admirer of David Hare’s work right from the start of his career (there can’t have been many 12-year-olds who read Slag in the early 70s) and it’s rewarding to fill the gaps in one’s knowledge by seeing the various gems of his back catalogue. I had never heard of The Bay at Nice, his 1986 one-act play set in a grand but comfortless display room at the Hermitage in St Petersburg – or Leningrad, as it was then. But I rarely pass up a chance to see what the Menier next has to offer, so it was with no preconceptions that Mrs Chrisparkle and I chose to spend our Easter Sunday in Southwark.

Ophelia Lovibond, Martin Hutson and Penelope WiltonThe year is 1956. Esteemed art expert Valentina Nrovka has been asked by the curators of the Hermitage to inspect a new acquisition – allegedly a Matisse – that has recently been bequeathed to the museum. There is some uncertainty as to its authenticity; and, as Mme Nrovka knew the artist personally in her youth, it is thought she would see through any deliberate attempts by a faker to pretend to the great man’s work. She is accompanied to the Hermitage by her daughter, Sophia, herself a part-time artist, and full-time disappointment to her mother. Over the course of 75 minutes, mother and daughter dissect their difficult relationship as Sophia’s marriage breakdown and new romantic liaison is revealed, against a backdrop of Communist Party politics, the motivation for creativity, the lure of the homeland, and the valuation of art.

Martin HutsonOne of the genuinely thrilling aspects of seeing a production at the Menier is the discovery of how they have configured its marvellously adaptable acting space. Fotini Dimou’s set has required the 200-or-so seats to be re-arranged, L-shaped, on just two sides of the theatre, to create a comparatively huge space, filled with coloured, borrowed light, to represent one of those enormous Hermitage galleries. Plush red and gilt chairs have been stacked unceremoniously to one side of the stage, beneath a Grand Master’s work; on the back wall of the stage, double doors that lead to the rest of the museum, the only clue that there’s a life outside. As the late afternoon turns into the early evening, Paul Pyant’s lighting design gradually becomes progressively dimmer, which may imply that the longer you talk about life and art – and the less you actually do it – clarity and understanding of these issues reduces. When Mme Nrovka finally looks at the painting, there’s only enough light for a peremptory glimpse – mind you, that’s all she needs.

Penelope WiltonPenelope Wilton is simply magnificent as Valentina, a woman who has reached a time in life when she is so accustomed to suppress any individual desires, who values the altruism of self-denial, if it’s to achieve a greater good. Her daughter, she reckons, is shallow beyond belief, following a path of self-interest which both ill-serves her family and prevents her from artistic expression. And she doesn’t like to be shaken up and questioned by what she perceives to be an inferior intellect; and is perfectly comfortable to say precisely what she thinks, regardless of how it might offend or distress others. Ms Wilton delivers Hare’s tremendous lines with natural authority, cutting sarcasm, forceful majesty, and a reasoned spite, in what is probably my favourite performance in a play so far this year.

Ophelia Lovibond and David RintoulGiving almost as good as she gets, Ophelia Lovibond is excellent as Sophia; patronised, forced to explain herself, intimidated into defiance against her mother and her strictures. It’s a great portrayal of someone who, in everyday life has all the confidence needed to lead an assertive life but who crumbles under parental pressure. David Rintoul is also very good as her new man Peter, awkwardly hovering in the sidelines, choosing silence rather reacting to a taunt, putting his case plainly, honestly and supportively. And Martin Hutson is also great as the Assistant Curator, treading carefully around the Grande Dame’s ego, gently guiding her in the direction he wants, to the benefit of both self and party.

Ophelia Lovibond and Penelope WiltonDespite its length, this dynamic little play packs a real punch and gives you so much to consider, laugh at, and identify with. Richard Eyre’s production is a first-class experience all the way. We loved it! It’s on at the Menier until 4th May, and I’d heartily recommend it.

Production photos by Catherine Ashmore

Review – The Second Best Exotic Marigold Hotel, Errol Flynn Filmhouse, Northampton, 5th April 2015

Second Best Exotic Marigold HotelAs you may or may not know, Mrs Chrisparkle and I are great fans of anything to do with India. It’s our favourite country to visit, the people are lovely and the cacophony of sights, sounds and smells on every street are enough to stimulate the most jaded of brains; although whilst I am sure there are plenty of eclectic hotels like the Best Exotic Marigold (or indeed the Second Best Exotic Marigold) we’d prefer to stay in an Oberoi or Taj, if that’s ok with you.

