"GREEN ROOM"
Interviews / Miscellaneous articles / Backstage 'gossip' etc.
Sheila Connor talks to Penelope Keith – a gardener who acts..
Penelope arrived for her interview looking cool and relaxed in light trousers and shirt – practical clothing for a hard working lady who describes herself as “a gardener who acts”, and now completely in her element in a vicarage garden in a touring production of “Entertaining Angels”. Her character in the play is Grace, a recently bereaved vicar’s wife who suddenly finds herself bereft, not only of husband, but also of home and lifestyle – and her uppermost feeling is not loneliness or despair, but anger. “How dare he leave me” says Grace, and rather to Keith’s surprise and interest that is exactly how many widows feel – confirmed by those who spoke to her when the play was in Chichester earlier this year.
The play finished its run there at the end of May and I wondered what she had been doing since. “Oh I don’t do summers” she said happily “I just stay around in my house and garden, and sometimes go to Scotland” I asked what her husband does. “Oh he looks after me” and we both agreed this is a splendid arrangement.
What attracted her to this part? “It’s difficult to say why one wants to play a part. the thing that attracts me is the writing,……the way that writers use language, and of course the theme, and it was very interesting finding a male writer (Richard Everett) who has written so well for women, and he seems to understand very much how women think ……also it’s always exciting doing a new play”..
The story begins, seemingly, as a gentle comedy with plenty of laughter, but soon develops into more serious matters. The arrival of a batty missionary sister and the revealing of long hidden secrets cause Grace to question religion and the purpose of her life. “When a play is really good it reflects life……this one makes you laugh, and then suddenly brings you up very short – there’s laughter and tears in life all the time”.
I asked what it was like working on real grass (Paul Farnsworth has designed the most amazingly realistic set). The memory made her laugh.
“Well at Chichester we had a stream as well and the grass went down into the stream so it was all very wet. I said we’d all get trench foot! I had to kneel down occasionally and I’d get up with these terribly wet knees……..I just got wetter and wetter, almost squelched across, some parts were quite boggy. Now, I suppose we’re all used to it, and (in the touring production) we haven’t got real water and the grass is on a sort of woven thing with some soil.” Hopefully trench foot will be kept at bay!
A true gardener, Penelope brought flowers to enhance the set – dandelions – “and of course the bugs came too, so by the end we had these wonderful cobwebs on the long bits at the front, and a money spider crawled onto my hand”. Did it work? ..I asked. “I’m waiting!” she laughed.
She is particularly enthusiastic about a series of gardening programmes that she presented for Thames TV some years ago, called “Growing Places”. “It was a time when ‘Gardener’s World’ was about the only one on TV and I thought there was a niche for a programme for people who knew a bit and were enthusiastic and wanted to know a lot and we went all over the country to various gardens. There was one on the way into Kingston which was council run – at an old people’s home. I wanted to get my hands dirty and to be seen in a garden, and we totally re-did this one which was lovely. Then I believe the council sold it! Anyhow it was huge fun, and Bill Odie appeared every week talking about wild life in the garden.”
Everything to Keith is ‘fascinating’ - performing on wet grass, presenting a gardening programme, being part of a new play, and a year as High Sheriff of Surrey when she took time off from acting in order to concentrate on her duties, particularly focusing on the emergency services and the Law. She is also President of the Actors’ Benevolent Fund and was awarded an OBE in 1988 - a very professional hard-working lady – and deservedly one of our best loved actors.
STEPHEN McGANN - Probably best known as ‘love rat’ Sean Reynolds in Emmerdale - is a man who loves a challenge.
Stephen McGann talks to Sheila Connor.
Actor and writer McGann has now added singing and dancing to his CV in his current show, the musical Footloose, now coming to the end of its lengthy tour before exploding into the West End. When I spoke to him he was in Edinburgh, and enjoying a mild sunny day (to my surprise) and thoroughly enjoying the show. Although the tour has been somewhat exhausting, and he was missing his family, he is really enjoying the experience – “It is a great pleasure to be able to do this – so much so that when I’m not needed I stand in the wings and watch anyway – I love it – I love every minute of it. The show itself is one of the most enjoyable distractions from that (family life) I’ve ever had”. He is , however, looking forward to a week’s break before opening at the newly named Novello Theatre, when he will be able to take his son, nine year old Dominic, to school each day.
