Monday 6 April 2020

REVIEW: THE PRINCE OF EGYPT - ORIGINAL CAST RECORDING



One of the newer arrivals on the London Theatre Scene is The Prince Of Egypt, a re-working of the popular 1998 Dreamworks animated movie telling the story of Moses and his flight with the Hebrews from Egypt. With theatre all over the world in limbo due to Covid-19,  the producers of The Prince Of Egypt have rushed out this cast album to fill the void.  Having not experienced the stage show thus far I welcomed this latest addition to the roll call of West End theatre recordings.

Immediately, the first impressive feature is the opening powerful choral singing. "Deliver Us" is the cry from the Hebrew slaves in Egypt, asking that they be delivered to their promised land. This section sees Moses put in a basket and floated down the Nile by his mother, and witnessed by his sister Miriam, after Pharoah Seti has ordered all the infants to be slaughtered. A parting lullaby from Mercedesz Csampai conveying  the desperation of his mother's actions sees the basket  intercepted by Pharaoh's Queen Tuya who adopts the infant as a brother for her natural son Ramses. Nice vocals from Alexia Khadime and Debbie Kurup ensue conveying the emotions of the flight from tyranny and the accidental deliverance into royal hands. Joe Dixon (Pharaoh Seti) brings a commanding presence to the recording as he wonders if his heir Ramses is the "One Weak Link". Luke Brady (Moses) has the first of his big moments with the ballad "Footprints In The Sand" as he ponders the impact of being Pharaoh's second son and displays a fine tenor voice in the process. Christine Allado as slave girl Tzipporah offers great defiance in "Dance To The Day", the orchestrations conveying the Arabic influences of the score. An old theatre favourite Gary Wilmot transforms himself into Tzipporah's father Jethro, offering advice to Moses to "Look Through Heaven's Eyes" in another song imported from the movie. Gary's strong and clear voice embodies the experience of a classy veteran performer and is welcome on any recordng. "Never In A Million Years" is a nice duet between Luke Brady and Christine Allado as Moses and Tzipporah are caught in unstoppable events.  Ramses - now Pharaoh -  (Liam Tamne) remembers a troublemaking Moses but who was "Always On My Side" and is clearly conflicted.  But ultimately he will not be swayed by Moses arguments and refuses to free the Hebrew people from slavery.  A battle of wills ensues and the seven plagues of Egypt are unleashed amid a lot of crashing orchestral crescendos and choral wailing. A highlight of the recording is Tanisha Spring's empassioned "Heartless" at the death of her son,  her soulful delivery bringing the historical events to a truly human level.  Naturally the Oscar winning "When You Believe" (a mammoth hit duet for Mariah Carey and Whitney Houston) is eagerly anticipated and delivered with Disney-esque epicness at the shows climax.

Stephen Schwartz, a legend through iconic shows Godspell and Wicked to name but two,  has provided a score which is full of gravitas, and is an onslaught on the emotions.  It occasionally veers towards the sacharine, but is certainly impressive.  If I am honest I didn't find there were many earworms in the show,  I don't think the score will trouble Les Miz or The Lion King, but it is undeniably an impressive recording in it's lush orchestrations and some fine musical theatre voices. The brilliant playing of the score by a first class orchestra is just one reason to track down this recording. It has certainly whetted my appetite to see the visuals accompanying the epic saga.  But for now this original London cast album brings the ambition of the production to life in 76 minutes of quality musicianship. 




Details of the recording and the show can be found at the official website:
theprinceofegyptmusical.com


Sunday 1 March 2020

REVIEW: BACK TO THE FUTURE THE MUSICAL @ MANCHESTER OPERA HOUSE



There were a few raised eyebrows when it was announced that one of the most celebrated movie franchises of the 1980s – Back To The Future – was coming to the stage as a musical. Not least because science fiction on stage is notoriously difficult to realise. The creators Bob Gale and Robert Zemeckis have steadfastly refused permission for the film saga to have a fourth sequel or indeed for a reboot. So it is perhaps a surprise that they have relented and let Marty McFly loose on stage. However it is to our gain that they have not gone for the quick dollar, and supervised every stage of the transition to the theatre ensuring that the quality of the movies is reflected in the production values of its theatre spin-off. Original movie composer Alan Silvestri is onboard as is award winning composer Glen Ballard to write the score of mostly brand new songs.






