Henry Filloux-Bennett on The Complete Works of William Shakespeare (Abridged) *Phew!*

James McNicholas, Lucy Woolliscroft & Owen Roberts

Written for http://www.whatsonstage.com

Long before the success of Potted Potter, Pirates and Panto, three guys were taking the complete works of William Shakespeare and ramming them into a breakneck 90 minutes. Entitled (strangely enough) The Complete Works of William Shakespeare (Abridged), The Reduced Shakespeare Company’s hilarious show is still one of the most defining memories of the Bard that I, and many of my peers, have. Running for a legendary nine years at the Criterion it was a staple for theatre goers of the 90’s before closing to tour internationally (currently the Americans are lapping it up).

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Review: Decline and Fall at The Old Red Lion

Originally written for www.whatsonstage.comSylvester McCoy in Decline & Fall

It’s no mean feat turning a 224 page book into a pacey 2 hour play but Henry Filloux-Bennett’s sprightly version does just that. Through a mixture of knowing re-enactments, re-tellings and re-jigging Decline and Fall has been laced together cannily.

A chameleon cast shift from one character to another as our put-upon hero Paul Pennyfeather is pushed from pillar to post by a cavalcade of cartoon caricatures. It’s a clever whirlwind, with at one point Emily Murphy having to address and answer herself; it could have been disastrous but in this charming actress’ hands it’s a lovely moment. We are very aware this is a show we are watching; these are actors and this is a theatre dontcha know.

This works on the whole, but the ‘wink, wink, nudge, nudging’ means that each rolling of the eye or change of posture is performed to its zenith. Sometimes this drowns out Evelyn Waugh’s own delicately balanced lampooning and the whole thing could have benefited from a slightly lighter touch.

Sylvester McCoy’s elastic clowning is fun to watch and he’s obviously a much loved performer, relishing the palpable waves of affection he gets from the audience. He doesn’t hog the limelight however and has solid support from all, although the dastardly Fay Downie as femme-fatal Mrs Beste-Chetwynde and Murphy’s very funny Florence Fagan fly slightly higher than the rest.

To The Manor Born meets Evelyn Waugh, this Christmas you could do a lot worse than the funny, if a little hammy, Decline and Fall.

Interview: Matthew Dunster

Written for What’s On Stage.

Director Matthew Dunster is an associate director of the Young Vic, whose previous credits include Some Voices, The Member of the Wedding, Testing the Echo and You Can See the Hills.

He is set to direct Mogadishu for the Royal Exchange, Manchester and Lyric, Hammersmith in the spring of 2011, as well as a production of The Most Incredible Thing, a ballet featuring the music of the Pet Shop Boys at Sadler’s Wells.

He directs The Maddening Rain, a one man play which gives an unsettling portrayal of a world where people are bought and sold on a trading floor, written by Nicholas Pierpan. Felix Scott stars in the piece, which runs at the Old Red Lion Theatre until 18 September 2010.

Matthew DunsterMatthew Dunster’s eyes sparkle as he explains his ineptitude with numbers “I was crap at economics. I can’t even figure out what mortgage to have!” He grins sheepishly “In fact that’s a total lie… my wife figures out what mortgage to have, she’s a lawyer and much more switched on to that stuff than I am.”

So what then has drawn Dunster to The Maddening Rain, Nicholas Pierpan’s engrossing and impassioned one man monologue about city traders? A retired trader himself, Pierpan still socialises with people from the city (intriguingly some of whom have invested in this production) and in a work that pulls no punches, this is the baldly astute writing of a true whistle blower. Dramatic stuff, but for Dunster the real pull comes from it’s exploration of how the poison latent in a money driven environment can pollute anyone, anywhere.

“I had a three year period where I worked at North West Water, in debt recovery which is basically being on the phone to old people, telling them why they should prioritise paying their water bill over their fags and their telly – it’s not a nice environment. (Towards the end) this 16 year old girl started and found all that very upsetting. Then about a month later I heard her repeating, parrot fashion, what she had heard from me and I thought ‘I’ve gotta get out of here’…that kind of environment trains you and desensitises you.”

Eyes clouding over he’s quiet for a moment before suddenly brightening “Also I think the quality of the writing is extraordinary… Nick’s a better writer than most people who write about these things and that’s why I wanted to do it.” Straight from a successful production of Love The Sinner at The National Theatre and acclaimed productions at The Globe Theatre and The Manchester Royal Exchange, Dunster read Pierpan’s script and fell for it hook line and sinker, eventually telling the producers that he would do the show anywhere.

They have ended up at The Old Red Lion, something Dunster is (perhaps surprisingly) happy about “When I came to London in the early 90s it was red hot because of Kathy Burke and all her gang…so even though I lived in South London I made that place my local, not even to see the shows but (because) it was always so buzzing.”

Whilst admitting that some of this shine has come off the venue his enthusiasm is infectious when discussing the experience this creative team is bringing to his much loved space “For a fringe production we are very highly resourced and I think that’s quite exciting in that space – you get more than you will expect.”

In his smoothly taut production this certainly hold true, with the polished expressionistic lighting and design creating a conceptual cradle for Felix Scott to deliver a simple but brilliantly vivid performance as our increasingly tortured protagonist. “Felix is an incredible actor… very open and very sensitive… the producer’s just said ‘Get the best actor’ and I don’t hear that very often! So that’s wonderful and I was able to absolutely pick the person who was spot on for the role.”

He feels very lucky to have been given so much support both creatively and financially, passionately expounding on how the fringe has become nothing but a nursery bed for the West End; “As soon as you become a commercial concern you start to re-qualify what you want to programme… it used to be about opposition, but now it’s just about making that money back.” It’s a refreshingly blunt assessment. In both business and art it seems money compromises everything; I come away thinking that it’s not only Pierpan who’s an insider with a whistle to blow.

Review: The Maddening Rain

Written for What’s On StageThe Maddening Rain

Nicholas Pierpan’s The Maddening Rain is an unsettling portrayal of a world where people are bought and sold on a trading floor and a sharp look at how the poison inherent in such an environment can pollute anyone.

Performed in a snapshot narrative by the impressive Felix Scott we see one man’s journey from an average Joe with two A Levels to “Big Swinging Dick”. Pierpan’s monologue may lack the razz-ma-tazz of Lucy Prebble’s Enron, but the impotent outrage feels as strong in a story which is told gracefully and with a wry gallows humour.

Whilst outwardly smooth Scott, with elegant direction from Matthew Dunster, cleverly reveals the darker recesses of our protagonist with a twitching neurosis which perpetually threatens to envelop this suave chancer. Relaxed and yet maniacal, it is an acutely empathic performance.

Emma Chapman and David Sharrock’s surreal, yet oddly pertinent lighting and sound design adds to the feeling that this is an expression of one man’s psyche, giving the whole production an unsettlingly nightmarish tint.

A look into the psychology that drives these city beasts and the social rules that create them The Maddening Rain is an intelligent and original take on a somewhat saturated contemporary subject.

Runs until 18 September 2010