“I was in a soap opera (Emmerdale) when Dominic was a young boy, and by sheer coincidence we had another actor who was in a soap opera very near to us whose son he used to play with – so he presumed this was completely normal – so much so that he would look on television for other members of the household”
Asked about the character he is playing – Rev. Shaw Moore - it would appear that McGann takes the role very seriously, “although in the context of a full on West End Musical it has a strongly dramatic premise”. The show is based on the immensely successful 1984 film which ‘took the world by storm with its youthful spirit, dazzling dance and electrifying music’ and made a star of lead actor Kevin Bacon, and the stage show is enjoying similar success – now on its second UK tour.
Rev. Shaw rules his mid-western community – not with a rod of iron, but with a very strong moral hand. A very caring man, popular but uncompromising in the moral stand he takes against the kind of temptations that young people have to go through, and he bans rock and roll music, dance and alcohol from the Beaumont area which is the town where the play is set. “You begin to discover there’s a personal tragedy in Shaw Moore’s life – the loss of his son – that led him to taking the stance he takes, and when the boy Ren arrives from Chicago and sees that these kids aren’t allowed to dance he begins to rally them against the laws of the town….. On one level it seems to be the battle between youth and kill-joy adults, but Shaw has his own reasons for wanting to keep children protected……..and once those reasons are addressed………and resolved, Shaw can change his mind and his views – so there’s a lot to play with and all of that within the context of a musical – almost a unique opportunity! There is a strong dramatic theme to Shaw’s character which for someone who’s principally an actor is a real bonus and it’s been a real joy to play”.
McGann has performed in several musicals previously, but never plumbed the depths dramatically (except perhaps once – when he played Mickey in Blood Brothers in the West End) and he repeatedly asked “Do you want the full drama, or more like in the context of musical theatre?” They were adamant about wanting the reality of drama “So in a way we do both……I also sing as well and I even dance at the end which is comedy by anybody’s book!.”
Turning to his writing career he is equally enthusiastic, considering it a fascinating world and also incredibly humbling. He screen writes rather than writing books, and is particularly proud of his work writing the screen-play for the 1995 BBC drama about the Irish potato famine ‘The Hanging Gale’, in which he starred along with his three brothers. “It encapsulated a very terrible event which people don’t like to talk about. It was very difficult and took a very long time, but I’m so glad we bothered. I had a recent e-mail from a teacher in Canada who was using it as course material for his pupils on the emigration of the Irish……….one of those lovely moments when you find you may have done something which may be worthwhile”.
There weren’t many laughs in that show as the theme was pretty unrelenting, but McGann mostly finds that comedy is not very far from his mind and he tends to work at having a good time. His co-star Cheryl Baker (originally a member of the singing group Bucks Fizz) is obviously a kindred spirit – “a dream to work with…….. absolutely wonderful……..fantastic and hilarious. We began giggling like two schoolchildren within about five minutes of starting rehearsals and I’ve never really stopped since. We get told off about it because we’re very naughty!”. I feel that the above photograph must be in one of his more serious moments.
It was in a musical that McGann, as a teenager, began his theatrical career – Yakety Yak in 1982 - in which he starred along with all his brothers, and in fact worked recently with two of them, Mark and Joe, in the Ray Cooney farce Tom, Dick and Harry in London’s West End. The brothers all lead such busy lives that it is not easy to get together – but they all enjoy catching up on family news when the opportunity arises. “This year” says McGann “I’ve done a straight play, a farce and a musical, three very different disciplines, with very different skills and, gosh, it was hard work – the farce was a tricky one - hardest for the timing, but very rewarding, and it’s completely relentless. Once you start you start this roller coaster ride and you don’t have a break - you’re there all the time ……….the concentration needed is amazing, but it was great fun to do – very funny!”
McGann has no theatrical background – his father worked in a factory and his mother was a teacher, but he enjoys a story where son Dominic came to see him in Tom, Dick and Harry and there were his Uncle Mark, his Uncle Joe and his cousin Charlotte (doing work experience) all in the same building. It seems the McGann brothers have begun their own theatrical dynasty and it remains to be seen whether their offspring will carry it on, although at the moment son Dominic wants to be a marine biologist despite doing well in school plays, and proud father is very happy about that.
