Thus we turn to the second half of 2024 – again, a mix of shows and performances; we wouldn’t want it any other way!
JULY
And so the Sidmouth Summer Season continued with Noel Coward’s HAY FEVER (Manor Pavilion Theatre Sidmouth). A gloriously talented ensemble shone brightly under Jason Moore’s cracking direction. Sidmouth at it’s hilarious best with Polly Smith in commandingly brilliant form as Judith Bliss as well as the funniest ever pronunciation of the word ‘cuckoo’! Loved it so much was back to see it a week later at Theatre Royal Windsor.
PERFECT CRIME (Manor Pavilion Theatre Sidmouth) is not a well known play in this country, but is the longest-running Off-Broadway production ever! Flummoxed by the plot we found ourselves on the fence in the writing of the review – despite the set and the performances, the play is a bit of a stinker.
The hugely popular TV comedy, YES MINISTER (Manor Pavilion Theatre Sidmouth) proved a real success with the audiences at the Summer Season, but, once again, despite the excellence of the production, not least the vocal Olympics from James Pellow and Brendan Matthew, elements of the script jarred and there just seemed to be too many words!
The Summer Season got back on the rails with PARTY PIECE (Manor Pavilion Theatre) by Richard Harris; not a familiar play to many. This was great fun and on a splendidly realised set. The cast was lead by Owen Landon, whose comic skills are wonderful to behold, with Mark Laverty and Julia Main getting many of the laughs with such ease.
Off to a new (tiny) venue to see SOME MOTHERS DO ‘AVE ‘EM by Guy Unsworth (Barn Theatre Cirencester), the stage version of the 1970’s sitcom. Lovely little theatre with a stage which was chock-full of a wonderful set. As Frank Spencer, Sam Denia is brilliant on every level! The supporting cast, not least Laura Anna-Mead as Betty, have an utter ball – as do the audience. Hugely enjoyable.
To the outdoors and Poltimore House in Devon to see THE WINTERS TALE by Sun and Moon Theatre; a delightful production which was lucid and well crafted. Strong performances from Richard Knox, David Johnson, Emerson Pike, Sally Naylor and Melissa Barrett created a hugely enjoyable production of this lesser known Shakespeare play.
The busy month ended with a return to Sidmouth for GOD OF CARNAGE by Yasmina Reza (Manor Pavilion Theatre), sparklingly translated by Christopher Hampton. A top-notch cast is needed for this play and this is what the audience got. Steve Blacker-Barrowman, Julia Main, Matt Hartley and Claire Louise Amias played off each other perfectly. The simple set was ideal and the whole was directed with huge skill by Ellie Chadwick.
AUGUST
WERE YOU ANYONE BEFORE DAD’S ARMY? (Quay Arts, Newport, Isle of Wight) is the story of actor/writer Arnold Ridley – and what a fascinating story. Episodes of his life are woven together by his son Nicolas in a very funny and emotional piece of theatre. Not a perfect production but as a showcase for a new play, it was impressive.
Back to Manor Pavilion Theatre Sidmouth for ABIGAIL’S PARTY – another wonderful set from Andrew Beckett – also directing with great skill. Stephanie Willson commanded the production as Beverly and was so well supported by the rest of the cast, not least by Anton Tweedale as Laurence. A spot-on production.
LOOKING GOOD DEAD (Manor Pavilion Theatre Sidmouth) is a thriller from the pen of Peter James, the adaptations of whose works have become very popular. This one was well done, but extremely unpleasant.
Alan Ayckbourn’s ABSURD PERSON SINGULAR (Manor Pavilion Theatre Sidmouth) offers a challenge to designer and stage crew with three different sets – a challenge that this was achieved perfectly. The cast are universally excellent with stand-out work from Emily Outred, Brandon Eady, Laura Mead and Charlie Bryant.
SEPTEMBER
Another very strong cast were to be found in Terence Rattigan’s WHILE THE SUN SHINES (Manor Pavilion Theatre Sidmouth) – a delightful play, played out on a beautiful set. Great work from Katherine Dodds, Brandon Eady, Gwithian Evans and Charlie Bryant – a quartet of young performers who are always impressive. The play was very well directed by Jack McCann making his Sidmouth debut.
A thrilling production of DEATHTRAP (Manor Pavilion Theatre Sidmouth) by Ira Levin, the penultimate play in the Summer Season was perfectly directed by Jason Moore with a cast lead with skill and authority by Dominic McChesney and Gwithian Evans. Another standout set added to the impact. Tremendous.
The 2024 Summer Season ended with the ludicrous confection that was BEN HUR (Manor Pavilion Theatre Sidmouth) – with the same cast and director as THE 39 STEPS in 2023, this was a fitting climax to an excellent rep season by the sea.
