|
|
|
|
|
|
Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
|
|
Costume drama that fills the stage
Meet the courtesans of Camille:
From the left are Zoe Camille Sutton Arts Theatre, Sutton Coldfield **** THE stage that customarily houses
breathtaking, luxurious settings is largely bare throughout director Ian
Appleby's account of this Pam Gems classic. But the costume-drama story of a courtesan's rise
from the streets, presented here barely a month after the playwright's
death at the age of 85, is one with a tale that fills the stage unaided,
spurred on by an excellent company. There are the women of Marguerite's own kind,
whooping excitedly in their gossiping knots, there is the Marquis,
raspy-crackly in his ebullience, there are the ladies of society. One of
them declares: “I don't want to drive in the middle of the day. The
horses will get hot” – and her delivery, punctuated by a pause between
the sentences, guarantees a laugh. There is the loyal Yvette
(Valerie Tomlinson).
Marguerite Gautier, that is to say, is not short
of company. But it is the way in which Michelle Dawes and Robert Laird
(Armand) develop their partnership against the perils of her failing
health and of his father who threatens to choke him with his purse
strings that holds the attention. Michelle Dawes (Camille) with Robert Laird (Armand, her lover) It becomes a partnership that at times threatens
to be riveting. There is tender happiness. We see the lover become the
husband and the happiness turn to anguish. All too soon, those
impressively-conjured coughs take their final toll. It's not a story
that conjures an outbreak of throat-lumping, but it is an irresistible
attention-grabber. So is the production's central pairing,
ever-confident in presenting the roller-coaster ride of their
19th-Century relationship. And there is unfailing support from a substantial
and splendidly-costumed company, with Andrew Tomlinson outstanding as
the Marquis, Debbie Loweth a delight of precision speaking as Prudence,
Tomos Frater striking a po-faced blow for the nobility as Count
Druftheim, and young Dominic Clarke and Josh Bricknall taking turns in
the course of the run as the charming youngster Jean-Paul. They, and all
the others in an impressive company, can take justifiable pride in the
collective achievement. There has to be a special mention for Josh Sood,
who puts in a marathon shift to maintain his ear-catching
responsibilities at the piano throughout. Great stuff! To 25-06-11. John Slim |
|
|
|