McGann’s time in Emmerdale was great fun and he considers it a fantastic job which provided a stable three years in which to have nice holidays and the time to take care of family, but it didn’t stretch him and he came out feeling a little bit jaded – then he did Art in the West End “which was the most wonderful cure – the most brilliant play – an absolute delight”, and a very challenging part too.
On the subject of challenge - commenting on a trekking company co-incidentally called ‘Footloose’ brought us to more of McGann’s challenging activities. He has completed two trips, one to Nepal and one to Peru which went up to 18.000 feet in the Andes. Being an enthusiastic hill walker he jumped at the chance of partaking, but also to promote the work of The Children’s Society – a charity very close to his heart. He has a soft spot for charities which deal with children – particularly teenagers – difficult teenagers with problems. He grew up in Liverpool with the working classes and attended school there with kids without much of a chance – “The kind of people that the Prince’s Trust helps, and it’s my way of saying thank you and to help those who didn’t get the opportunities that I was lucky enough to receive!” A charming man - a very successful actor, writer, and now singer and dancer…….and also with an active social conscience.
Lesley Joseph - The Pussycat of Islington
(Lesley Joseph takes to Philip Fisher)
It is rare that a person's public reputation can be encapsulated in a single word. In the case of Lesley Joseph though, this is the case and the word, for better or worse, is "man-eater". That is a legacy of the nine years that she spent as Dorien, one of the stars of the BBC sitcom, Birds of a Feather.
It therefore comes as a great surprise to find that Miss Joseph is a tiny lady for whom a better appropriate epithet would be "sweet", much more of a pussycat than a ravening tiger. Therefore interviewing her at the King's Head Theatre prior to a performance of her first ever one-woman show, Singular Women turns into a real pleasure. She makes life for interviewers very easy as she talks rapidly and answers many of those questions that one dare not ask.
Doing a one-woman show for the first time has had its ups and downs "It can be quite lonely but at least you have control. You really do get to flex your theatrical muscles. It is quite brave because it's you and the audience. At the King's Head, you get to see the whites of people's eyes and that is scary. When it works, you share something special with them, when it doesn't you want to commit suicide".
Singular Women is a new venture for Miss Joseph in more ways than one as for the first time in her life, she is acting as producer as well as actress. That means that she has she got together funding for the show, booked dates and charmed all and sundry including a handpicked creative team all of whom she rates very highly. This includes Lawrence Till, the artistic director of the Palace Theatre Watford and designer Tim Shortall. She has also got involved in rather more mundane elements of the business such as designing the show's programme and poster.
The whole experience has left her invigorated "I've done it all myself, I'm proud of it. It's been nerve-racking in every way, I've put my money where my mouth is and I've enjoyed it but I don't think I'd ever do it again". Having said that, if the possibility of a West End transfer came up that would be another matter entirely.
The play has had a long gestation period. "There were four monologues and I first read the character of the Jewish chocolate shop lady 12 years ago. I said that I'd like to do them all and tested two out at the Theatre Museum. We then tried it at the Assembly Rooms in Edinburgh in 1991 followed by a small tour. Since then it's always been there on the back-burner in my head".
She loves the off-Broadway style of the "four plays about loneliness". She bought the rights and then approached the King's Head with a view to producing Singular Women there. She is a fan and believes that you can still discover things at the King's Head that could not be found anywhere else in London. It also has the advantage of attracting the kind of slightly older Jewish audience that will fall for Stewart Permutt's four contrasting ladies.
Her life has been hectic recently, as she has been producing this play at the same time as she was acting in Alan Bennett's Office Suite on tour. This has brought advantages in particular "I had to learn to e-mail which has been very exciting".
Miss Joseph has wanted to work in the theatre since she was four. At seven, she appeared on stage at the New Theatre in Northampton in Hansel and Gretel and thereafter, joined Masque Theatre, an amateur company. She also proudly announces that as a child, she won a verse-speaking competition for her rendition of a Gerard Manley Hopkins poem.
