The Lord of the Rings – a musical tale at The Watermill- review

Watermill version of Tolkien musical is small but beautiful

★★★★

Three male actors (Louis Maskell, Matthew Bugg and Nuwan Hugh Perera) in The Lord of the rings A Musical Tale at the Watermill Theatre in Newbury August 2023 — Louis Maskell, Matthew Bugg & Nuwan Hugh Perera in The Lord of the Rings. Photo: Pamela Raith

This musical version of The Lord Of The Rings was once a no-expense-spared spectacular that became the West End’s most expensive flop, described by one critic as ‘bored of the rings’.

This revival at The Watermill Theatre in Newbury, Berkshire, is a more modest affair that focuses on the small fellowship at the centre of the story. It relies on the power not of the ring but of acting, and gives more weight to the innate quality of the musical itself.

I have seen the films and read the books, but so long ago it was almost in the Second Age. I certainly wouldn’t describe myself as a fan of Sword and Sorcery in general, or Tolkien’s combination of nostalgia and whimsy in particular, so I probably wouldn’t choose to go to this show if I hadn’t been invited to review it. However, I took a major devotee of The Lord of the Rings with me for a different perspective.

When I think of the films, I remember huge battle scenes but, when I think of the books, I remember those ordinary, frightened hobbits finding strength when it’s needed. Director Paul Hart’s emphasis in this version of the musical is very much on the latter, showing the effect war has on the everyday people who are called to serve a cause. This is at the heart of why his magical production triumphs.

The Watermill team has gone all out to make this a special event. When we arrived at the front lawn, we found a hog roast and other food, and a beer and wine stall, perhaps reflecting the hobbits’ passion for food and drink. Then it’s round the back to the Watermill’s garden, a verdant setting perfectly suited to represent the Shires, the bucolic homeland of the hobbits that must be defended. We join the celebrations for Bilbo Baggins’ eleventy first birthday. John O’Mahony combines perkiness with wistfulness in the role of the old hobbit.

It’s here that we first meet our heroes- Frodo and Sam, as well as their fellow travellers Merry and Pippin, and the wizard Gandalf, given an authoritative but kindly demeanour by Peter Matrinker.

Soon the quest to destroy the One Ring and thereby curb the power of the evil Sauron begins, and we transfer to the auditorium where the adventure will take place. You may be relieved, given the current summer, that you can put aside any worry that this might be a largely outdoor production requiring a mac and wellies.

If you’re familiar with The Watermill, you will know that it has a hobbit-scale stage, so Simon Kenny has designed a deceptively bare set to allow room for the many characters and their encounters. However, he has covered the floor and back of the stage in wood that blends with the existing wood of the auditorium to create an all-encompassing atmosphere.

There are double doors at the back, decorated with Celtic knots, and a lift that raises characters above the action. Vivid back projections by George Reeve create a sense of place, from the Elven settlement of Rivendell to the fires of Mount Doom.

Since the floor is empty, it’s mostly down to the quality of the acting of the cast of twenty to create each scene. There are also no concessions to height, even though the story repeatedly makes the point that hobbits are small creatures, so the actors’ achievement is all the greater.

You may gather this is the polar opposite of a spectacular production. We begin, end, and are always rooted in the simple home-loving community of the hobbits, and we see the great war between good and evil from the viewpoint of these ordinary people plus the small band of allies they acquire. We only observe those major battles that so impressed in the films in microcosm, as our heroes engage in one-on-one fights. And the fights, directed by Dani McCallum, are tremendous. There is excitement in buckets as they swing their weapons and duck and dive, sometimes in slow motion, and starkly lit by Rory Beaton.

Great acting is at the heart of the production

Mostly it is the intimacies of the relationships that take centre stage, often in the form of warm or tense exchanges. We witness the growing bravery of the pacifist hobbits, such as the timorous Pippin played by Amelia Gabriel overcoming her fear of trees and the bouncing enthusiasm of Geraint Downing as Merry. We see the warm-hearted but melancholic Frodo displaying inner conflict as the ring tempts him to the dark side (sorry, I’ve gone a bit Star Wars there). It’s a riveting performance from Louis Maskell.