Having seen the original production at the National Theatre, we were very expectant for the tour of Alan Bennett’s THE HISTORY BOYS (Theatre Royal Plymouth), but the magic was lost somewhere. The heart of the play – the relationship between teacher and pupils – was as cold as ice. A very, very disappointing evening.
After the awfulness of AND THEN THERE WERE NONE (Theatre Royal Plymouth), it was worrying to find another Agatha Christie adaptation under the same director. MURDER ON THE ORIENT EXPRESS is a very well known story and this clever version exceeded my expectations – with an imaginative staging and atmospheric lighting, the only thing really needed was an excellent Hercule Poirot – Michael Maloney delivered a top drawer performance – phew!
OCTOBER
Last year we reviewed PAST TENTS, a play with which we have had a previous association – it was the recipient of a number of our awards and so the chance to see it again could not be missed – this time at the Golden Goose Theatre in South London. Although it can’t be considered for awards this year, it remains a very special piece of theatre and second viewing did not disappoint one jot.
LA FILLE MAL GARDE (Theatre Royal Plymouth), is one of the daftest, sweetest and inoffensive ballets there is. Birmingham Royal Ballet’s production was a joy from the dancing chickens to the very end. It is also one of the funniest of shows of any kind. The famous clog dance is well known, but it was the performance of Tom Hazelby as Alain that stole the show and everyone’s hearts – a natural comic performer he had the audience in stitches.
Back to South London to see THE STRANGE CASE OF DR JEKYL AND MR HYDE (Bridge House Theatre, Penge) – this tiny venue offered a very atmospheric space for the classic story – with a dynamic central performance from Paul Winterford, some shortcuts in production details let the whole piece down.
Once again expectations were high for the first outing of Tom Fletcher’s THE CREAKERS (Theatre Royal Plymouth). However, this muddled, seemingly unfinished piece was a real let down. Unfocussed and ill-conceived piece was an utter disappointment.
Rob Madge made his name in his biographical play MY SON’S A QUEER…., BUYER AND CELLAR (The Drum – Theatre Royal Plymouth) is another one man show and though not about himself, Madge is undeniably entertaining and delivers the script with panache. The story itself was not as engaging sadly.
NOVEMBER
Matthew Bourne’s SWAN LAKE (Theatre Royal Plymouth) is a phenomenon and after 30 years its light doesn’t dim. The ‘New Generation’ tag emphasises how time has moved on. Jackson Fisch and Stephen Murray inhabited The Swan and The Prince roles and were backed by a cast of stupendous talent.
Carbon Theatre’s BRIGHT PLACES (Barnfield Theatre, Exeter) was a brave attempt to portray the issues concerning Multiple Sclerosis – the very light-hearted approach lacked impact and, thus, it rendered the production unmemorable, when you would want it to be something which would linger for a good time after.
THE WEDDING SINGER (Princess Theatre, Burnham on Sea) was a delightful production from WODS Musical Theatre Company – a large cast was headed by strong leading performances from Harry Upton-Hurst and Merle Harrison-Croft. A bright and breezy musical which showcased some impressive talent.
The young organist Matt Walters has made a real splash in 2024; having reviewed him at his first solo concert in 2023 the chance to see his progress at a recital at Downside Abbey was not to be missed. Sublime playing in a sublime venue MATT WALTERS IN CONCERT was a showcase for traditional, classical and original writing by Walters himself – a complete inspiration.
DECEMBER
The much-anticipated production of THE DEVIL WEARS PRADA (Dominion Theatre, London) opened to pretty grim reviews from the national press, but we enjoyed it very much. High level technical presentation and strong performances, not least from Matt Henry and Georgie Buckland, this show about fashion was costumed to the hilt.
From one extreme to the other – JACK AND THE BEANSTALK (Charing Cross Theatre, London) was filth from one wall to another. Not so an ounce of innuendo – that’s too subtle! But with some lovely sets and an excellent Dame from Matthew Baldwin. Huge fun and very naughty. (Unreviewed)
CINDERELLA (Exeter Northcott Theatre) was rather more family friendly though La Navet Bete do add some more adult content as they provide the core of the show with Matt Freeman quite brilliant as the Fairy Godmother. Great fun, but the basic script just lacks enough humour.
SNOW WHITE AND THE SEVEN DWARFS (Theatre Royal Plymouth); traditional and spectacular – a very strong production helped by great work from Lesley Joseph, Rob Rinder and Andy Ford – as well as an excellent ensemble. Funny and highly entertaining – the best we have seen at Plymouth.
A CHRISTMAS CAROL (Marine Theatre, Lyme Regis) – another adaptation of the Dickens classic brought to life by a professional company and local youth theatre. Despite a few small shortcomings, this was heartwarming and entertaining – as it should be – with an excellent performance as Scrooge by Malcolm Ward. A cracking way to end the year.
So, as ever, a year of ups and downs. New venues visited and plenty of new productions seen. Plenty of candidates for the Awards – wonder where they will end up!
CORMAC RICHARDS – 2024