After training at LAMDA, she spent three or four years at the Northcott Theatre in Exeter playing a wide assortment of parts including her only Shakespeare, Titania in A Midsummer Night's Dream and parts in The Boyfriend and Godspell. Subsequently, she has acted on stage in plays such as Annie (for two-and-half years) and Piaf in which she played the title role.
Her taste in theatre has always been catholic. It is hard to think of anyone else who when asked to name her favourites type of work would say "I love pantomime and Chekhov". Pantomime is a real passion and she will be appearing in Snow White at Richmond this Christmas. While some people turn their noses up at it, Miss Joseph says "Panto done properly is great - a magical experience-an eclectic group of people producing a real family show. You have to be a mix of serious actor and stand-up. It's important to work with and guide your audience which is not easy". As she explains, this is the successor to the Victorian music hall and these days no one really has the training for it.
While the stage work has clearly been very enjoyable and successful, to the man in the street, of the name of Lesley Joseph conjures up just one thing, Dorien the man-eater from Chigwell through over 100 episodes of Birds of a Feather. She sounds slightly aggrieved as she says, "It was one of the great sitcoms though it didn't ever win any awards". She doesn't think that it will happen, but she would love to see the show brought back for another series to bring up the characters up to date.
Her pride at playing Dorien shines through "I'm not Julie Walters or Brenda Blethyn, I've never achieved greatness in any one sphere but I've done bloody well in lots and Dorien was a success". On reflection she comes to the same conclusion as the millions of fans to whom she gave so much pleasure. This is that playing Dorien is about as close to greatness as anyone can expect to get.
She followed this up with a period on GMTV as their "Glamour Correspondent" and has travelled around the world for Wish You Were Here. Surprisingly though for someone who is so familiar on screen, she has only ever appeared in a single film, mind you that was Franco Zeffirelli's Life of Christ starring Robert Powell.
In more reflective mood, Lesley Joseph fears for the future of theatre and in particular rep. "Rep is collapsing for TV. People now just want fame, not to act. I was lucky coming in when I did in the innocent days when things weren't so commercial".
A good recipe for those seeking a reminder of those innocent days and what acting can still offer on stage, might be to make a trip to see Lesley Joseph's performances in Singular Women and Snow White and the Seven Dwarfs.
(October 2003)
A Good Review
by Elaine Peel
We are all reviewers. Whenever we have a night out at the theatre, the one question we are sure to be asked the next day is 'What was it like?' Friends want to know 'Was it good? Did you enjoy it?' If 'yes' is the answer, they too may decide to go. Personal recommendation is always a powerful advertisement for any product.
Another popular way of finding out whether you'll enjoy a particular production is to read the reviews in the national and local press. You'll get a brief summary and the professional journalist's opinion on the play itself and how successfully the director and the actors interpreted it. This can be a very useful guide but the key thing is how much you yourself are in tune with the particular reviewer. Public opinion and the Press coverage aren't always in agreement! It's interesting to try this in reverse and read a review of something you've seen. Do you recognise it or not?
These days a good source of information and opinion is the Internet. Tap the title and playwright into your browser and you'll get reviews from various theatres, often going back to the first production, if it's a modern play.
I am a reviewer for THEATREWORLD INTERNET MAGAZINE. Our web site is http://members.aol.com/MouseUK/stage/ and it's run by keen supporters of live theatre and totally independent of advertising. We review and publish on the Web for theatres all over the U.K. and abroad. The Playhouse's coming attractions are in its first section under NEWS (Regional Theatre: Midlands) and you'll find a prompt write-up of the current production in the REVIEWS section. You can also get copy of archived material completely free by emailing with particular requests. As Graham Powner, the editor said, 'Our main aim is the positive promotion of live theatre, giving our readers maximum information about a particular production, followed by a comprehensive 'audience related' review.'
The best way to promote live theatre is to 'catch them young' and the Playhouse's new scheme of offering the chance to a student from each secondary school to be a budding reviewer is another example of just how innovative the Management is. The Press Room is positively buzzing on Press Nights. You'll be able to read excerpts from the junior reviewers on the Playhouse website at http://nottinghamplayhouse.co.uk
So, if you'd like to try your own hand at a comment or two, or even a full blown review, log on to the Playhouse's site, click on to 'Contact Us' and let them know what you think of the production.