We observe Nuwan Hugh Perera‘s Sam subtly growing from a bright-eyed and bushy-tailed follower to a strong clear-eyed leader as the story progresses. The separated lovers Arwen and Aragorn, played by Aoife O’Dea and Aaron Sidwell, add poignancy. Then there’s the growing respect between the brave but hotheaded dwarf Gimli, played by Folarin Akinmade, and the proud elf Legolas played by Yazdan Qafouri. Tom Giles doubles up as two contrasting leaders- the wise elf Elrond and the scheming wizard Saruman. Peter Dukes (who impressed in The Watermill’s version of Sondheim’s Assassins) reveals bravery and vulnerability as Boromir.

The Lord of the Rings at The Watermill. Photo: Pamela Raith

Not that the production is without spectacle. The most startling and frightening moment comes when a giant spider emerges from the back of the stage and advances on Frodo and Sam. Puppetry designer and maker Charlie Tymms and puppetry director Ashleigh Cheadle deserve credit for that and for some other impressive creatures like the Black Riders.

The intimate nature of this production allows the music to shine. As is a trademark of The Watermill, many of the actors play instruments and sing, beautifully in the case of Yazdan Qafouri and Georgia Louise who also gave an authoritative performance as the Elfin leader Galadriel. The music is by A R Rahman, Värttinä and Christopher Nightingale. The combination of English folk, haunting ballads and Indian style songs works very well in conveying the Peter mood and emotion of the show. There is much exhilarating dancing too choreographed by Anjali Mehra.

It has been described as an immersive production. This is not really the case. We stay in our seats and on the whole the actors stay on the stage. When they don’t though, as when Gollum climbs, almost slithers, around the gallery rail hissing ‘my precious’, it emphasises how much we are part of this journey. Matthew Bugg’s athletic, contorting, slimy Gollum is a star turn, as he wavers between virtue and sin.

The Watermill has been severely hit by the loss of its Arts Council grant, so it’s even more extraordinary that this small theatre in Newbury has been able to achieve what major producers with millions at their disposal were not.

The only reservation I have is that I wished I could have engaged more with these characters and Tolkien’s world of elves and orcs, but there was always a voice whispering in my ear: ‘what a load of tosh’. And, no, that wasn’t the voice of my companion. He loved it and would give it 5 stars.

I loved it too but I do think, at over three hours, it’s a bit too long for the simple story this musical has to tell, and too short to do justice to the complexity of Tolkien’s three weighty books.

The Lord Of The Rings can be experienced at The Watermill Theatre until 15 October 2023. Tickets are available from watermill.org.uk
Paul was given a review ticket by the producer.
Click here to watch this review on YouTube

April 6, 2023May 4, 2023

Visitors by Barney Norris – The Watermill – review

Threatened theatre produces a jewel of a play

★★★★

Tessa Bell-Briggs and Christopher Ravenscroft in Visitors. Pamela Raith Photography

The Arts Council has cut its annual funding to The Watermill Theatre in Newbury which will be a tragedy for UK theatre if they are no longer able to produce shows like last year’s Whistle Down The Wind, Bleak Expectations (soon to open in the West End), or their current production of Visitors.

Visitors was written by Barney Norris about ten years ago and has been revived with the author now directing. It is a sad but ultimately uplifting play about the long-lasting relationship of an elderly couple, one of whom is succumbing to dementia, contrasted with the rootlessness of newer generations. It is beautifully written, both in its construction and in its language.

After my recent visit to A Little Life where I was bombarded with blood, violence and video, it was something of a relief to be witnessing a play that relies on actors and words- pure but never simple. The Watermill has a small stage and the designers Good Teeth use it well to create a farmhouse sitting room made for two and, to the sides, a suggestion of the ripe wheat fields that were the business of the farm and now being symbolically harvested.

The occupants are Edie and Arthur, now well into their old age. In many ways, the play is a eulogy to a rural way of life that has been lost in our consumer-driven metropolitan world. They met as very young people and have adapted to each other in the same way as they have lived their lives, with a kind of make-do-and-mend. They may not have had the family or the holidays they would have liked, but they have happy memories, especially of a wedding on a beach. They have come to rely on one another and take strength from their shared experience. They talk, well Edie talks mainly, but now, as Edie puts it, her dementia has created a dam that holds back what she wants to think and say.

