And so the time has come for another theatre review of the year – goodness the time passes quickly! Suffice to say, this year we have been regaled with the good, the bad, the ugly and the magnificent.
In this first of two parts, we will look at all the productions or events seen and reviewed from January to June 2024. The highs and the lows and those productions or personnel who may go on to be nominated for a Cormac Richards Theatre Award this year.
So, without more ado!
JANUARY
The month saw just one production – but what a production! Disney’s ALADDIN (Theatre Royal Plymouth) was joyous from start to finish. Vibrant, colourful, zany, funny…the best way to start a year. Gavin Adams is perfect in the title role and Desmonda Cathabel ideal as Princess Jasmine. Comedy came thick and fast from the most wonderful Yeukayi Ushe as the Genie – ‘Friend Like Me’ is one of the best routines ever. Huge praise for the whole cast, designer, lighting, orchestra…. An outstanding show.
FEBRUARY
THE TIME MACHINE (Exeter Northcott Theatre) – this subversion of the H G Wells classic follows in a long line of productions which have done similar. The cast of three recruit members of the audience to tell the story. With some improvisation, the story is almost incidental. Clever in some ways but we were left unimpressed. The audience overall though appeared to love it.
THE DRIFTERS GIRL (Theatre Royal Plymouth) is a slick, smart biography of Faye Treadwell, the inspirational manager of the famous singing group. All the production values are very high, as are the performances with Carly Mercedes Dyer giving a standout turn in the central role. The show is, however, too superficial to thoroughly engage with.
There is always something exciting to see a new Company taking to the stage for the first time, 40 ELEPHANTS (Barnfield Theatre Exeter) was a Weillesque show telling the story of an all-female crime syndicate in the 1920s. Original, inventive and fascinating, the show engaged and was presented in a variety of styles. Good acting and musicianship all round. The show needs some finesse, but worth looking out for in the future.
Presenting a series of dance vignettes, CARLOS ACOSTA ON BEFORE (Theatre Royal Plymouth) offered audiences a unique chance to see the Cuban dancer headlining a show at the age of 50. Inspiring and ever-intriguing, this was a feast for anyone privileged enough to be present.
MARCH
One of the most astonishing visual theatrical experiences we have seen, THE LIFE OF PI (Theatre Royal Plymouth). A tremendous story, gloriously performed using projections and puppetry in the most powerful fashion to tell a wonderful story. One of those shows where you cannot take in everything easily, but which stays with you for a very long time. Nick Barnes’ puppet designs are off the scale in their quality – mesmerising. Adwitha Arumugam offered a stand out performance in the title role. One of the shows of the year.
As a lifelong Agatha Christie fan, a new production of her story AND THEN THERE WERE NONE (Theatre Royal Plymouth) was something to be looked forward to. Oh! How this great thriller can be turned into a dull, rather boring affair is something only director Lucy Bailey might be able to answer. Poorly designed, poorly directed and with some questionable acting at times – this was one of the duds of the year.
THE IMPORTANCE OF BEING…EARNEST? (Exeter Northcott Theatre) was rather too similar to the aforementioned, ‘The Time Machine’, but ended up being that bit better with a skilled array of performers dealing with the unpredictable audience members who bolstered proceedings. A mystery why the theatre would book two such similar productions within such a short time of each other. Entertaining enough, but no longer an original format.
Birmingham Royal Ballet are a staple in the calendar and their production of Peter Wright’s SLEEPING BEAUTY (Theatre Royal Plymouth) was beautifully presented as ever; with, as ever, a very strong corps de ballet. Celine Gittins was not at her best as Aurora, but Yasiel Hodelín Bello completely steals the show as Prince Florimund – a tremendous performance. The two leads lack a level of chemistry which might have reached the heart a little more.
HELL’S BELLS (Exeter Northcott Theatre) was a bonkers story presented by three performers taking on a host of roles each. Slick, funny and ludicrous the trio work very hard and create a fun show – Ben Kernow is the standout, with an amazing array of comic creations. A bit of much needed inventive comedy nonsense.
MAY
HOUDINI’S GREATEST ESCAPE (Exeter Northcott Theatre) was another small cast comedy – about the famous illusionist. This has a different slant and is elevated by the carrying out of magical tricks on stage. The show does, however, lose its impetus in the second half.
THE ARTIST (Theatre Royal Plymouth) was a bold attempt to bring the Oscar-winning silent film from 2011 to life. Stylish in look it is very much a dance show and the choreography is well done. The adaptation which included deviations from the film lead to the show failing to create the emotion of the original. A real pity – it left us unmoved.
JUNE
Exeter University Theatre Company’s production of Moira Buffini’s DINNER was a production of such quality and style, that showed just how talented these young people are. The full cast worked together seamlessly to provide laughs and shocks a plenty; lead by the statuesque Isabella Maunder. The play was perfectly directed by Fern Boston. The review mentioned it was as good a play production as would be seen this year – the statement still stands.
Of all the tongue-in-cheek adaptations that have been on offer this year, the best is THE MASSIVE TRAGEDY OF MADAME BOVARY (Exeter Northcott Theatre) presented by Cornwall-based Ha Hum Ah Theatre. Very well directed brilliantly cast and with a huge array of sound effects – and, the funniest sex scenes ever! A gem. Once again Ben Kernow takes a starring role and the lead is in the hands of Georgia Nicholson, who is a scream!
And so to the opening of the Sidmouth Summer Play Festival 2024 – a unique event which we have been privileged to attend over the last few years. HOUSE GUEST (Manor Pavilion Theatre) is one of the better Francis Durbridge thrillers, much loved by the local audiences. Twists and turns aplenty, but there is always the feeling that it is a tad too dull overall. Hats off though to the actors, director and backstage team – it was still a great way to open the season.
The first section of our review concludes with Rendez-Vous Dance’s THE MONOCLE – a truly fascinating look at a gay nightclub for women in 1930s Paris. Last year, the same company brought the sublime ‘What Songs May Do’ to the stage and once again Mathieu Geffré’s extraordinary choreography brings a powerful story to life in a narrative which is deep and moving. The Company is brilliant and the accompanying songs performed by Imogen Banks is something that needs witnessing. Extraordinary!
So, not a packed six months, but some great quality on offer and some not so good, but variety……. The next six months will, no doubt have the same!
CORMAC RICHARDS – 2024