Elaine Peel - Reviewer
THEATREWORLD INTERNET MAGAZINE
EXCLUSIVE INTERVIEW WITH PHIL WILLMOTT
- the man who puts the “MEGA” onto the “FRINGE”
by Lucy Popescu
Not only is Phil Willmott a talented actor, director and writer, he's also charmingly down to earth and an immensely likeable young man. At just 34 years of age his already long list of success stories is awesome.
Although, as he readily admits himself, he gets typecast as upper class twits and Home Counties characters, Willmott actually comes from a solid working class background. Originally from Bristol, Willmott nurtured his love for theatre as a teenager by regularly attending Saturday matinees at the Bristol Old Vic. It was classic Repertory theatre, he recalls, with a different show to see every week. Willmott then went on to train at Rose Bruford - which he found disappointing and limiting - before launching his career as an actor playing in 150 episodes of JUPITER MOON. He started his writing career in the dressing rooms and his first play was produced for radio. It was with his next play for theatre that Willmott took the decision - mainly for economic reasons - to take on the direction himself.
Willmott has a penchant for large cast-productions and I asked him how he managed to exact such uniformly excellent performances from unpaid and often relatively inexperienced actors. It seems his work as an actor holds him in good stead to be a sympathetic director. As he explained, "I want to treat actors as I would want to be treated." He feels their commitment to his shows stems in large part from the fact that as they are not getting paid, the major reward for their hard work is the success of the show. It is this, he believes, that really motivates the actors to work as part of a team. Willmott feels that using a large cast allows you to explore much more fully the social world of the play and, at the same time, create a team energy, very different from that of a small cast, often forced to double up to play a variety of characters.
Willmott wants his shows, playing on the fringe, to be as exciting as large-scale productions at the National. He expects commitment from his actors and at the start of rehearsals stresses the importance of building up a good working atmosphere with a cast that have a good time as well as caring about what they do. At an audition an actor may give a fantastic audition speech but if Willmott suspects they are going to be a pain to work with then he doesn't cast them. Willmott's own acting experience suggests he is able to empathise with his actors and he deliberately continues to take on the odd part in acting (and tries to cast himself in one of his own shows at least once a year), to remind himself of the acting side of things.
With THE GRAPES OF WRATH, Willmott took a gamble. Still high on the success of his last three sell out musicals at BAC he could have just gone on and produced another but he chose instead to produce and direct a straight show, and a long, rambling and woeful one at that. Willmott explained that he wanted the story to take centre stage. He deliberately chose not to cast to type (hence an all male-ensemble) and did not attempt to use a large set so that the audience were made to use their imagination.
When asked what influences his choice of show, Willmott replied that he had a perverse desire to do different things that don't fit into a particular field or genre. This perhaps goes back to the delight he felt as a child, watching a diverse range of theatre, sitting in a darkened auditorium whilst something wonderful happened in front of you. Willmott feels one should always work on a show that one really likes and would pay good money oneself to go and see. He feels that if you really like a piece of theatre more often than not it will be a hit. Willmott did not cite any major theatrical influences on his work but feels he aspires to do a similar wide range as Trevor Nunn. His elasticity as a director has perhaps been his downfall in one respect. Not known for being an expert in any one field -musical, straight dramas or lighter entertainment such as DICK BARTON - but more as a jack of all trades, it is difficult to categorise Willmott and this is perhaps one reason why he has not yet broken into the mainstream.
But this looks set to change; Willmott is currently golden boy of the London Fringe. In the last couple of years he has been highly praised - and deservedly so - for everything he turns his hand to. He is evidently not only a highly intelligent and astute director, but also a talented writer and good actor to boot. He has recently extended his theatrical expertise, working as a critic for GLR. It therefore cannot be long before he is snapped up for the Big Time - to the great loss of the London Fringe.
The Editor wishes to express his sincere thanks to Mr. Willmott for giving up his valuable time, and to Lucy Popescu for this interview, which gives a wonderful insight into an extremely ‘gifted’ man.
PUTTING THE ‘CRITIC’ IN HIS PLACE
This article was written as a result of the critics annihilation of a new musical, "THE FIX" recently premiered at the Donmar Warehouse. Written by two new artists ("Theatreworld Internet Magazine" believes in fostering and encouraging new talent) - it has become our "manifesto" with regards to our approach to 'reviewing' - this is what sets us apart from the printed word "CRITIC" !