The stage show follows pretty closely the plot of the original 1985 movie. There are one or two changes here and there – obviously Iranian terrorists are not a good idea in 2020 – but by and large the show is a fleshing out of the original various set pieces. What is immediately impressive from the very start is the high tech set, which grabs the attention from the minute you walk into the auditorium with its projections and lighting. This sets the tone for what is a visual feast for the next three hours. You won’t find spoilers in this review revealing how the DeLorean reaches 88 m.p.h. live on stage, or how the Doc manages to get to the top of the clock tower to make sure the lightning is harnessed to power time travel. But throughout there is sustained applause and gasps as the illusions of Chris Fisher are married with the ingenious set designs of Tim Hatley and the lighting of Hugh Vanstone and Tim Lutkin. And just when you think the show has thrown everything at you and has no more to give, the last few moments go for broke and give the audience it’s biggest surprise...





The score itself is very foot tapping friendly, the most catchy number ‘Put Your Mind To It’ might even find a home outside the show (expect Michael Ball to have an ill advised bash) and a mixture of styles from soft rock to 1950s pastiches manage to keep the show bouncing along. But in a venture of this nature where the characters are so clearly defined on screen the real success is down to how successfully the actors can conjure up the icons. A piece of key casting is Olly Dobson. He captures the spirit of freewheeling teenager Marty McFly perfectly from his first entrance, and he works his socks off. Dobson is hardly ever off the stage, and he sings like a angel rocker too. Roger Bart equally becomes scientist Doc Emmett Brown effortlessly, not giving an impression of Christopher Lloyd but channelling just enough to make Doc recognisable whilst still making sure he gives his own take on the character in this new medium. Naturally both actors get the lions share of the laughs as their characters did in the movie, but they are closely followed by Hugh Coles as nerdy wimp George McFly. His underdog is a big favourite with the audience from first entrance and every awkward dance move and shy advance keeps him on a winning streak throughout. Cedric Neal as future Mayor Goldie Wilson is another cast member to get a big number and he makes the most of his moment to shine with some stylish vocals, whilst Rosanna Hyland flutters her eyelashes and becomes the love struck Lorraine Baines with ease, displaying a wonderful pop voice along the way. Marty McFly always needs an enemy and in this case it is of course Biff Tannen, and the character is there large as life and twice as ugly in the form of Aidan Cutler in a performance that always hits the right note. The twenty five strong cast all work their butts off throughout the show to bring Hill Valley alive in both decades. So too the fourteen strong band who provide the big sounds of the night, there is nothing like a full band rocking a theatre and these boys and girls do it in spades.




Director John Rando has provided a spectacular show which will delight not only hardcore fans of the 1985 original but also anybody who likes live entertainment. The first act is a little overlong, and I could easily see where twenty minutes could be chopped off without affecting the show at all, but these are minor quibbles. The sheer energy and audacity of the show overwhelms any of this. The audience I was with were obviously not regular theatre goers, most seemed like they were on a visit to a theme park judging by the amount of drinks and confectionary that were being brought into the auditorium, but this can only be a good thing for theatre as whole. If Back To The Future is a way of encouraging and engaging with an audience more used to on demand services, then all the better. It could be instrumental in developing theatre audiences. There is little doubt in my mind that the immediate future for this show is the West End, Broadway and theatres around the world. The End.


INFORMATION ON THE MUSICAL CAN BE FOUND AT THE OFFICAL WEBSITE


Sunday 9 February 2020

WEST END JOTTINGS 2020







On the northeast tip of North America, on an island called Newfoundland, there's an airport.
It used to be one of the biggest airports in the world, and next to it is a town called Gander.

Welcome to the rock if you come from away,
You'll probably understand about half of what we say.
They say no man's an island but an island makes a man,
Especially when one comes from one like Newfoundland.
Welcome to the Rock


