Tag Archives: Sid Sagar

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“Cabaret” at the Kit Kat Club

Still a hot – and pricey – ticket since opening last December, Rebecca Frecknall’s production of John Kander and Fred Ebb’s musical is now on its third set of leading performers. And it has seven Olivier Awards to boast about. There’s a special thrill about seeing a hit – and a sense of success fills the air of the refurbished Playhouse Theatre. This one’s getting better and better.

As for the awards, Frecknall is a deserving recipient for directing such a bold show. But I’m a little surprised choreographer Julia Cheng didn’t get an accolade: her work adds tremendous interest and, with the ensemble at work before the show and during the interval, is a big part of making the evening special. Likewise, the design from Tom Scutt, whose set makes the interior lush while the costumes aid the performers, could easily have picked up a trophy.

It was the performers who gained most of the gongs, so a change of cast could be tricky for the production. But never fear. Taking the roles of Emcee and Sally Bowles are exciting young stars Callum Scott Howells and Madeline Brewer. Sid Sagar brings plenty of intensity to Clifford Bradshaw, while Vivien Parry and Richard Katz play the story’s older romance with sweet and melancholic touches.

Just as important as the famous characters, the whole ensemble have the confidence to support the leads and shine in their own right. There are a lot of eye-catching moves and humour from the Kit Kat Club’s performers. Everyone is given a moment in the spotlight and grabs it, but they work together wonderfully, particularly bringing Cheng’s dance – both gritty and otherworldly – to life.

The show has grown in humour. This was my only reservation from an initial visit. There’s more fun at the start. The number, Two Ladies, is a lot ruder! And there’s a looseness to the performances that works well. Scott Howells seems particularly relaxed and his Emcee is really enjoying himself. It’s not just a question of more fun for all. Less tension at first makes the drama to come more powerful. Cabaret was great to begin with and has now found its feet to becomes something even more special.

www.kitkat.club

Photos by Marc Brenner

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“The Starry Messenger” at Wyndham’s Theatre

Reprising his mammoth role in Kenneth Lonergan’s 2009 play proves an undoubted triumph for Matthew Broderick. As Mark, a “pedestrian” teacher of astronomy classes, Broderick delivers the text’s wit perfectly and sparse moments of emotion are superbly handled. But consider what an odd creation Mark is, being notable for dead-pan defeatism, extraordinary patience and unbelievable politeness. It’s a bizarre idea for a play to revel in how boring the main role is. Broderick meets the challenge with winning appeal and remarkable control. Yet nothing can make time with this character and his mid-life crisis stellar.

Lonergan’s odd strategies are clear in his dialogue, too. Ruthlessly pursuing a mundane realism means that long conversations go nowhere and are filled with pointless details. It’s an achievement of sorts but hard work for an audience. And, in case you’re wondering, we’re not talking metaphors here – Mark is insistent about that! As for the play’s plots, to have so many stories covering so many themes – death, divorce, family, faith and education – then not to develop them must be deliberate. The quirkiness has a certain charm, which director Sam Yates does an expert job in delivering. And yet… Presenting us with the cosmos and dry cleaning – big themes and minutiae – may take us close to everyday life, but it makes for pretty dull theatre.

There’s plenty to appreciate as Lonergan downplays the various dramas he sets up. Yates garners superb performances from a talented cast that form a collection of scenes with memorable moments. Elizabeth McGovern does well as Mark’s long-suffering wife, while Jim Norton gives a strong performance as a man at the end of his life. Even Mark’s pupils are well delineated (Jenny Galloway and Sid Sagar) although far too much time is spent in these scenes. And Rosalind Eleazar nearly steals the show as a nurse in training who starts an affair with Mark. Managing to make her passion for the man believable is no small achievement.

There’s a warm glow from all the characters – more or less reasonable, articulate and well-motivated – which indicates Lonergan is making a point, again. It’s another way to stifle drama. Most of us walking in on an illicit kiss would surely react a little more pointedly than we see here. For The Starry Messenger it all seems to be something to shrug at. That life has no meaning is a little too clear, and religion and spirituality are dismissed too repeatedly – at least to make good drama. But, like it or not, most of us search for insights from a play. What this one has to say about morality and mortality ends up slim. Three hours is a long time to point out that people are insignificant specks in the universe. Such a message is hardly out of this world.

Until 10 August 2019

www.starrymessengerplay.com

Photo by Marc Brenner

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“Little Pieces of Gold” at the Southwark Playhouse

This night of new writing produced by Suzette Coon is a great chance for future star spotting. There are nine up-and-coming writers, not forgetting the directors, and 23 actors helping them out. It’s an exciting testament to the creativity and talent of the theatre scene.

Interestingly, the first three pieces all had a connection to the justice system. Abraham Adeyemi’s subject was a post-murder scene, Rachel Archer’s a court-enforced mediation, but the one that stood out was by Tatty Hennessy as it switched from laughs to drama effectively and had a strong performance from Louisa Hollway. And more good comedy with Sid Sagar’s The State We’re In: a multi-racial flat share scenario that raised risqué questions and benefited from a strong quartet of performers, including Leila Damilola as a clueless representative of the Home Office.

After the interval there were three plays centred on young love and college, the funniest being the evening’s finale, Vegan Visiting by Micah Smith, which showcased the talents of its director, Jaclyn Bradley. The most interesting pieces were set in the world of work. Corinne Salisbury’s Girlboss imagined a disciplinary hearing and had an impressive amount to say – well done to director Georgie Staight for handling the thought-provoking content. The boldest writing was Tom Collinson’s Percy –about an older employee facing obsolescence, which benefitted from Mike Hayley’s excellent performance.

 Little Pieces of Gold is an event to add to the calendar. And, given the size, one that’s a little intimidating to write about. It isn’t a competition, thankfully, but searching for stand out is irresistible. My critic’s fingers are crossed for those I’ve highlighted. Apologies to those left out and here’s the sincere hope that they prove me a fool.

www.littlepiecesofgold.co.uk