“THE FIX” WAS A WONDERFUL INVENTIVE NEW MUSICAL WRITTEN BY TWO EXTREMELY TALENTED ARTISTS -THE AUDIENCE THOUGHT SO - SO WHICH PLANET DO THE PRINTED WORD - ‘CRITICS’ LIVE ON ??? DUE TO THE ‘SAVAGING’ OF THE BRITISH CRITICS, UNIQUE TALENT WAS (ALMOST DESTROYED) - FORTUNATELY FARSIGHTED PEOPLE (such as myself) DECIDED NOT TO LET THIS HAPPEN - THUS THE FOLLOWING ARTICLE WAS ‘PENNED’ - IT REMAINS IN THE “GREEN ROOM” AS A WARNING TO ANY CRITIC WHO SAVAGES UNNECESSARILY IN FUTURE - “Theatreworld Internest Magazine” GIVES FAIR, UNBIASED REVIEWS - AND WILL CONTINUE TO DO SO - ‘CRITICS BEWARE’!
This article was written as a means of re-dressing the balance and putting into perspective the SAVAGING by the majority of London ‘Critics’ of one of the most exciting theatrical events of the year - the World Premiere of “THE FIX”, directed by Sam Mendes at the Donmar Warehouse in June 1997.
I do not, have not, and will never call myself a ‘CRITIC’. It is a totally negative word and implies that (as many of them appear to have the word stamped on their foreheads!) - as soon as they enter the auditorium - they are there to criticise. WRONG. They are there on an audiences behalf (in free seats!) to assess the performance for the theatre-goer and to give them an honest, unbiased review - and should be based on their knowledge of the particular genre of work they are reviewing.
It would appear that 90% of the ‘critics’ know absolutely nothing whatsoever about the musical theatre - indeed, most of them we already know consider it a second-rate art form - as the majority of the reviews for “THE FIX” clearly demonstrated.
I had the opportunity to read and assess 7 ‘newspaper’ reviews - I will not name names - but merely wish to point out some of the bullshit (excuse the language) that was written about THIS WONDERFUL SHOW!!!!!!!
Most of my (valued!) readers are sensible, rational theatre-goers - who simply want to know ‘What’s New and interesting in the Theatre’ - and hopefully when the particular production has opened - receive a solid, soundly based review, totally unbiased and largely based upon audience reaction.
One ‘critic’ wrote that “the book lacked wit, imagination and implausibility....” - the book (i.e. the ‘script’ - -something which has been forgotten with the Megablockbuster type of so-called British musical we have been subject to for the past two decades) WAS TOTALLY PLAUSIBLE, EXTREMELY WITTY (this particularly critic must have ‘lost’ his hearing aid since he obviously didn’t listen to the lyrics!) and the opening number to the second act with a dancing cripple DOING A SOFT-SHOE SHUFFLE WITH HIS DEAD BROTHER! - WAS EXTREMELY IMAGINATIVE (it was also done with such ‘taste’ that EVEN a disabled person would have laughed)!.
Another quoted the musical as being “....a synthetic genre” - Clearly he hates musicals and should have had the guts to decline the assignment and sent one of his assistants someone who at least knew the genre - which far from being ‘synthetic’ is one of the most difficult to stage successfully in the theatre. Any idiot can write a play (many have!) but to marry three performing arts (music, dance and drama) into a cohesive work - is (when successful) sheer genius! He appears to be suggesting that the two multi millionaires who have made their livelihoods through composing (in the one case and producing in the other) are ‘synthetic’ too ??? I would suggest that in his case THE CRITIC is the ‘synthetic’ one, completely out of his depth, clearly didn’t understand what “THE FIX” was all about and based his review on the programme notes!
Another (presumably profoundly deaf critic) wrote that “THE FIX” was a “.....rock opera”. So where was he when the country and western, Broadway show-stopper, torch songs and ‘revivalist’ numbers were being performed ? - in the bar I suspect!!!