Dev PatelWe saw the original film on TV last year. I thought it was charming, heart-warming, gently funny and an incredibly accurate representation of India. I also don’t know anyone who saw it who wasn’t delighted by it. The film was a relatively unexpected commercial success, grossing $138m on a $10m budget. No surprise, then, that they got their heads together to come up with a sequel. It’s been out a while now, and we missed it when it first came to the Errol Flynn; but word reached us that the new film was still delightful, but not as delightful as the original. It’s usually the case with sequels.

WeddingIt’s not vital to have seen the first film, but I think it would help, if only to understand better the characters and relationships behind the names. Sonny (who runs the Best Exotic Marigold Hotel, a quiet, idyllic but somewhat chaotic establishment, catering for an energetic, adventurous, and retired clientele) is now in a working partnership with Muriel, one of the original clients. They fly to San Diego to seek financial backing from a large conglomerate to buy and convert a dilapidated hotel so that Sonny’s dream of entrepreneurial empire building can become a reality; cue lots of great lines for Maggie Smith about how much she enjoyed America, (not). However, the path of true business never runs smoothly, and a combination of hotel inspectors (or are they?), rival purchasers and the usual shenanigans of the residents of the hotel get in the way. To add to the proceedings, preparations are underway for Sonny and Sunaina’s wedding. There’s an engagement party, and a family party – but with all the distractions and a jealous groom will they actually make it to the wedding day, and will Sonny’s dream of being a multi-hotelier be realised? You’ll know after 2 hours and 2 minutes.

Wedding partyFor the most part, the story is wafer thin and what little there is is overwhelmed by a few additional distracting side-plots. There’s a sequence where Norman mistakenly encourages a taxi-driver to murder his girlfriend Carol, and then spends a lot of effort trying to stop him. As a plot it goes nowhere and I found it rather tedious. The whole “which, if any, of the guests is the hotel inspector” storyline also goes on a bit long and, to be honest, we don’t really care. What we do care about, a lot, is the characters. The film is peppered with some wonderful creations, the majority of them with the first flush of youth a long way behind them, and we really want them to carpe diem and make the most of the time that’s remaining. The on –off relationship (mainly off) between Douglas and Evelyn has you tearing your hair in frustration that she won’t commit to him. The return of his ex-wife Jean demanding divorce drives it home that it’s even more important that they get on with life.

Ronald Pickup and Diana HardcastleAt the other end of the “dalliance” scale, Madge has been stringing along two Indian suitors mischievously simply because she can but realises that when it comes to the crunch neither of them is what she wants. The resolution to this problem, whilst telegraphed a mile off, is beautifully realised. And the character of Muriel has developed from the difficult, complaining old biddy she was into a wise Everyman figure who watches the action from the side-lines. Despite that gruff exterior, she genuinely wants people to make the best of what they’ve got, and not fritter away their time like she did. The dialogue is very well-written and brings the characters to life, and it goes without saying that the cinematography is beautiful and makes you long for India itself.

Penelope WiltonBut for me, three stand-out performances drive the film onwards, and, frankly, you’d enjoy it no matter what the script contained. Judi Dench is exquisite as Evelyn; bold and capable in the world of work but tentative (and hating herself for it) when it comes to love. You can’t imagine Dame Judi putting in a performance that wasn’t just instinctively Dame Judi. Her elegant voice can capture the full range of emotions from self-doubt to self-confidence, imbued with cheekiness or sorrow all in the same sentence. Eloquent and understanding, more than capable of defending herself in argument, but essentially fragile and needing reassurance. It’s a beautiful performance.

