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Kathie
KENREX
Like many, I’ve seen one-person shows, including, most recently, Mark Lockyer playing all the parts in an abridged Hamlet, Andrew Scott’s extraordinary Vanya and Jodie Cromer in a single role in Prima Facie. Jack Holden, very ably supported by John Patrick Elliott, giving some musical interludes or background, takes the concept to the extreme. I didn’t count up how many characters he presented to us, each with an identifiable and consistent voice, plus mannerisms. To find that both of these performers are English is a further testament to their talent to draw us into this quintessentially mid-West setting. The story has hugely dramatic aspects which are reinforced by effects and the music, and which evoke a sharp intake of breath as to what will happen next. A privilege to see and very grateful to Mike & Fredo for encouraging us to see it. A solid 5*.
John R
KENREX
A jaw-dropping experience indeed. To call this a one-man play would be to misrepresent it badly. Jack Holden shows us an entire community stuck in the boondocks (Skidmore, Missouri) where nothing happens – until the events of 1981 when a despicable local, Ken Rex McElroy, shoots the popular local butcher. Jack Holden gives a tour de force performance, using a vast range of sound, lighting and hugely dramatic country/rock music to tell the story , He conveys through voice, body language, and sound, an entire community. It is very exciting and the packed house was held spellbound. The precision of technical aids manipulated with great speed indicated that a skilled team of backstage technicians were onhand. It was a terrific evening and I am so grateful that F&M led us there. I am not surprised that the remaining performances are sold out. It will surely get an extra life, if Holden can keep it up!
Richard and Lyn
Kenrex
We didn’t just enjoy the performance, we were blown away, never seen anything like it. What talent and energy and the music blending with the spoken word so effectively. It will be interesting to see what Jack Holden does next, how can he follow that performance. Thank you Fredo and Mike for the strong recommendation.
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Linda King
Into the Woods
Thank you Fredo and Mike for such a great afternoon at the Bridge Theatre. I was hooked into the production from the beginning and was impressed with the cast, costumes, music, staging, sets, etc. The diction was clear and the singing of the tricky Sondheim harmonies was impeccable. I’d see this production again in a flash! (Continued below)
Kathie
Into the Woods
My only previous exposure to this fairytale smorgasbord was the 2014 film and it was fun to see how all of the characters and plots could be accommodated on the small stage. The staging and sets were beautifully used and presented with an impressive cast bringing Sondheim’s magic to life. However, there was a lot to cram in and I’m not sure it always worked with uneven pacing in each half. Kate Fleetwood was the surprising standout and I don’t recall her singing prowess making that much of an impression in High Society in 2015. Overall, glad to have had the opportunity to go Into the Woods, in a 3.5/4* way. (Continued below)
Photos: Tristram Kenton & Johan Persson
Jennifer
Into the Woods
As others have said, this was a fantastic staging at the Bridge Theatre with a beautifully evocative set, sound and lighting, a terrific orchestra and a top notch cast. Kate Fleetwood and Jamie Parker stood out for me with their singing and ability to convey the emotional journey of their respective characters while still dancing in time.
And then, of course, we have Sondheim’s words and music. The many intertwined stories, from the book by James Lapine and based on tales by the Brothers Grimm, are, indeed, grim. Death, betrayal, disappointment and greed feature heavily, particularly in the darker second half when even the handsome, romantic princes are revealed to have loose morals. One review suggested that the dark themes were drawn from Sondheim’s own unhappy childhood which explains a lot. The songs are well known to aficionados but haven’t moved into the mainstream in the same way as, for example, Send in the Clowns, Even so, you can still find yourself humming the recurring refrain while making your coffee the next morning….
On balance, this was a stimulating afternoon with much to savour in the production and performances but, for me at least, a show to admire rather than love. I completely acknowledge the genius of Mr Sondheim but, on a cold wet Wednesday in January, I wouldn’t have minded a happier ending.
John R
When We Are Married
A lovely evening’s entertainment with a great cast, including many favourites such as Siobhan Finneran, Sophie Thompson and Ron Cook. But I recognised the handsome John Hodgkinson from having taken over from SR Beale as Titus Andronicus earlier at Hampstead, earlier in the year. An actor with immense stage presence. New to us were Janice Connolly as the hilarious Mrs Northrop; her musical contributions put everyone into a merry mood. But the whole cast played together well – and at speed since the director, Tim Shead, kept things going at a fair old pace. Ron Cook is almost the star of the show, who can keep his comic timing and knockabout business with ease, can sometimes hint at sadness beneath the surface of his character. He is immaculate. The plot, of course, is as silly as was Fallen Angels, but who cares. It was the acting and direction that gave such pleasure. BUT do we believe that the couples will now remain happy ever after? I particularly doubt the future of poor Annie and the truly dreadful Albert, and the future of Herbert with the very funny but shrewish Clara. Will those who need to make amends for past behaviour change their spots so quickly?