 And so begins an impressive new musical Come From Away playing at the Phoenix Theatre. It tells the true story of the 38 planes which were diverted en route from their destination in American airspace to the small Canadian town of Gander, population 10,000, during the tragic events of 9/11 in 2001. In all more than 6,500 strangers found themselves stranded for days in this backwater. It would have been a hell-ish sojourn were it not for the generosity and kindness of the townsfolk who gave up their lives to looking after the souls who sought refuge as the world mourned. Irene Sankoff and David Hein who are responsible for the book, music and lyrics of the show have crafted something pretty special from these historic events. Rather than being a show that is over sentimental and grief stricken, the passengers are given such love and warmth from the locals whilst some wait to find out if their loved ones have survived the tragedy, that it becomes a joyous affair. An homage to the strength of the human spirit in all its forms.  Running throughout the show are catchy Celtic folk melodies as the large Irish community pitch into battle, offering whisky and a dance to keep away the realisation of what might be to come. The eight strong band lead by Alan Berry rise to the occasion magnificently, be it ballad or bounce. The set is pretty basic with just tables and chairs littered about the stage, but these are used to creative affect by director Christopher Ashley so that the action rarely remains static. Rachel Tucker leads the big voices as pilot Beverley, her powerful ballad “Me and the Sky” allows her strong belt to be heard in full. West End stalwart Clive Carter is the harassed Mayor Claude, trying desperately to work out how to best host the influx of thousands at almost no notice.  Helen Hobson and Robert Hands make the most of their characters who find themselves attracted to each other despite the gravity of the situation. David Thaxton as Kevin and Brandon Lee Sears as his partner... er, Kevin again, have some light hearted moments being the only gays in the village – or so they think. But really the entire cast are just wonderful in this ensemble show. They all play multiple characters in the piece, living with the fear of not knowing the fate of loved ones weighs heavily on them all. What really sells this show is the message that out of darkness comes light. The locals of Gander show such selfless hospitality to everyone that has found themselves there on that horrendous day and several subsequent days that this is an uplifting almost spiritual experience. The events of 11th September 2001 are a testament to the worst of humanity, but in this story of the people of Gander and the comfort and overwhelming support they gave to international travellers from around the world, it reflects the best too. Sensational.


 The National Theatre hosts an altogether different look at the human condition courtesy of Roy Williams and Clint Dyer’s hard hitting one man play Death Of England. The one man is Michael Fletcher, a thirty something Essex wide boy. He has charm in abundance and this is matched pound for pound by anger. But the real pivot of the piece is Michael’s father Alan. A florist with a pitch on the market, whose racist philosophies Michael has grown up with. He constantly refers to his son as “Boy” in the way insecure men unconsciously belittle. Michael’s best friend is Delroy, whose West Indian mother is a fearsome matriarch who is never afraid to speak her mind. Then there is Michael’s mouthy sister Carly, and his emotionally distant mother. All these characters are interpreted by Michael during the play. Williams and Dyer show us the ugly truth about racism and being black writers, they have doubtless had many an insight themselves. That we feel we have met all these characters lies in the brilliance of Rafe Spall. He commands the stage from his first dishevelled entrance. Producing props from the boxes around the stage as if offering exhibits to his testimony. The turning point for Michael is when his father has a coronary in the pub whilst watching England lose a qualifying match against Croatia. With his mother and sister turning on him, he succumbs to drugs and alcohol leading to a spectacular outburst at the funeral. Only when an Asian visitor brings surprise information about his father’s activities does Michael take the bait and solve the mystery of his Dad’s true character. The stage is in the shape of a St. George Cross which only accentuates the misplaced nationalism of Michael’s father. There is a coup de theatre when the crematorium suddenly appears, complete with flames to symbolise the hell that is about to unfold.  In many ways this play is about the grey in us all. That little part of us that however honourable we want to be, gives in to darkness from time to time. What Michael finds out about his Dad rocks his world even more. Whether bantering with the audience or collapsing with grief at the sound of his father’s voice from the grave (well a tape machine actually) Spall takes us on his journey of testosterone filled fury like a man possessed. He swaggers, he preens, he challenges. With Brexit having divided the nation like few polls before it, the ugly truth of our national conscience is laid bare in this 100 minute assassination of the bloke culture and nationalism at its worst. That we all recognise people we know in Michael is perhaps the biggest tragedy of this play. Rafe Spall shines brighter than he has ever done. A masterclass of theatre perfectionism.