Judi Dench and Christy MeyerAnd it’s a fantastic juxtaposition with Dame Maggie Smith as Muriel, dismissive of waffle and impatient with incompetence, never one to pull any punches whilst talking to those who might consider themselves to be her superiors, all the while looking mortality in the face with quiet dignity. Whilst Dame Judi is always Dame Judi, Dame Maggie can be anyone. As a wonderful contrast to her Downton Abbey character, here she is a commoner, with a down at mouth accent and shabby of appearance, but never dull of wit. The third outstanding performance is by Dev Patel who, as Sonny, absolutely encapsulates that tendency of spirited and ambitious young Indian people to deliver outspoken superlatives, massively overhype any project and never let a silence go uninterrupted. His balance of being both deeply in love with Sunaina but also a useless fiancé means we can all recognise aspects of ourselves in his hopelessly ham-fisted relationship. He’s also really funny – and a convincing Bollywood dancer too.

Judi Dench and Celia ImrieBill Nighy is back, still playing Bill Nighy, playing Douglas, stumbling over himself to do the right thing and say the right words, attempting to conceal crestfallen feelings when things don’t work out right: the epitome of middle-aged male vulnerability. Penelope Wilton is spot-on as ex-wife Jean, using attack as the best form of defence in attempting to secure a divorce, giving an appearance of cheerfulness which is as hollow as their ex-marriage. Celia Imrie has her usual knowing sexual predator look on her face even when she’s been sprung, when her two suitors turn up at the same time – but she does it awfully well. Ronald Pickup as Norman and Diana Hardcastle as Carol play a couple going through a hard time but not expressing it to one another, and it’s very touching.

Judi Dench and Bill NighyThe big additions to the cast for this film are Richard Gere as Guy Chambers, whom Sonny instantly suspects is the hotel inspector and therefore stumbles over himself, Basil Fawlty-style, to over-ingratiate himself with him; and Tamsin Greig as Lavinia, ostensibly at the hotel to check if it will be suitable for her mother. For a comic actress of Ms Greig’s quality she is woefully underutilised but carries off her disappointed, shocked but far too well-behaved to complain persona with her usual aplomb. Mr Gere is excellent as Guy, the debonair traveller, rising to the challenge of asking Sonny’s mother out for a meal, dealing with all the attention he inevitably gets because of his looks with refined false modesty. Lillete Dubey (Mrs Kapoor) is slow to react to his charms at first, and a difficult conquest to make, but then goes the way of all womankind when they encounter Richard Gere.

Dev Patel againLike its original, it’s a heart-warming and charming film; it’s never going to count as one of the finest films of all time but there’s plenty of character development and universal truths to get your teeth into. Plus the thrills and beauties of India. What more could you ask?

Review of the year 2014 – The Fifth Annual Chrisparkle Awards

Once again our esteemed panel of one has met to consider all the wonderful shows we’ve seen in the previous year so that we can distribute plaudits to the arts world in Northampton, Sheffield, Leicester and beyond! Actors, directors and producers, musicians, dancers and entertainers have all striven to make it to the 2014 Chrisparkle Awards short list, which this year relates to shows I have seen and blogged between 17th January 2014 and 11th January 2015. There’s lots to get through, so let’s start!

As always, the first award is for Best Dance Production (Contemporary and Classical).

I saw six dance productions last year, all of which I remember with much admiration and affection, from which I have struggled to whittle down to a shortlist of four. And here are the top three:

In 3rd place, the powerful and hard-hitting dance version by Matthew Bourne of Lord of the Flies, which we saw in May at the Birmingham Hippodrome.

In 2nd place, the marvellously inventive, comic and moving modern dance drama, Drunk, by Drew McOnie’s McOnie Company, which I saw at the Leicester Curve in January and again at the Bridewell Theatre in February.

In 1st place, a company absolutely at the peak of its powers, the stunning programme by Richard Alston Dance Company that we saw at the Royal and Derngate, Northampton, in September.

Classical Music Concert of the Year.

Of the five concerts we saw in 2014, these are the top three:

In 3rd place, the Night with the Stars gala concert, by the Worthing Symphony Orchestra aka the Malcolm Arnold Festival Orchestra, with soloists Julian Bliss and Martin James Bartlett at the Derngate, in October.

In 2nd place, John Williams plays Rodrigo’s Guitar Concerto, plus Stephen Goss’ Guitar Concerto and Gershwin’s An American in Paris, with the Royal Philharmonic Orchestra at the Derngate in June.

In 1st place, Mozart’s Requiem, together with Alexandra Dariescu’s performance of Mozart’s Piano Concerto No 21, with the RPO at the Derngate in February.

