#Anne Odeke

[willstafford]

Magic Moments

WINNIE AND WILBUR

The REP, Birmingham, Wednesday 5th April, 2017

  The popular series of children’s books comes to the stage in this exuberant adaptation by writer Mike Kenny who captures the essential fun of author Valerie Thomas’s original while weaving in his own theatrical magic along the way.

Winnie is a witch who lives alone with her black cat Wilbur (a puppet expressively operated by Ben…

[globefan]

Pearce Quigley (Hamlet) will play Falstaff in The Merry Wives of Windsor, Bryony Hannah (Call the Midwife) will play Mistress Ford in The Merry Wives of Windsor and Grace in Bartholomew Fair, Jude Owusu (Tamburlaine) will play Frank Ford in The Merry Wives of Windsor and Quarlous in Bartholomew Fair, Anita Reynolds (ear for eye) will play Mistress Quickly in The Merry Wives of Windsor and Dame Purecraft in Bartholomew Fair, Zach Wyatt (I and You) will play Fenton and Bardolph in The Merry Wives of Windsor and Cokes in Bartholomew Fair and Joshua Lacey (Twelfth Night) will play Abraham Slender and Robin in The Merry Wives of Windsor and Littlewit in Bartholomew Fair.

Forbes Masson (Little Shop of Horrors) will play George Page in The Merry Wives of Windsor and Wasp in Bartholomew Fair, Anne Odeke (Women in Power) will play Host and Peter Simple in The Merry Wives of Windsor and Mistress Overdo in Bartholomew Fair, Hedydd Dylan (Mother Courage) will play Sir Hugh Evans and Nym in The Merry Wives of Windsor and Winwife in Bartholomew Fair, Sarah Finigan (The BFG) will play Mistress Page and Richard Katz (1984) will play Doctor Caius and Pistol in The Merry Wives of Windsor and Leatherhead in Bartholomew Fair.

Boadicea Ricketts (East) will play Anne Page and John Rugby in The Merry Wives of Windsor and Win Littlewit in Bartholomew Fair and Dickon Tyrrell (Labour of Love) will play Robert Shallow in The Merry Wives of Windsor and Overdo in Bartholomew Fair.

[londontheatre]

The Secret Keeper – Angela Clerkin (photo by Sheila Burnett)

As someone who doesn’t like ambiguity, it would be grossly unfair to tear into The Secret Keeper for being crystal clear in its narrative and tone. That said, some of the characters’ voices are reminiscent of the BBC radio show Listen With Mother, soothing and inviting for some, irritating and patronising for others. But that manner of speaking was used between characters, with direct addresses to the audience more naturalistic. The programme does not name any of the characters, so I shall keep the secret, so to speak – though that is easy, because most of the characters are known only by what they are rather than having any ‘real’ names.

The good daughter (Angela Clerkin) serves as narrator, though other characters have their own occasional asides to the audience as well. That she is labelled ‘good’ daughter implies, of course, there are other sorts of daughter that she could be, or otherwise that the father (Niall Ashdown) and mother (Anne Odeke) have more than one daughter. There’s also the chemist (a convincing Hazel Maycock), best friend to the family. The distancing effect created by creating a fantasy fairy-tale world allows for different interpretations of the evening’s proceedings. Stripped of real-world social, political and historical context, the focus is almost solely on the plot itself, and the consequences of people’s words and actions.

With most of the action confined to the daughter’s bedroom (no, not that sort of bedroom activity – the daughter is prepubescent, though played by an adult), the play is heavy on description. Some of what is said is somewhat exaggerated, insofar as there is some incongruence between what the audience is told about certain characters’ behaviour and how they actually behave from what can be seen on stage. But the plot is not so complicated as to make the audience question whether what people divulge as their ‘secret’ really happened or not.

There are musical numbers in the play, sufficiently entertaining in their own way, and well-performed, but not adding anything to the story beyond what has already been said. They are also mind-numbingly repetitive. While the daughter’s lyric “it’s all about me” was repeated too often, later, the father’s dismissive and increasingly angry “I’m disappointed in you” made me disappointed in myself that I didn’t keep a tally of how many times it was sung. Okay, so nobody is left wondering what is going on at any given moment, but these songs and melodies are hardly the stuff of Stephen Sondheim’s Into The Woods, set in a world of nursery rhymes.

There’s a moral dilemma posed, one that doesn’t technically exist in the Roman Catholic Church, where priests are not to reveal what has been disclosed during confession to anybody, under any circumstances. What if someone tells a ‘secret’, but the secret in question involves a criminal offence being committed (irrespective of whether the offence was caused or merely witnessed by the secret teller)? Should that sort of secret remain ‘safe’ with a so-called secret keeper? For me, the answer is no, and I would report it. But is it so easy for a young child to do so, given her commitment to absolute discretion?

The play has much to say, for instance, about the pressures certain parents place on their offspring, particularly when it is expressed in the form of conditional love. There are no easy answers to the themes raised in the show, and the possible real-world implications to this fairy-tale narrative are vast. It has its imperfections but, all things considered, this is an intelligent and perceptive production.

Review by Chris Omaweng

The Good Daughter wants to make her father happy. ‘Tell me what makes you so sad. Tell me your dark secret and I promise to keep it safe.’ He whispers in her ear and a great weight lifts. Delighted, he invites the whole town to confide in his miraculous daughter. But what happens when a murderer confesses – and who’s to blame for the consequences?

From Illicit affairs to theft, murder, government cover-ups and whistle-blowers, THE SECRET KEEPER is a personal story with global implications. Featuring an award-winning creative team, original music and an ensemble cast of four playing over 40 characters, the show promises visual invention, fiendish storytelling and startling contemporary resonance.

Commissioned by Ovalhouse and developed at the NT Studio with support from Arts Council England, The Secret Keeper is the follow-up to Clerkin’s acclaimed 2013 sell-out The Bear (Improbable/UK Tour). The show premieres in London at Ovalhouse from 11-21 October before embarking on UK tour.

THE SECRET KEEPER is co-directed by Clerkin & Bush Theatre Associate Artist Lucy J Skilbeck (Fringe First winner – Joan, Underbelly; The Bear/The Proposal, Young Vic). Design is by Simon Vincenzi (Camera Lucida, Barbican; The Invisible Dances, ROH), music by Nick Powell (The Ferryman, Royal Court; Othello, NT) and lighting by Colin Grenfell (Lost Without Words, Improbable/NT; Black Watch, NTS). Cast includes Clerkin alongside Niall Ashdown (Kneehigh; Told By An Idiot) and Hazel Maycock (Frozen, Fingersmiths/Tour).

http://ift.tt/2ghcJRb LondonTheatre1.com

[industryreport-blog1]

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[willstafford]

This Charming Man

NIGHT MUST FALL

Belgrade Theatre, Coventry, Wednesday 28th September, 2016

  The Original Theatre company, purveyors of classic plays, now brings us Emlyn Williams’s 1935 thriller, in their solid and dependable – and entertaining! – fashion.  Directed by Luke Sheppard, the production is not short on tension and suspense, even if you know who the murderer is – or perhaps especially because of this…