This sweet little treat showcases the considerable talents of David Hunter and Caroline Kay. Three songs characterise a couple under strain because of Covid-19. Forced to live apart, they break up during lockdown.
That Hunter and Kay haven’t met face to face is amazing. There’s a good sense of a long-established relationship between their characters, despite the brevity of the show. Likewise, that neither has met musical director Nick Barstow is remarkable: the songs, as well as their voices, sound fantastic.
Musically and lyrically, The Space Between owes a lot to Jason Robert Brown. That’s not a bad source of inspiration. It might have been nice to get more sense of a London setting, but the three numbers are strong and the writing has a realism and humour that balances sentimentality.
Kay’s character is a little better developed. Maybe I just took a dislike to the misplaced irony of her partner listing ‘Her’ on his phone? But the piece is packed with detail – it even tackles the (increasing) problem of showing a series of video calls well. Including guest appearances, as friends and family, is a brilliant idea.
Impressive all around and, at just 15 minutes, easy to listen and watch again and again…which I will.
Available on You Tube
Antic Disposition are an acclaimed theatre company who tour to gorgeous locations. Having shown this neat new production of Shakespeare’s romantic comedy in English cathedrals and at open-air venues in France – so the show is in tip-top form –their London sojourn marks a return visit for them to this beautiful Tudor hall. The location, alongside a production full of fun, makes the evening easy to recommend.
Inspired by the company’s travels, the play is relocated to France after the end of World War II. The move makes the most of an Anglo-French cast and aims to inject the bonhomie of a liberated nation with tricolour bunting and café style seating for some audience members. Several bilingual performers are impressive but there are some strong accents deployed by all the cast and some lines are lost. It’s a pity not to hear everything but all the performers make up for this with energy and élan. The trio of Beatrice, Hero and Margaret are played by Chiraz Aïch, Floriane Andersen and Molly Miles who make an impressively close team. Stiff upper lips abound for the English soldiers who come wooing: an idea that adds comedy to the performances from Nicolas Osmond as Benedict and Alexander Varey as Claudio, while resulting in a more prominent role than some productions allow for Theo Landey’s excellent Don Pedro.
French flair also aids the role of Constable Dogsberry (let’s be honest, those scenes are sometimes tiresome) whose malapropisms may now recall Officer Crabtree from ‘Allo ‘Allo although programme notes say the source is Jacques Tati. Either way lots of physical comedy allows Louis Bernard to get laughs and win over the audience. The company’s founders, Ben Horslen and John Risebero, co-direct the show with an eye on entertainment. An excellent score from Nick Barstow fills out both period and location, while calling on the ensemble to pick up their instruments further illustrates their talents and piles on winning charm.
Until 1 September 2018
Photo by Scott Rylander
Saturday’s matinee at the Finborough Theatre saw Chelsea fans in the bar downstairs mix with operetta buffs coming to see a new production of Gilbert and Sullivan’s Princess Ida. My fears that football cheers would drown out the music were unfounded – a strong cast of singers was more than a match for the Blues.
Director Phil Willmott scores his first goal with his revision of the piece; trimmed and tidied so well that only a real purist could take offence. Princess Ida is a less popular work from the G & S canon (I’d like to think because of its old fashioned sexism) and not as funny as their best, with the satire resting too firmly in its day, but Willmott makes the work light and snappy. We have more princes trying to marry Ida, yet fewer characters overall and are missing a King. The plot is simpler and sillier.
Focusing more on courtship than courtiers, alongside a beefed up role for Ida’s father, now a guardian, the roles are a delight when they could easily have been boorish. And while I think it’s a shame our heroine doesn’t stay in the women’s university she sets up, an audience in 1884 clearly wasn’t ready for an idea like that. Cheeky changes Willmott concludes with guarantee a smile. And of course the music and lyrics are kept, if reorganised, skillfully adapted for piano by Richard Baker and Nick Barstow – anything else would be a home goal.
Like many musicals on the fringe, miraculously, Princess Ida doesn’t feel small. With a cast of 14 on the tiny stage, Thomas Michael Voss’ choreography is a marvel. Willmott’s revisions make it feel like there are no small parts here, but Bridget Costello and Zac Wancke sound especially sweet in their ballads. For the hat-trick Simon Butteriss has to be singled out as his experience with patter really shows – his deliciously lecherous villain is worth every word. I don’t know the result of the football match, but this Princess Ida got my cheers.
Until 18 April 2015
Photograph by Scott Rylander