Best Entertainment Show of the Year.

This is the all-purpose, everything else category that includes pantos, circuses, reviews and anything else hard to classify.

In 3rd place, The Burlesque Show at the Royal Theatre, Northampton, in January 2014.

In 2nd place, the amazingly entertaining and funny two hours of magic in Pete Firman’s Trickster show, at the Royal, Northampton, in November.

In 1st place, and I think I have categorised this correctly because you can’t call it either a play or a musical, but it is devastatingly funny, Forbidden Broadway, at the Menier Chocolate Factory in July.

Best Star Standup of the Year.

It was a very good year for seeing big star name stand-up comedians this year – we saw fifteen of them! Only a couple disappointed, so it’s been very hard to whittle down to a final five; but here goes:

In 5th place, Russell Brand in his Messiah Complex tour, at the Derngate in April.

In 4th place, John Bishop’s Work in Progress show at the Royal, in June.

In 3rd place, Paul Chowdhry’s PC’s World at the Royal, in October.

In 2nd place, Trevor Noah in his “The Racist” tour, also at the Royal, in January.

In 1st place, Russell Kane in his Smallness tour show at the Warwick Arts Centre in February.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

Always a hotly contested award; Of the thirty-three comics that we’ve seen at Screaming Blue Murder last year thirteen made the shortlist, and the top five are:

In 5th place, the Plusnet man on the adverts, who cornered Mrs Chrisparkle and I into telling the entire audience how we met, Craig Murray (12th September)

In 4th place, a comedian whose made-up character of Troy Hawke reminded us of a filthy Clark Gable, Milo McCabe (26th September)

In 3rd place, the commanding, intelligent and ludicrous material of Brendan Dempsey (10th October)

In 2nd place, local lad the razor sharp Andrew Bird (16th May)

In 1st place, someone who took control of a baying audience in the funniest and most inventive way Russell Hicks (11th April).

Best Musical.

Like last year, this is a combination of new musicals and revivals, and we had fifteen to choose from. It was very tough indeed to pick between the top three, but somehow I did it. Here goes:

In 5th place, the ebullient and thoroughly enjoyable Guys and Dolls at the Chichester Festival Theatre in September.

In 4th place, the lively and inventive story of The Kinks in Sunny Afternoon at the Harold Pinter Theatre in December.

In 3rd place, the daring and emotional The Scottsboro Boys at the Garrick in December.

In 2nd place, the stylish and hilarious Dirty Rotten Scoundrels at the Savoy in September.

In 1st place, the stunning revival of Gypsy at the Chichester Festival Theatre in October.

Best New Play.

As always, this is my definition of a new play – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. An extremely difficult decision here as it involves comparing uproarious comedy with searing drama; but somehow I chose a final five from the nine contenders:

In 5th place, Alan Ayckbourn’s thought-provoking and very funny Arrivals and Departures, at the Oxford Playhouse in February.

In 4th place, the sombre and intense Taken at Midnight at the Minerva Theatre Chichester in October.

In 3rd place, the moving and beautiful Regeneration, at the Royal in September.

In 2nd place, the laugh-until-your-trousers-are-wet Play That Goes Wrong at the Royal in May.

In 1st place, the claustrophobic, immaculately staged and haunting The Body of an American Underground at the Royal and Derngate, Northampton, in March.

Best Revival of a Play.

Thirteen made the shortlist, easy to sort out a top nine, but really hard to sort out the top five:

In 5th place, the delightful Relative Values at the Harold Pinter in June.

In 4th place, the star-vehicle for Angela Lansbury but a strong production too of Blithe Spirit at the Gielgud in April.

In 3rd place, the atmospheric and brutal Dealer’s Choice at the Royal in June.

In 2nd place, the powerful yet funny Translations at the Sheffield Crucible in March.

In 1st place, the stunning, all-encompassing Amadeus at the Chichester Festival Theatre in August.

Brief pause to consider the turkey of the year – there were plenty of candidates this year, but in the end I plumped for the tedium-fest that was Wonderful Tennessee at the Lyceum Theatre Sheffield in March.

