Sita Thomas interviews Polarbear, director of Sound and Fury

Sita Thomas interviews Kate Tempest, cast member of Sound and Fury

Dan Hutton reviews Matilda, A Musical

Matilda, A Musical

book by Dennis Kelly, Music and Lyrics by Tim Minchin
based on the novel by Roald Dahl
at The Courtyard Theatre, Wednesday 10th November 2010

 On paper, Matilda, A Musical looks like a winner. Based on the original children’s novel by Roald Dahl, with a script by Dennis Kelly supported by music and lyrics created by comedy genius Tim Minchin? What? AND it’s directed by Matthew Warchus? Could any production live up to such a hype? Well, there’s a simple answer to that question: yes it can.

Matilda is the perfect children’s story. We watch as a young girl with an extraordinary mind overcomes all odds to overthrow the domineering adults around her. She is ignored by her family and detested by her headmistress, the towering Miss Trunchbull, who sees all children as maggots. This is how many adults look like to children, and for once they aren’t allowed to get their way.

This new production is far more faithful to Dahl’s original novel than the later film version. Matilda’s magic is shown to be miraculous, rather than the superpower it was later made to be. One rather curious addition is that of a storyline explaining Miss Honey’s childhood situation. It sometimes seems rather redundant, but does create a closer bond between Honey and her pupil. Having another story to divert our attention away from the main arc is often a welcome break.

Dennis Kelly’s book appeals to both adults and children alike. It is witty, daring and moving, and speaks to everyone, without patronising or confusing. It is simple, and is complemented perfectly by Tim Minchin’s music and lyrics. The lyrical dexterity with which he writes is nothing short of miraculous in itself, and we often hear his voice coming through, especially in songs such as ‘Quiet’ and ‘My House’. He is the ideal wordsmith for this musical; many of the songs hold within them amazing existential thoughts but always have a cheeky childishness embedded within.

The design is clearly based on drawings by the original illustrator, Quentin Blake. Scrabble tiles adorn the theatre, and the costumes are all larger than life. Miss Trunchbull looks like exactly like we remember her all those years ago, and along with the children they all look like they could have been sketched by Blake. Rob Howell’s design emphasises the beauty of words, and is lit vibrantly by High Vanstone.

The entire cast is superb, portraying caricatures while remaining human. Josie Walker and Paul Kaye capture the ignorance of the Wormwoods with flair, and Lauren Ward as Miss Honey beautifully offers a vital counterbalance to them. Initially, the choice to play Trunchbull in drag is somewhat disconcerting, but the hilarious Bertie Carvel brings out the headmistress’ masculinity, and during fleeting moments we pity her. As the eponymous hero, however, Adrianna Bertola is extraordinary, and offers both the intelligence and playfulness required. When Bertola is on stage, all eyes are on her.

As it stands, the show (it is still in previews), at almost three hours, is slightly too long, especially for a show with a young audience. It also feels like too much action is played to the central auditorium, and that pulling back everything a metre or two would benefit everyone. Of course, these are the sort of things which will smooth over after previews, but they certainly need to be addressed. Then again, our minds are usually on other things, namely chalk magically writing on blackboards.

Matilda, A Musical is no doubt going to be the must-see show this Christmas. Is is a joyous, magical and wonderous retelling of a treasured story. We understand the power of words and of reading, something too-oft forgotten in this technological age. Minchin’s songs will play over and over again in your head and some of Kelly’s script will be etched in your mind for months. Watching the production, something miraculous happens: we feel our adult selves regressing into children we once were and see the memories come flooding back. Again, a perfect demonstration of the power of theatre. West End transfer, anyone?

Dan Hutton reviews two shows in our new theatres

What You Will & Light's Sound Action! At the Swan and Royal Shakespeare Theatres, Wednesday 15th December

The Royal Shakespeare Company are certainly firing on all the engines at the moment. Not a day seems to go by without some event to showcase the new theatres. On some days audiences are treated to more than one, and the brilliant thing is they could not be more different.

Roger Rees’ one-man show What You Will is a cross between stand-up and traditional performance, mixing anecdotes about Shakespeare with some of his most famous speeches. Rees has condensed some of the most memorable and entertaining moments of his professional life into a ninety-minute show which stretches from laugh-out-loud funny to deeply moving.

We start with Rees joining the RSC with his friend Ben Kingsley, telling us how he was given non-speaking roles, essentially playing a “mime-artist”, before moving on to greater things. We hear mention of Olivier, Richardson and Dench among others, and hear fleeting moments of greatness. Another structuring method is the use of reference to Rees’ four favourite actors, providing anecdotes on each to strengthen our understanding of the trials and tribulations faced by the Shakespearean actor.

