Tag Archives: Le Gateau Chocolat

“Bagdad Café” at the Old Vic

Nobody brings film to the stage like director Emma Rice. Following hits such as Brief Encounter and Romantics Anonymous it’s now the turn of Percy and Eleonore Adlon’s 1987 movie. The story of an unlikely friendship between two women – Brenda and Jasmin, estranged from their partners in the remote titular location – has a quirky appeal. While the adaptation fails to move beyond appealing eccentricity, a drop in standards for Rice is still a show worth seeing.

As a Rice fan, I’d argue the problem lies with the source material. I’m puzzled by the choice. There’s a fairy-tale charm in the story of a German tourist and a hassled coffee shop owner… but little else. The women’s quirks, as well as those of Brenda’s family and clientele, replace plot. Maybe this was the attraction – Bagdad Café is novel and Rice is one of the most original theatre makers around – but, frankly, too little happens.

It is a collection of characters to enjoy. Much is made of former “songbird” Brenda and her current sorry state struggling to run a business. Sandra Marvin takes the part and is believable. But it’s her husband, performed by Le Gateau Chocolat, who complains about how hard she works – it’s not clear why we should share that problem. The show’s heroine Jasmin, who walks out on her husband in a scene with no dialogue, is a touch too mysterious. Patrycja Kujawska portrays the character’s quiet power well as she changes the lives of those she ends up living with. But she encounters oddities rather than odds, as conflict and tension are absent. Even learning magic tricks comes suspiciously easily. With little backstory, secondary characters are pleasant to watch but suffer a similar complaint: there are lovely turns from Gareth Snook and Sam Archer as a couple of misfit hippies, but you can’t help wondering how they ended up in the story and what they are there for.

The music for the show, ably directed by Nadine Lee, consists of too few tunes (the show relies heavily on Bob Telson’s hit, Calling You). And the numbers are truncated. There’s a defence for this – Bagdad Café isn’t trying to be a conventional musical. But the show’s originality ends up frustrating. It’s down to the theatricality of the production to hold our interest. Rice and her cast attempt this admirably. There are lovely touches with puppetry and movement (credit here for John Leader, Sarah Wright and Etta Murfitt) that make for plenty of memorable moments – it’s almost enough.

Bagdad Cafe at the Old Vic
Sandra Marvin and Patrycja Kujawska

A world is vividly created. And even if it puzzles too much to entirely suspend disbelief, it is enchanting. There’s not much to Bagdad Café apart from atmosphere. But what an atmosphere! A finale where Brenda and Jasmine put on a show gave me goosebumps. The show’s feelgood simplicity coalesces to make sure we leave the theatre happy. And an encore, showing an accompanying digital project for the production, further confirms a striving for originality that wins admiration. The conjuring here is more than tricks that Jasmine enjoys on stage, it’s theatrical magic of the kind Rice excels at.

Until 21 August 2021

www.oldvictheatre.com

Photo by Steve Tanner

“The Ballad of Anne & Mary”

This is fun. Lindsay Sharman’s musical audio drama, available as a podcast, is a tale of 18th-century female pirates that’s full humour and scandal. The first episode sets up plenty of plot and fantastic characters, including the titular Anne Bonny and Mary Read, with a strong sense of history viewed through modern eyes.

The songs by Laurence Owen are serviceable and add to the atmosphere. Each number is integrated well into the action and wonderfully performed. There’s variety, too, with ballads, of course, but also sea shanties and a gorgeous lullaby. The music creates a period feel that is belied by Sharman’s script, which fully embraces the women’s appeal in 2021.

It’s true that balladeers and the press had a field day with these real-life female pirates, whose story could “chill and astound”, But Sharman wants to do more than entertain. Anne, given a voice by the excellent Christina Bianco, is keen to comment on the myths surrounding her and stop the “nonsense” so many, including Bess the Ballad Singer (an excellent opening number from Carole Stennett) are keen to profit from.

Mary is more than a match for investigative journalist Nathaniel Mist – a role Karl Queensborough does well with, especially when it comes to the show’s earthy humour. Keen to add “spice”, Nathaniel could well prove just a pawn, manipulated by his boss Captain Barnet (John Henry Falle), whose character I hope we hear more from. Sharman has set up plenty of possibilities for the rest of the series.

There are four more episodes to come, released on Thursdays until the 27 May. We’ve still to meet Mary, performed by Sooz Kempner, and other stars on board for the project include Le Gateau Chocolat. Following Anne and Mary’s adventures has been of interest for centuries and Sharman’s look at the legends promises great things.

www.longcatmedia.com

“Twelfth Night” at Shakespeare’s Globe

Emma Rice has chosen well for her last show as director of the Globe, with a cross-dressing comedy that updates the Bard for our gender-fluid times. If you don’t think Shakespeare and Sister Sledge mix, then be warned – Rice’s energy, sensitivity and sense of irreverence are bountiful. The disco lights are on and it’s time to celebrate her reign at The Globe.

Let’s not forget that organising a good party is hard work and can call for tough decisions. There are moments of forced jollity – musical chairs proves messy – and a close reading of the text isn’t invited. But the passion in Twelfth Night is frenzied and Rice’s insight is to allow this. Nasty edges have poignancy, fate is presented as a choreographed natural phenomenon (cleverly mocked as a touch of “community theatre”) and the laughs are manic.

The twins, Sebastian and Viola, whose adventures we follow, are used to anchor the show. In these roles Anita-Joy Uwajeh and John Pfumojena impress, respectively showing a touching vulnerability and sounding particular gorgeous. The confused suitors who fall for the ship-wrecked siblings are played by Annette McLaughlin, who makes for a joyous Olivia, and Joshua Lacey, whose river-dancing-mullet-sporting-lothario Duke is the funniest I’ve seen.

Marc Antolin
Marc Antolin

The trio of pranksters in Olivia’s house continue the strong comedy. Sir Toby, Fabian and Maria, played by Tony Jayawardena, Nandi Bhebhe and the super-talented Carly Bawden (another strong voice) really go for it. The revelation is Marc Antolin as Aguecheek, transforming the role with physical comedy, ad-libs and fluorescent Y-fronts. And a lisp… sorry, but lisps are funny.

Katy Owen
Katy Owen

What the production takes seriously is drag, spoiling us with cabaret star Le Gateau Chocolat, whose Feste steers the tempestuous proceedings like a glittering, magical MC. It’s impossible to steal a show from six feet of sequins, but Katy Owen’s Malvolio holds his/her moustachioed own. Funny again (well, most jokes are better with a Welsh accent), Owen tackles bullying intelligently, tempting us to join in, then allowing the character to retain some dignity. Role-play can be dangerous.

All good parties depend on their soundtrack. Rice’s secret weapon is Ian Ross, whose compositions dominate the show: driving plots, aiding comedy, interacting with the text – check them out online. Using so many lines as lyrics enforces how productive treating the text loosely can be. It annoys purists when Shakespeare is tampered with, but Rice does so intelligently, aided by additional lyrics and lines from Carl Grose. The revisions sustain her imaginative interpretation, making the play both accessible and stimulating and her the sadly departing hostess with the mostess.

Until 5 August 2017

www.shakespearesglobe.com

Photos by Hugo Glendinning