Mike and Margaret
When We Are Married
I love this play. Of course it starts with a great text , with humorous dialogue and great characters. Priestley’s ear for dialogue really captures the expressions of his native Yorkshire. Then Tim Sheader brings the play to life on a very smart Donmar stage. All the cast are wonderful. I really don’t want to single one out from a real ensemble performance. With the outside world such a worrying place this production brought real escapist joy and a special Christmas treat.
Monica and Robin
When We Are Married
As soon as Mrs Northrop took to the stage it set it up for the rest of the play, which was hilarious. All the characters are beautifully drawn and well acted which made for a very successful production, well done Tim Sheader. Donmar has done it again.
Photos: Johan Persson
Monica and Robin
Indian Ink
The play was dedicated to Laura Kendal, Felicity Kendal’s mother. Tom Stoppard had seen Felicity Kendal in a film ‘Shakespeare Wallah’ and Tom Stoppard said ” I’m going to write this play for you in which you go back to India. Seems Tom Stoppard and family ( not his father, sadly he was killed) were going on a ship to Australia but landed up in Bombay? Her father was a travelling actor in India and had his own company. The programme is one of the most informative of programmes, hence getting the details from it.I have the actual script and programme of thirty years and Felicity Kendal was playing Flora Crewe. I loved the play then and again last night. I came here from India when five years old hence loving the country!
We both thoroughly enjoyed everything about the play the play and the clever staging.
It was an absolute bonus being in the front row so thank you Fredo and Mike for giving us the treat.
Also Bill for driving us there and back in such good time.
Helen
Indian Ink
This felt more of a discussion than a drama although I enjoyed it. When I read in the programme than it was originally a radio play (though Stoppard altered the text for the stage) that seemed to go some way to explaining my reservations. The set was excellent and the acting too but for me there was a lack of intensity or emotion in the actual drama.
Garth
Indian Ink
The car-collecting rajah had more pearls on his chest than you’d find in the average oyster bed and that rather spoke for both the play and the production. It twinkled and glinted beautifully – full of rich gems – the whole Stoppardian parade – literary jokes, side-ways cultural references, imperfect sources of information, unfinished paintings, hesitant relationships, even tea and cake in the garden – you name it. That indirectness worked well in making us think about the nature of British presence in India (and what being out of it carries with it) and about human connections more widely. This wasn’t a head-on excoriation of the colonial experience, but something more nuanced, uneasy and uncertain, a probing of identity, cross-cultural assumptions and attitudes. Flora’s mention of E.M.Forster’s novel where unknowing abounds was perhaps unavoidable. Indeed, the eager-beaver would-be biographer of Flora (the well of Bloomsbury was and still is far from dry) blundering around gave us another recognisable layer of imperfect exploration.
Stoppard treads delicately over sensitive terrain. And I guess he is always careful to balance out prejudices and stereotypes, even when Eleanor seems just about to say something dreadful (Felicity Kendal was on commanding form). Ruby Ashbourne Serkis (Flora) and Gavi Singh Chera (Nirad Das) were very impressive together. Other cast members offered us a string of convincing enjoyable vignettes. Somehow the flexible set (we will forget the momentary wobble) seemed to fit the feel of the play (slightly old-fashioned in form for all the momentary “full-frontal nudity”) and effective use was made of the auditorium. All in all, a very satisfying evening – no wonder the run has been extended.
Photos by Johan Persson
Gillian
Top Hat
A delightful post-Christmas show that entertained from the very start and had my feet tapping to those nostalgic Irving Berlin songs and music, with mesmerising dance routines played out on a clever art deco set. Witty, comical, colourful costumes with brilliant acting from a strong cast. Although I did feel that ‘Jerry’ looked slightly nervous during the dance routines when he was required to throw and catch his cane but he did it with aplomb. It was an evening that captured a bygone age beautifully and I came away with that feel-good feeling. Thank you Fredo and Mike for a jolly good evening of entertainment.
Sally
Top Hat
“Top Hat at the Queen Elizabeth Hall was a most enjoyable evening. I hadn’t realised until later that “Jerry” was played by an understudy, which perhaps explained some early nervousness — quickly and impressively overcome. The set was elegant and attractive, though it did create a rather smaller stage, which at times felt restrictive for the dancers. That said, the performance as a whole was hugely entertaining
Overall a most enjoyable performance (although the seating in the Hall was sadly not quite as enjoyable!).
Thank you Fredo and Mike for yet another great evening in London
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