Best play – Edinburgh

In the first of three new awards, this category is for the best play we saw at the Edinburgh Fringe. It could be a comedy or a serious play, new or revival, grand scale or all perched on a couch. There were five serious contenders, and very tight at the top between two plays, but in the end I am awarding this new Chrisparkle award to Trainspotting performed by In Your Face Theatre at the Hill Street Drama Lodge.

Best entertainment – Edinburgh

The second new award is for the best show in Edinburgh that wasn’t a play – so it could be a musical, a review, comedy stand-up, magic, dance, you name it. And the winner is Margaret Thatcher, Queen of Soho at the Assembly George Square Gardens.

Best film

The last of the three new awards is for the best film I’ve seen all year, no matter what its subject matter. Twelve Years a Slave and The Imitation Game came close, but I’m giving it to Pride.

Best Performance by an Actress in a Musical.

Ten contenders in the shortlist, but the top four were very easy to identify:

In 4th place, Jodie Prenger’s’s spirited Jane in Calamity Jane at the Milton Keynes Theatre in March.

In 3rd place, the amazingly versatile and surely soon to be a star Debbie Kurup in Anything Goes at the Sheffield Crucible in January 2015.

In 2nd place, the wonderfully funny and sad performance by Sophie Thompson as Miss Adelaide in Guys and Dolls at the Chichester Festival Theatre in September.

In 1st place, probably the strongest central performance by any performer in a musical ever, the extraordinary Imelda Staunton in Gypsy at the Chichester Festival Theatre in October.

Best Performance by an Actor in a Musical.

Again ten fine performances in the shortlist, but here’s my top five:

In 5th place, for his sheer joie de vivre, the dynamic George McGuire for his role as Dave Davies in Sunny Afternoon at the Harold Pinter in December.

In 4th place, Alexander Hanson’s strangely vulnerable title character in Stephen Ward at the Aldwych Theatre in February.

In 3rd place, Paul Michael Glaser’s funny, realistic and sincere Tevye in Fiddler on the Roof at the Derngate in April.

In 2nd place, Robert Lindsay for his sheer style and panache in Dirty Rotten Scoundrels at the Savoy in September.

In 1st place, Brandon Victor Dixon’s stunning performance as the principled, tragic Haywood Patterson in The Scottsboro Boys at the Garrick in December.

Best Performance by an Actress in a Play.

Twelve in the shortlist, but a relatively easy final three:

In 3rd place a wonderful comic tour de force from Sara Crowe in Fallen Angels at the Royal in February.

In 2nd place, the emotional but still very funny performance by Caroline Quentin in Relative Values at the Harold Pinter in June.

In 1st place, the strong, dignified performance by Penelope Wilton in Taken at Midnight at the Minerva Theatre Chichester in October.

Best Performance by an Actor in a Play.

Twenty-two contenders in my shortlist, and I whittled it down to this:

In 5th place, Aaron Neil for his hilarious portrayal of the useless police commissioner in Great Britain at the Lyttelton, National Theatre in July.

In 4th place, Rupert Everett still on amazing form as Salieri in Amadeus at the Chichester Festival Theatre in August.

In 3rd place, Kim Wall for his brilliant performance as the kindly Barry in Arrivals and Departures at the Oxford Playhouse in February.

In 2nd place (or maybe 1st), William Gaminara as Paul in The Body of an American Underground at the Royal and Derngate in March.

In 1st place (or maybe 2nd), Damien Molony as Dan also in The Body of an American Underground at the Royal and Derngate in March.

Theatre of the Year.

A new winner this year. For a remarkably strong programme, comfortable welcoming theatres, and a fantastically improved dining experience, this year’s Theatre of the Year award goes to the Festival Theatre/Minerva Theatre, Chichester, with the Royal and Derngate, Northampton, and the Menier Chocolate Factory, close behind.

It’s been a great year – and thanks to you gentle reader for accompanying me on the trip. I hope we have another fantastic year of theatre to enjoy together in 2015!

Review – Taken At Midnight, Minerva Theatre, Chichester, 11th October 2014

Taken at MidnightStill in the company of Lord Liverpool and the Countess of Cockfosters, Mrs Chrisparkle and I got up early to take the scenic drive to Chichester for our final visit there this year. Normally we only go once a year but this time the Summer Programme was too good not to wallow in it to the max. We arrived in plenty of time for our yummy lunch served at the Minerva Brasserie, the perfect start to a self-indulgent weekend of theatre overload.