Yet another used the word “Camelot” (presumably this was the last musical he saw!) - well at least I’ll give this one credit for realising that the whole show was about the (as we now know) corrupt ‘Kennedy Dynasty’. But to use “CAMELOT” as presumably a so-called pun ("Camelot" being the successor to "My Fair Lady") - he couldn’t have been around when that show was staged at Drury Lane - otherwise he’d have realised he was doing “THE FIX” a favour - “Camelot” - the musical was simply a carbon copy of “M.F.L.” set in King Arthur’s time! An extremely poor musical!!!
Another dared to equate the wonderfully biting satire of the book and lyrics as “....scathing as a rather blunt safety pin” ! Well - I’d love to stick that pin right where it counts!!! - and to think that I praised this man’s directing ability when Battersea Arts Centre turned the tables on the critics and gave them a chance to direct plays. I think maybe this particular critic should continue with his new career of directing - since he is clearly past his sell-by date as an unbiased ‘critic’.
Yet another, who also tried his hand at directing at the B.A.C. - can’t tell rock from country and western - but then his directorial debut was, in my opinion, such a debacle that I would totally discount his criticism of anything!!!!
Finally, one ‘critic’ proved his total lack of knowledge of the musical theatre by trammelling on and on with comparisons between “THE FIX” score and Stephen Sondheim. I happen to be a Sondheim aficionado and would suggest he gets one or two facts straight. Stephen’s second solo Broadway show produced in 1964, “Anyone Can Whistle”, was an absolute flop, running for 9 performances only - it has since gone on to achieve ‘cult’ status ! Years later he still writes non-commercial shows - which although due to the rabid New York ‘CRITICS’ are counted as ‘flops’ - these shows, however, due to the discerning public, live on in the form of the recordings and eventually are successfully revived, thus proving that they are works of ‘genius’. In 100 years time these shows will still be being played around the world.
EVERY SINGLE PRINTED WORD WRITTEN BY A LONDON CRITIC ENDS UP IN THE TRASH CAN THE FOLLOWING DAY - SO MUCH FOR THEIR IMMORTALITY !
I had thought that in this country we believed in ‘fair play’ - what most of the critics did to the team which brought “THE FIX” to the stage was savage, uncalled for, bitchy, and showed their total ignorance of the piece and to keep referring to the creators as “two American unknowns” was just ill-mannered, ignorant and rude! It was as if they all got together in the bar at the Interval, decided en masse what they were going to say and presumably left the Donmar on their respective broomsticks shrieking “I’ll get you and your little dog too”!
A WORD OF WARNING TO THE PRINTED PRESS CRITICS (THE DINOSAURS) - YOUR DAYS ARE NUMBERED !!!
I have a background of over 35 years in and around the theatre and in particular the musical theatre. Most of the ‘CRITICS’ who work for the soon to be defunct printed press as a means of obtaining Theatre ‘reviews’ will thankfully soon be looking for other jobs. With the growing popularity of the Internet as a means of communication - they are ostriches with their heads firmly buried in the sand - for too long the theatre-goer have ‘hung on their every word’ and believed what they have told us. We live in a much more enlightened age and have the power to judge for ourselves, it is therefore time to put the ‘critic’ in his place - usually as a failed ‘wannabee’ actor, director or whatever.
Why they should assume that they still have the right to destroy, simply for column inches (and, mainly their own egos) is beyond credibility, but then as I have said previously they are employed as ‘CRITICS’ and like other ‘would-be dictators’ - they ‘assume’ that what they say is correct, should be adhered to and audiences should, like children’ do as they are told and not judge for themselves - that time has long since gone.
This is one of the reasons why I abhor the word “CRITIC” - they are not objective but destructive. They ‘bleat’ like sheep about no new talent and immediately trample on it when it appears, rambling on incessantly, knowing little or nothing about the ‘work’ they are supposed to be reviewing. The more obtuse their comments and the larger the words they are able to use in their reviews are a perfect give-away as to how little they really know. I have seen many a ‘CRITIC’ actually leave the theatre (presumably for the pub) at the Interval and yet next day a so-called ‘complete’ review appears in the printed press. THIS IS A COP-OUT.
To use a lyric from the incomparable Mr. Sondheim - the printed press critics are: “The Dinosaurs surviving the crunch!” - but hopefully, for not much longer.
For more details or individual advice/help - email:
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