But it is not all storytelling. Inserted throughout are references to the views of Dickens and Shaw on the Bard and advice to actors from the 1940s. Most engaging are the answers given by pupils about the works of Shakespeare, providing nuggets of hilarity at regular intervals, such as “Shakespeare was born in the year 1564, supposedly on his birthday” and “He wrote in Islamic pentameter.”

Most successful are the famous speeches, however, and the rest of the performance pales in comparison when Rees utters the Bard’s immortal words. We are treated to Sonnet 18, the Prologue to Henry V and Romeo’s address to Juliet on her balcony. Some of the most famous words in the English language spoken afresh. It sometimes seems that the rest of Rees’ show is simply a vehicle to showcase this enormous talent, but this shouldn’t sound like a criticism. Most would be happy to sit through dirge to see these lines spoken by such a wonderful actor.
Following What You Will we can kill a few hours exploring the new theatre complex. The insults chair and tower are worth a look, and one has to keep an eye and ear out for
quotes projected onto various walls and spoken from small crannies. The Swan exhibition room seems somewhat lacking at the moment, concentrating on the transformation project, but will no doubt take on a life of its own when hosting new installations.

The day finishes with a demonstration of the tech in the new Royal Shakespeare Theatre in Lights, Sound, Action. We are introduced to the lighting, sound and automation managers for the company before being treated to a demonstration of each. At times there are a few too many in-jokes to be funny to outsiders, but what is said is interested nonetheless. The real treat comes at the end of the evening, when the lighting, sound and automation departments put their skills together, turning the theatre into a Disneyland-ride-cum-disco. Sound rumbles through the floor, lights swivel rapidly and levels are raised and lowered from the gods. A simple idea, but one which truly showcases the scope of the new space. A director’s dream.

Matilda Review by Lottie Clitherow

Matilda, A Musical

Directed by Matthew Warchus

Royal Shakespeare Company, The Courtyard Theatre, Stratford-upon-Avon
Friday 19th November 2010

 

As an audience member word-perfect with the original Roald Dahl book and a fierce fan of the 1996 film version, I approached Matilda, A Musical with some trepidation. However, with Matthew Warchus at the helm, a book by Dennis Kelly, music and lyrics by the comedy legend Tim Minchin, and choreography by Peter Darling, this production combines Dahl’s broad appeal with the magic of the theatre, and is nothing short of a triumph.

Matilda tells the captivating story of an unforgettable young girl, overcoming the overbearing adults around her. Josie Griffiths is mesmerising in the title role, bringing intelligence and vulnerability to the role. Matilda sings ‘when you are little you can do a lot’, which is aptly demonstrated in the performances of the extraordinarily talented schoolchildren, who attack Darling’s energetic routines with unparalleled enthusiasm and astounding professionalism.

The entire cast is excellent. The grotesque Miss Trunchball, played by the hilarious Bertie Carvel, moves as a living Quentin Blake drawing, and is at times completely terrifying. Paul Kaye and Josie Walker skilfully caricaturise the ignorant Wormwoods, and Lauren Ward is the perfect counterbalance with her suitably sweet Miss Honey.

Dennis Kelly’s script appeals to both adults and children, while Minchin’s songs are a perfect accompaniment. Minchin demonstrates his lyrical dexterity and comedic cheekiness with tunes that will remain in your head for days. In particular, ‘When I Grow Up’ will leave many parents misty-eyed.

Most importantly, with a finale entitled ‘Revolting Children’, Matilda, A Musical is a production of which Dahl himself would have been proud.

The RSC Key takes a look at the RSC Rooftop Restaurant

Rooftop Restaurant Review

RSC's new dining experience sits head and shoulders above Stratford's other restaurants.

By Daniel Douglas

With well over fifty options for an evening meal within the town, it's very difficult for a restaurant in Stratford-Upon-Avon to offer something new. The RSC's recently opened Rooftop Restaurant, however, does exactly that. Situated on the third floor of the newly refurbished building, it offers stunning views and exceptional food in a stylish and unique setting.

Sitting amongst the Art Deco furniture, under fantastically high ceilings and soft lighting, the place oozes understated elegance and sophistication. The restaurant curves dramatically around the building in a sweeping arc; long, thin and graceful, with a bar at either end. It's evening, and the floor to ceiling glass panels which look out onto the town are peppered with tiny lights from the streets below. The relic wall, dark red brick on one side, whitewashed on the other, divides the space, giving a close, intimate feel to what is in fact a very large area (the restaurant's full capacity is over 100). The wall also evokes history, and is one of many aspects of the Rooftop Restaurant that blends past and present.