Taken At Midnight, the final play in Chichester’s Hidden Histories season, concerns Hans Litten, the lawyer who subpoenaed Adolf Hitler in 1931 and subjected him to open cross-examination in the criminal trial of four Brownshirts – the Stormtroopers who handled Hitler’s dirty work with such evil gusto. I’d never heard about Hans Litten, but it’s not surprising – as neither western nor communist governments found his activities useful for their cold war propaganda. Historically, his was a low profile for many years and it wasn’t until 2008 that the first biography (in English) about him was written.

Penelope Wilton as IrmgardLitten’s nifty questioning humiliated Hitler, causing him to attempt to defend the indefensible; and it would be an experience Hitler was not going to forget or forgive in a hurry. On the night of the Reichstag Fire in February 1933, Litten was arrested and from then on was kept in concentration camps till the end of his life. Mark Hayhurst’s play follows Litten’s imprisonment through the eyes of his mother Irmgard, a constant thorn in the flesh of the local Gestapo, never allowing her son’s predicament to be forgotten.

Martin HutsonThis is a very dramatic and sombre play given a suitably intense production by Jonathan Church’s lucid direction and Robert Jones’ stark design. Plush padded leather chairs and well-made desks brought on and off centre stage give an illusion of elegance and decency in Nazi Germany; contrasted with the barren dormitory and brutal guards of the concentration camp setting against the back wall of the stage. Harsh lighting and sound plots emphasise the horror of the Third Reich, nowhere witnessed with greater impact than in a hard-hitting scene where Litten, along with his two co-prisoners, Ossietzky and Mühsam, are suspended by their wrists and whip-lashed during questioning – all done by stage effects. But the real power of contrast in this production comes from the juxtaposition of the quiet purity of Irmgard’s speech and behaviour, and the violence of the society that surrounds her.

Penelope WiltonPenelope Wilton’s performance as Irmgard is a thing of beauty. Reserved yet assertive, elegant yet punchy, she is dignity personified in the face of extreme provocation. Her plight as the mother of an imprisoned man, whom she cannot see and whose wellbeing or otherwise she can only guess at, is beautifully and movingly presented; and the way she just hangs on to her politesse whilst sparring with the SS in the shape of Dr Conrad makes you curl your toes with shameless pleasure. The scene where she finally does get to see her son again after so many years is simply a masterclass of understatement.

Prisoner and guardsMartin Hutson’s portrayal of Litten is of a man who never loses his sense of self and his knowledge of what’s right and what’s wrong, but whose understanding of the situation in which he finds himself gets progressively less optimistic as the years go by. It’s very moving to see his youthful dynamism get broken by the prison system and his appearance in the penultimate scene when he finally sees his mother again is heart-breaking in his resignation to his fate.

David YellandAlthough its tone is dark, and ultimately very sad – we all know what is going to happen in Germany during the 30s and 40s – structurally the play leaves us with a sense of victory. There’s no doubt about what’s destined for Litten – a savage light and sound effect shows us with horrific clarity; but we still get to see his courtroom moment of glory – for which he eventually paid the ultimate price – bestriding the court like a Colossus and making mincemeat of Hitler, whilst his mother looks on adoringly. It’s a very positive finale.

Penelope Wilton and John LightThis is a splendid ensemble production and all the cast give great performances. Particular plaudits to John Light as Conrad, seemingly reasonable and refined, playing a defensive bat to keep Irmgard at bay until he has no alternative but attack; David Yelland as Lord Allen, ostensibly the great hope that a member of the British House of Lords might possibly hold some sway with Hitler in negotiation, but in reality ineffectual and powerless; and Pip Donaghy as the spirited Erich Mühsam, always maintaining a bright opposition to the cowards who imprison him, unwavering in his taunting of the Nazis, even in the face of imminent death: “Goebbels? He’s just not a funny man…”

A very strong, emotional play with a stunning central performance by Penelope Wilton and terrific support from the rest of the cast – this is an experience at the theatre that stays with you long after curtain down. It continues at the Minerva until 1st November, and I would recommend it without hesitation.