REVIEW: HARPY (UK Tour) @ Buxton Pavilion Arts

 

The subject of mental health has thankfully become a major conversation in our daily lives over the past few years.  And so it is pleasing to see a new play which centers on that very subject but presented with wit, empathy and most importantly for us, a star performance.

In the programme notes, Philip Meeks (author of Harpy) admits that the story of Birdie is based on a lady about town in his London ghetto. Birdie is a hoarder. She collects things. Unfortunately that includes Jehovah's witnesses in her box room.  And so we enter Birdie's world.  A living room set of salvage and random objects which reflects both her physical and mental make-up. Alex Marker's set design gives us just enough of Birdie's cluttered world, without making it a distracting element.  Her social worker Featherstone enlists the help of young mother Mattie,  a seemingly sympathetic soul, to help Birdie towards the ultimate goal - getting rid of some of the mess of objects and ephemera that threaten to overwhelm the house.  Birdie has rejected all help offered so far, but something about Mattie strikes a chord with Birdie which links to traumatic events in her past...

With a one person show,  you need a strong performer.  And so it is lucky that the producers have secured the services of showbiz legend Su Pollard,  sans her famous eccentric colourful garb and glasses,  and successfully transformed into a cardiganed and somewhat dour Birdie. The fact that she delivers Birdie's comedy lines with precision is no surprise, but exploring Birdie's darker side finds Pollard in less familiar territory but she tackles it head on.  The telling of a sexual assault is typical of the bravery of the writing and performing.  Playing what would perhaps be termed a society misfit brings out the very best in Pollard, darting between madcap moments when she sings Bananarama karaoke-style   via a makeshift microphone of  kitchen roll tube and tennis ball to the real fear of being stalked by her neighbours' husband whom has a fixation on her.  Or at least that is the way she tells it.  

Director Abigail Anderson is adept at blurring the lines between what might have happened and the version of events in Birdie's disturbed mind.  As we delve further into her dark past,  Su Pollard delivers a bravura performance of vulnerability.  This could be a woefully sad tale but for the sheer life enhancing energy of its performer.  There is something wholly wonderful watching her inhabit the ups and downs of Birdie's life.  As Birdie clutches the ashes of her despised Aunt Maureen, there is a little bit of all of us in this character. Su makes us love Birdie for all her faults,  and that is the success of the evening.  We embrace and celebrate the non-perfect.  It is a mirror for us all.

A standing ovation seemed very appropriate as Su Pollard took her bow.  The character of Birdie might not be as well known as Peggy from Hi-de-Hi! but I'll wager the performance is just as much a cornerstone of Pollard's long career.  An outstanding evening of understanding.

Rob Cope for Doctor Theatre 

 

Further information on HARPY's tour dates can be found at Something For The Weekend

REVIEW: WHAT'S NEW PUSSYCAT @ Birmingham Repertory Theatre (Preview)

 

N.B.  This review is based on a PREVIEW performance

It is surprising that it has taken this long for someone to connect the dots between Henry Fielding's 1749 restoration romp The History Of Tom Jones, A Foundling and the music of the Welsh sex bomb himself, Sir Tom Jones. But connect them they have, and now a brand new juke box musical going under the banner of What's New Pussycat? is premiering at the Birmingham Repertory Theatre with eyes clearly on a London transfer.  

The producers have gathered together a hit squad of a creative team including writer Joe DiPietro (Memphis), director Luke Sheppard (& Juliet) and choreographer Dame Arlene Phillips (Starlight Express).  DiPietro has made the decision to move the setting from its original 18th century locale to the swinging 1960s. To bring you up to speed Tom Jones is living in Somerset, the ward of a wealthy benefactor having been abandoned as a baby by parents unknown. He has fallen for the beautiful Mary Weston, whose mother certainly doesn't approve of the union.  She believes Mary would be much better suited to William Blilfil, a hooray henry solicitor. In order to get temptation out of the way, Lord Allworthy sees that Jones is despatched to London where he meets Mr. Partridge, a former teacher of his, and most importantly the wily Lady Bellaston,  a showbiz entrepreneur.  Naturally Tom is blessed with a terrific singing voice, and lands himself a gig at trendy nightclub The Record Sleeve.  Mary meanwhile is also heading to London with dreams of being a fashion designer.  Their paths are destined to cross again.

 

Dominic Andersen as Tom Jones

                                                  

Bronté Barbé as Mary Western

 

And so the scene is set for a story of excess and true love, in the way all the best musicals deliver.  Naturally the entire evening depends on the charismatic performance of Tom Jones himself - that is to say the character of Tom Jones which all the publicity tells us is Henry Jones' rake not Sir Tom Jones (after all the story of a singer coming to London and getting a record contract whilst openly a bit of a lad in the romantic stakes, is nothing like Sir Tom's story at all!)  Dominic Andersen fits the bill perfectly, with a winning smile, a powerful voice and top hip moves. Everything needed to make Tom the object of desire not only of Mary,  but the audience as well. This is helped when he strips to his underwear revealing an ultra toned body. Andersen's performances of some of Sir Tom's greatest hits are a winner, ensuring that we are very much on his side despite his sometimes caddish behaviour.  Bronté Barbé as Mary, the object of his desire brings a torch song delivery to "Without Love" and rightly stops the show.  Mary is the down to earth girl we know Tom needs,  but he is distracted by the cougar that is Lady Bellaston played by Kelly Price.  All sass and no knickers,  she strives to keep Tom for herself. 

There is fine support from bubbly Ashley Campbell as Tom's erstwhile tutor Mr. Partridge who, in a not too subtle sub plot, encounters a boutique manager named only The Girl In The Polka Dot Dress (there is a guessing game as to her actual name which is revealed near the end) with Rebecca Hinds giving her 'Hello darlin'' Pat Butcher school of East London charm.  Again their duet "Help Yourself" proves one of the evenings highlights.  Harry Kershaw as Blifil, the smarmy solicitor who believes he is the right one for Mary, is another well sculpted performance. The audience promptly fell under the spell of Lemuel Knights' rendition of "Delilah" which is off the scale wonderful. A word too in praise of the high energy ensemble who sing their hearts out and deliver some stunning dance moves along the way.  They make the show the infectious joy it is.

Jon Bausor's multi-purpose set and Janet Bird's evocative costumes give the production a very strong visual flavour,  mixing elements of 1960s pop culture with more foppish historical influences. If I have one criticism its that DiPietro's script needs a bit of work in the first act. The early scenes feel a bit ploddy but of course this is a preview performance, and there is plenty of scope for revising and amending.  Act Two is a breeze as the camp-ometer revs up to maximum.

Musical director Josh Sood leads his superb eight piece band into some serious pop and soul.  I think one of the things I have missed most during the long Covid closed season is hearing a live band just raise the rafters with their glorious talent. We have it here in spades.

What's New Pussycat? has the makings of a major hit show and it is fair to say the reception on the night I went was ecstatic. And why shouldn't it be. The show has the blessing of some of the biggest hits of Sir Tom's 1960s chart topping peak, not to mention several from his career reviving Reload album from 1999.  Right now this country needs some feel good vibes, What's New Pussycat? has two hours worth of sheer pleasure.  Mama told me not to come, but I'm bloody glad I did.  

Rob Cope for Doctor Theatre 

 

For further information visit the official website whatsnewmusical.com