Tag Archives: menier chocolate factory

Barnum (Menier Chocolate Factory)

Set in the round, this tale of the circus’s greatest showman boasts a memorable score by Cy Coleman and Michael Stewart.

The Menier has turned the bar area into a museum of curiosities ‘on loan from the estate of PT Barnum’, into which ringmaster Dominic Owen kickstarts the show by looking for Tom Thumb – in the auditorium itself there are coloured lightbulbs, posters and a circus ring with a tiny stool and piano.

The original productions of Barnum, starring Michael Crawford and Jim Dale, are renowned for their comic timing, showmanship and stunts. This production is high energy but falls a bit flat in its leading performance; Marcus Brigstocke interacts well with the audience in the second half, but his voice is weak and he looks more like a fish out of water than the centre of attention. If Barnum doesn’t steal the show (although he did make it across the tightrope in one go), then there’s something not quite right.

As the ladies in his life, Laura Pitt-Pulford makes a steely yet touching Chairy, while Celinde Schoenmaker hits the high notes as the Swedish nightingale Jenny Lind.

In the ensemble, Owen catches the eye throughout with tumbles and liveliness, Preston and Kelsey Jamieson do lifts and fire work, and the company perform a range of routines from a brass band and tap dancing, to aerial hoops and basic magic tricks (some of which involve the audience at the start).

Recommended even with the central miscasting, director Gordon Greenberg uses the space well and Harry Francis dances with aplomb as Tom Thumb. There’s even a tiny toy train to represent travel and a range of model buildings hoisted on hooks to show location, and ‘a real live elephant’. It’s all rather charming and displays quite an amount of what Barnum describes as ‘humbug’.


Lettice and Lovage (Menier Chocolate Factory)

This revival of Peter Shaffer’s 1980s play is one of two productions running at the Menier at the moment, both directed by Trevor Nunn.  It is the story of a theatrical tour guide who embellishes historical fact to entertain those who visit Fustion House (‘fusty old house’, in our minds).

The first scene is replayed four times across a fifteen minute slot, in which Miss Douffet makes the most of an Elizabethan legend on an old staircase, delivered in an exaggerated stage voice.  Douffet is played by Felicity Kendal, who wears loud and vibrant clothes and has tattoos on her foot and ankle.

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Her over-the-top style gets her in trouble twice, first with a tetchy historian who asks for her sources, then with a civil servant who commands her presence in the offices of the Preservation Society.  This is the staid Miss Schoen, whose father was a German art publisher, but who hates theatrics.  She’s played by Maureen Lipman, who is stiffly arch, especially in her exchanges with twittery secretary Petra Markham.

The turning point comes with a very unconvincing prop cat, and a wildly addictive drink which contains the herb lovage.  It turns Miss Douffet almost human (and we discover her forename is Lettice), and allows Miss Schoen to unbend as she becomes more tipsy (and her forename is Charlotta).  Lettice talks of her mother who played both Richard III and Falstaff – with utilisation of the same pillow for costume.  Lotte tells of a bomb plot she and a boyfriend had in their youth to destroy the hated Shell Building.

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The final act is bizarre, with Sam Dastor as a solicitor defending Miss Douffet (she engages him because his name is Bardolph, which suggests something rather different to the reserved man we see before us).  It would spoil the fun to say why she has been arrested and charged, and we are caught up in an amusing piece of roleplay re-enacted for us in the final few minutes.

This is not a ground-breaking play, but it is acted well, and is a perfectly reasonable piece of entertainment.  I liked the relative simplicity of the sets, which include a picture frame which showcases the sense of where we are (the exterior of Fustion House, the terraces of Earl’s Court), and found the performances on point for the ridiculous plot.


She Loves Me (Menier Chocolate Factory)

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A delightful revival of the Sheldon Harnick and Jerry Bock musical is running on London’s fringe right now, and I heartily recommend it.

You might have come across this story before, in the films ‘The Shop Around The Corner’, ‘In The Good Old Summertime’ or ‘You’ve Got Mail’.  You might have seen the versions shown on television in 1978 and on digital live-streaming last year.

Georg Nowack (played at the performance I saw by understudy Peter Dukes, who was rather good, if a little plain) is an awkward bachelor who serves as one of the sales clerks in the perfumery of Mr Maraczek (Les Dennis, whose decision to use a truly awful accent colours his role) in 1930s Budapest.  He’s been corresponding with an unknown lady after placing an ad in the lonely hearts column, and he’s going to meet her soon for the first time.

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Amalia Balash (a perky Scarlett Strallen, who steals the show with her “Vanilla Ice Cream”) comes to the shop for a job and instantly finds herself at odds with Nowack, and she is also corresponding with a ‘Dear Friend’ which we quickly find out, is her nemesis himself.  In the meantime, Ilona Ritter, a vision of bad hair dye and thick make-up (played with scene-stealing effervescence by Katherine Kingsley, who has a whole library of comic expressions and barely disguised malice) is dating smarmy cad and fellow shop-worker Steven Kodaly (Kingsley’s real-life spouse, Dominic Tighe, who is perfectly hissable) and watching her life slowly slip away.

The main cast is rounded out by Ladislav Sipos (Alastair Brookshaw, playing the twitchy family man who ‘never disagrees’, with aplomb) and a new discovery, Callum Howells as delivery boy Arpad Lazslow, whose “Try Me” is an Act 2 delight.  Norman Pace has joined the cast as Head Waiter, and he’s lots of fun in the restaurant scene, and surprisingly strong-voiced.  I also liked the couple who found romance through reading: “Victor!”  “Hugo!”

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For a fringe production in a small venue, a lot of thought has gone into the revolving sets and production design, and Paul Farnsworth definitely deserves praise for his sparkles, bright colours, and leaf/snow combination indicators of the change of the seasons.  Fine choreography too, and a more-than-decent house band give the fifty-something songs life and breadth (although the repetitive ‘Thank you madam’ refrains could easily be chopped after the first couple of times).  If only the wigs had looked a little more realistic, it would have been quite perfect; but this is a fun little confection that certainly raises a smile in this winter season.

‘She Loves Me’ continues at the Menier until the 4th March 2017.


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