The menu itself brings together innovation and tradition, with starters such as seared skate and pork cheek with butternut squash and raisin relish, main courses like Middle White pork fillet with butter poached potato, apple and black pudding, and desserts such as baked ginger parkin with rosemary syrup and beer sorbet. Unusual cuts of meat, rare breeds, regional cooking and eyebrow-raising combinations come together to make an exciting and original menu.

Wherever possible, ingredients are locally sourced, from the Cotswolds and the Vale of Evesham, for example. The menu changes regularly, and an effort is made to include seasonal produce. Every recipe is resolutely British-sounding, even to the point of being ludicrous; the undeniably French créme brulée is disguised under the pseudonym of Cornish burnt cream.

Everything I ate was excellent, and I cannot wait to return. The food is beautifully presented, and the flavours well-balanced. The sirloin of beef with cashel blue potato cake and baby beetroot was truly delicious; tender, succulent and bursting with flavour. The chocolate mousse with tangerine compote and hazelnut brittle (pictured) looked and tasted wonderful; the richness of the chocolate contrasting with the acidity of the tangerine and the crunchy, nutty hazelnut. The service was efficient, polite, patient and knowledgeable. A special mention must be given to the cocktails, which were absolutely first class, and far better prepared than anywhere else in Stratford. So, if you're 18 or over, take a seat at the bar and enjoy one after your meal. I guarantee you won't be disappointed.

In terms of price, a meal for two could cost upwards of £100, but with the fixed price menu offering two courses for £14.95 and three courses for £17.95, eating here doesn't have to break the bank. RSC Key members, don't forget that you are eligible for a 10% discount on all food and drink at the Rooftop Restaurant.

To make a reservation visit www.rsc.org.uk/visit-us/stratford/rooftop-restaurant, or call 01789 403449.

           

Daniel Douglas talks to our new Restaurant Manager

Chatting Up In The Air

Restaurant manager David Williams talks about the RSC Rooftop Restaurant

by Daniel Douglas

David, let's get straight to the juicy bits. Tell us about the menu.

Well, we wanted to offer something a bit different to people: unusual tastes, exciting combinations. There are some great, quirky, innovative things on there. As for the cuisine, it needed to be British really. We're not in France, afterall. There are traditional elements that we've tried to revitalise, as well as the best in modern British cooking. Our aim is to source as much as possible locally, to offer seasonal produce, and to bring out the fullest of flavours in everything we cook. The fixed price menu will be changing every four to six weeks, and the dining room menu every few months.

If you were eating here tonight, what would you have?

I think maybe the Middle White Pork – it's phenomenal. The Middle White is a breed of pig that was famous prior to the Second World War for its superior taste, and was very popular. It went out of circulation during the war, where meat rationing led to a quantity over quality approach to breeding. The meat is wonderfully tender, and it melts in your mouth.

You look very suave and sophisticated sitting in that armchair with the low lighting– very bond villain.

Haha. Thank you very much. There is an area here with sofas and armchairs, and a relaxed feel, perhaps for a pre-theatre drink, or some snacks, or a coffee. The main restaurant area is also very stylish I think. We tried to make it intimate, and softly lit. The relic wall has been retained, an homage to the old, and splits the restaurant in two. This complements the modern furniture, decor, crockery and glassware chosen. Like everything else, the setting is a fusion of old and new.

I came here about a month ago with some friends, and I must say everybody thought that the food, drink, and service were all fantastic.

Thank you very much. We've received a lot of feedback from customers, and generally it's been very favourable. There's something for everyone. Tender, succulent slow-roasted meat for the carnivores, unusual cuts such as pork cheek for the adventurous, curious combinations like rosemary syrup and beer sorbet, sticky toffee pudding if you're feeling traditional, chocolate mousse with tangerine compote for the sweet-toothed.

What did you learn from that feedback? Is there anything you think you need to work on?

The restaurant is still developing, and we are working on lots of different things. One is the lack of choice for vegetarians – there is only one option currently – and hopefully that will be rectified with our next menu change. Many people, including me, love the atmosphere and being able to hear some of the sounds of the theatre as they dine: the bustle, the noise, the laughter, and so on.

Anything to say specifically to RSC Key members?

Yes, there is something for every taste, and every budget here. It's possible to spend a lot of money here if you so wish, but the fixed price menu is only £14.95 for two courses, or £17.95 for three courses. And don't forget, RSC Key members get 10% off all food and drink.