From the darker recesses of Essex to the Cockney charm of Peckham’s favourite sons. It might seem to some like an odd match but Only Fools & Horses The Musical delivers a ray or two of sunshine at the Haymarket Theatre. Writer John Sullivan had started the project before his death, then his son Jim had roped in Fast Show legend Paul Whitehouse to help realise his Dad’s ideas for the show. Telling the story of Del’s first meeting with Raquel, along with a few other memorable moments for the Nags Head regulars, this is the complete antidote to Death Of England. Recreating characters who are now living legends and national treasures is a thankless task. But luckily Tom Bennett with his quick talking, ducking and diving, Del Boy and Ryan Hutton, blessed with a naturally gormless air as Rodney are accepted pretty much from the first song. They are joined by Paul Whitehouse himself as Grandad, a character who only appeared in 22 of the 64 episodes but here is the dominant third in Nelson Mandela house. The set designer Liz Ascroft works wonders realising the grotty flat and the Nags Head, giving us a potted Peckham. Even the iconic three wheeled van makes an appearance. Musically the show is lightweight. Naturally we get the theme tune “Hookie Street” along with a cockney knees up pastiche “Where Have All The Cockneys Gone”. Del’s dating agency exploits are accentuated with “A Bit Of A Sort” a patter number about his preferred type of lady. It is fitting that Chas Hodges of cockney party group Chas & Dave fame has co-written several of the songs. Thankfully we get “Margate” thrown in as a treat, the hit 1980s song that became the theme to the Trotter’s Jolly Boys Outing. With an impressive ensemble cast (Jeff Nicholson’s Boycie and Dianne Pilkington’s sweet voiced Raquel need a shout out as does Oscar Conlon-Morrey as the dating agent) this is a certain crowd pleaser. Director Caroline Jay Ranger keeps the tone of the show in line with the television series, the audience greet the characters like the second coming. And first sight of the old sea dog Uncle Albert fair brings the house down. Initially sceptical that a musical based on such untouchable material was a good idea, I have been won over by both the cheeky chappy charm of Del Boy and his mates and the loving touch given to the show by Whitehouse and Sullivan Jnr which pays genuine respect to its source material. In short it’s cushtie! (But don’t lean on that bar...)


If the previous two productions have reflected essentially British characters, then a truly global phenomenon is holding court at the Aldwych. Anna Mae Bullock might not be a name familiar to many, but her professional name leaves no doubters – Tina Turner. What is essentially a juke box musical has been lifted to greater heights by director Phyllida Lloyd, the woman at the helm of the Mamma Mia! success story on stage and film. Born into a poor working family who moved to Nutbush, Tennessee, she was farmed out to her grandparents. She began singing in the church choir where her loud voice was soon noticed. The musical starts us on the journey from the God fearing cotton picking negro community to Anna Mae’s first steps into the music business after meeting Ike Turner. As we all know now that relationship became abusive with her newly named Tina Turner suffering violent retaliations from Ike’s wrath. Once again elements of racism touch the story, as if 1950s America will ever be rid of that tarnished image. But Tina’s voice wouldn’t be silenced inside or outside the studio. Phil Spector spotted her unique voice early on and invited Tina to record with his famous Wall Of Sound, the song he co-wrote for her “River Deep Mountain High” is now one of the most recognised recordings of the 20th century. The current West End Tina, Aisha Jawando, captures the fire and talent of Tina throughout the stages of her life. Her onstage sparring with Ike (a fine performance from Cameron Bernard Jones) has the uncomfortable ring of truth about it. Tina’s split from Ike sees her struggling to support her two children with residences in Vegas during which time she is struggling to pay her band and backing singers. But a talent like Tina’s isn’t made for fading away. A lifeline appears from London, in the shape of a recording opportunity with Sheffield pop maestros Heaven 17. Despite the fears that a new style wasn’t going to land with the public, her resulting Private Dancer album shot to the top of the charts and the resulting single “What’s Love Got To Do With It” also hit number one. Tina was now in the megastar category. Her difficulties with Ike and a difficult relationship with her mother were never fully resolved, and the musical does its best to give us some insight into the tortured journey. But it is the songs that most have come to hear. “Proud Mary”, “Disco Inferno”, “Nutbush City Limits”, “We Don’t Need Another Hero”... hit after timeless hit pervades the evening. By the time we get to the finale and the first notes of “Simply The Best” the audience can remain silent no longer. They want to party and the production gives them this wish. Tina – The Tina Turner Musical undoubtedly belongs to the upper echelons of jukebox musicals, and will be playing the Aldwych for many years to come.



Andrew Lloyd Webber’s hit rate took a dive in the Noughties as he seemingly fell out of favour with a new wave of musical theatre goers. It took until 2016 and an adaptation of the movie School Of Rock to properly bring him back in favour. To the uninitiated the story revolves around failing rock musician Dewey Finn, who out of desperation for cash, masquerades as a supply teacher in a posh school.  There to his surprise he discovers his pupils are talented musicans. He sets about teaching the subdued talents the benefits of rock music and enters them for the Battle Of The Bands competition. However his deception is discovered, but as in all fairytales he has proved a positive influence on his pupils who flourish under his unorthodox teaching methods and rock the competition, so all ends well. The major selling point in this show, aside from the ridiculously catchy riffs, are the children themselves. They act superbly and play their instruments live in a manner that suggests they are experienced rockers. It’s glorious to watch. Sebastian Adams-Eaton is hugely impressive with his electric guitar, Jasper Brew pounds the keyboards like a young Rick Wakeman and Bea Ward steps up as the voice of the School Of Rock. Just three of the twelve talented youngsters that are at the core of the show. Among the adults Jake Sharp (the alternate Dewey for the production) whips up a star performance of a slob who finds his own personal growth during his time as a teacher and is the central driving force of the shows comedic moments. He even manages to bag the stuffy principal of Horace Green Miss Mullins, another lovely performance by Laura Tebbutt particularly in her big solo number “Where Did The Rock Go?” Director Laurence Connor has devised a production that hits all the right notes (literally) bringing out the strong comedy of the movie coupled with one of Andrew Lloyd Webber’s most foot tapping scores. (He has in fact recycled several melodic passages from his own 1978 album Variations!) With a book by Downton Abbey’s Julian Fellowes and lyrics from Glenn Slater, this production is just sheer fun from beginning to end. It is about to close at the Gillian Lynne Theatre and head out on a UK tour. The school parties that were in the matinee performance I attended absolutely loved every rule breaking moment. Andrew Lloyd Webber has made no secret that he believes music in schools can inspire kids and has a charity foundation to fund schemes of this kind. This looks like just the show to ram the message home.




My final visit on this trip sees me at the Noel Coward Theatre for another production that has seen a more youthful audience heading to the West End. Dear Evan Hansen has been playing Broadway for a number of years and its hugely anticipated West End opening saw a surge at the box office. It is the brainchild of Benj Pask and Justin Paul who also have The Greatest Showman among their credits. Together with book writer Steven Levenson, they tap into the world of social media and the overwhelming pressure to ‘fit in’. Evan Hansen is a teenager suffering from extreme social anxiety, feeling he is always on the outside “waving through a window”. He is urged by his therapist to write letters to himself 'Dear Evan Hansen, today is going to be a good day because...' One of these letters is stolen by bully Connor Murphy, a high school student with an increasing drug abuse. Shortly thereafter he is found dead. Connor’s parents find the letter and assume it has been written by Connor to his friend Evan. It is a deception that Evan plays along with, but the lie grows and grows. Together with his nearly friend Jared (Jack Loxton playing nerdy) they forge emails purportedly between Evan and Connor. These are posted online by the well meaning needy school ‘acquaintance’ Alana (Nicole Raquel Dennis). Naturally Connor’s parents take great comfort in knowing their troubled son had a friend whom he could confide in. However cracks start to show as Evan becomes more and more guilt ridden and the inconsistencies in his emails are being spotted. But out of his lies comes good, the school is raising money to renew an orchard that he and Connor are supposed to have regularly met, Connor’s parents are becoming closer in the knowledge that their son won’t be forgotten. The production is blessed with a terrific star performance in Sam Tutty as Evan. His twitching and awkwardness balanced by a genuinely strong voice which handles the difficult musical passages easily. It is a physical performance of great subtlety around which the show revolves and marks Tutty as a star in the making. Lucy Anderson as Connor’s confused sister Zoe is equally engaging, benefitting from the lies Evan tells saying her brother always wished they were closer. Rebecca McKinnis as Heidi Hansen and Lauren Ward as Cynthia Connor are exceptional as the Mothers who are both thrown into the maelstrom of events started by Evan. The distinctive set by David Korins is alive with streams of social media posts as the information is assimilated by the school. Director Michael Grief explores the emotional impact of Evan’s actions on all those who knew Connor, and the impact of needing to be accepted by peers. The score is full of ear worms, particularly the Act 1 big number “You Will Be Found” which has become the anthem of the show. The theatre needs to reflect the thoughts and feelings of the younger generation and the fact that this show has hit home for so many teenagers is proof that Dear Evan Hansen is speaking in a language they understand, reflecting pressures and anxieties that are familiar. They are a generation waiting to be found.   


Thursday 16 January 2020

REVIEW: RAVENS: SPASSKY VS. FISCHER @ HAMPSTEAD THEATRE





 

The somewhat cerebral, studious occupation of playing chess might not seem to at first glance to be an exciting subject for a drama. Admittedly Tim Rice and two quarters of ABBA had explored the whole Cold War played out through chess scenario in their 1984 musical. But their characters were composites, whereas in Tom Morton-Smith’s new play Ravens at the Hampstead Theatre we focus on some very real personalities: Russia’s chess kingpin 35 year old Boris Spassky and the maverick, unpredictable challenger, 29 year old American Bobby Fischer. Amid Cold War tensions, the two met in a series of highly publicised games in Reykjavik to decide the World Chess Champion of 1972.


The real Spassky and Fischer in 1972

 

It is hard to imagine the worlds media today being as enthusiastic for chess as they were in 1972. It was the USA versus the USSR , and the global media bought into it. The matches were being beamed live around the world, and bars in the US which hitherto would only have entertained showing the latest American baseball matches or similar, suddenly became chess crazy. Was it really the chequered board though or what it embodied during the high tensions of the Cold War when it was a very real threat that a nuclear warhead could be fired by either of the opposing nations?

Ronan Raftery and Robert Emms 



 Morton-Smith’s play examines what was going on behind the scenes in Iceland as both Spassky and Fischer were being manoeuvred by their respective governments to be the acceptable face of Cold War one-upmanship. Naturally for Boris Spassky, the Kremlin is calling the shots. A team of advisors have travelled from Moscow to coach on tactics of the game... that being the wider game being played. Russia has held the World Chess Championship for 26 years. For him to lose to Fischer would be a propaganda disaster. No pressure on Spassky then! But Fischer is a brilliant strategist and highly unpredictable. Some might say unhinged. From the off he is demanding changes to the already agreed terms. He won’t play in the chosen arena, he wants his chair changing, he wants the board replaced, he wants the table lowered an inch... Fischer begins a stand off where each side becomes more paranoid about how far governments are willing to go to make their participant the winner.

Ronan Raftery

Solomon Israel and Robert Emms

 
 Bringing the Cold War chess legends to life are two extremely capable actors. They avoid direct impersonations but bring a flavour of the two men from the familiar news interview footage of the period. In the more showy role of Bobby Fischer, Robert Emms brings not just a brooding intensity but a physicality to the role. Cowering, storming, throwing, shouting. Emms delivers a commanding performance of a man on the edge, facing the biggest moment of his career enshrined in child-like fury and doubt. Watching him swivel on his chair in distraction during the heat of a game becomes something of a ballet in Emms hands.  Meanwhile Ronan Raftery is the quieter, studious Spassky who is slowly worn down by Fischer’s theatrics. Spassky is equally worn down by his own regime, as he himself admits, he is not even a member of the Communist Party. The pressure on him to retain the championship is overwhelming, and Raftery explores this slowly and deliberately. Both men offer fine studies in decay.



Rebecca Scoggs

But this is no two hander. The supporting cast are first rate, playing the entourage. Buffy Davis swaps genders as Fischer’s manager and early chess mentor with panache. Solomon Israel’s vocal talent as Dr. Henry Kissinger provides a couple of pivotal moments of government pep talking. Naturally like most of the rest of the cast he has duel roles in this case as Fischer’s second, William Lombardy.  Rebecca Scroggs as psychologist Nikolai Krogius is one of several Russians trying to figure out Fischer’s behaviour. Something that equally exasperates strategist Efim Geller (Gyuri Sarossy) as the tournament descends into complete paranoic frenzy. Beruce Khan as Iivo Nay, Spassky’s sparring partner, finds himself at the centre of suspicion as the tournament progresses in a performance that goes from comedic to hunted. If Fischer lets his guard down with anyone it is his assigned Icelandic bodyguard Sæmunder ‘Sæmi-Rokk’ Pálsson,  a performance of quiet wisdom by Gary Shelford. Watching over the proceedings with a fascinated eye is Max Euwe, the president of the World Chess Federation, ably played by Simon Chandler, who can see both the political and human failings during the long drawn out battle of the board. Late in the day Fischer’s mother Regina visits, estranged from her son for ten years, this is not the emotional reunion she might have hoped for. Emma Pallant gives a flavour of their strained relationship during an uncomfortable encounter.

 Emma Pallant and Robert Emms

Director Annabelle Comyn does an excellent job of presenting the warring factions and the intensity of the tournament in her production. She keeps the pace going for this lengthy piece (and it could easily lose 15 minutes without detracting from any viewpoint). The designer Jamie Vartan makes the most of the budget by keeping the visuals none intrusive save for some moments on period television monitors or projection, and the sympathetic lighting by Howard Harrison completes the mood. The tension of the games is convincingly achieved despite no real chess being played.

Tom Morton-Smith has crafted a play which through the prism of a near sixty year old chess championship is eerily reflective of the political landscape we find ourselves in today. Ravens is a fascinating new play which deserves a wider audience and I certainly hope finds one. 


 Simon Chandler and Robert Emms