Barney Norris is clearly interested in the power of roots and tradition. His adaptation of Lorca’s Blood Wedding at Salisbury Playhouse in 2020 was firmly set in the community of Salisbury Plain. In Visitors, the Wiltshire farm has been in Arthur’s family for three generations, but the continuity that it, and the elderly couple who have lived there all their married life, represents is under threat. Their son Steve isn’t interested in taking over the farm and has pursued a career in insurance. A young carer, Kate, has been drafted in to help them in their old age but she is neither skilled nor certain to stay.

The restless attitude of the newer generations contrasts with the stoicism and acceptance of the older one. Steve is dissatisfied with his life and whose marriage is on the rocks. The millennial Kate is drifting aimlessly. As Edie says to her: ‘You’re unsure because you could be anyone, really, and you don’t know which life to have.’ Edie may wonder what other lives she might have led, but is content with the one she did.

If Steve and Kate are visitors to Edie and Arthur, Edie in her more lucid moments regards us all as visitors to the earth for the duration of our lives, and sees that we must make the most of it, which she fears Steve and Kate will not, given the illusion of choice that today’s rootless world offers.

As the play moves towards the inevitable closing of the door on Edie and Arthur’s life together, we learn more about all four characters.

An authentic portrait of old age

Edie is revealed to be well-read and quite a philosopher, and, in her use of language, a poet. Her brain may now be letting her down in her interactions with others but she sees the patterns of sunlight across the room and over the wheat fields, changing but eternal. Tessa Bell-Briggs as Edie seamlessly segues between warm awareness and drowning in dementia, while always retaining the sense of who she is.

Three characters sit in a circle chatting and laughing in a scene from Visitors at The Watermill Newbury April 2023 — Tessa Bell-Briggs, Patrick Toomey and Nathalie Barclay in Visitors. Pamela Raith Photography

Arthur is quiet and, like many men of that generation, not given to showing his emotions, which makes the moment all the more poignant when, contemplating the prospect of Edie going into a home, he breaks down in tears. Christopher Ravenscroft gives a deep performance as a shy, gentle man whose eyes twinkle with contentment and who is horrified when his lack of social skills causes him to say the wrong thing. It’s a portrayal so authentic, you feel you know him from somewhere.

Patrick Toomey plays the middle-aged, but yet to grow up, son. As we find out more about him, his initial crassness gives way to a sense that, despite his different life choices, he is like his father in his inarticulacy and social blunders.

Nathalie Barclay is Kate, the slightly on edge young woman with blue hair who finds temporary security by caring for his parents.

Despite how I have described the play, Visitors is celebratory rather than depressing. Yes, all life is temporary and usually ends badly, but Edie and Arthur have had a fulfilled life, made so by things that can’t be accounted for by economists and marketers, like tradition, love and acceptance. I thank Barney Norris for putting it on record before people like Edie and Arthur end their visit to our world and their way of life disappears forever.

Visitors is running at The Watermill until 22 April 2023. https://www.watermill.org.uk/

Paul was given a review ticket by the producer

Click here to watch this review on our YouTube channel

July 29, 2022May 4, 2023

Whistle Down The Wind – Watermill – review

Do dance and a dead mother improve Lloyd Webber’s ‘problem’ musical?

★★★

Production photo from Whistle Down The Wind at The Watermill Theatre Newbury 2022 showing Robert Tripolino and Lydia White — Robert Tripolino & Lydia White in Whistle Down The Wind. Photo: Pamela Raith

This energetic production of Whistle Down The Wind at The Watermill Theatre offers a radical re-interpretation of Andrew Lloyd Webber’s problem musical. I say ‘problem’ because it’s never quite been the hit many of us thought it would be. The musical was launched in the USA back in 1998. I think it has one of Lloyd Webber’s better scores, the country rock style being preferable to his attempts at being a modern day Puccini.

You might think a clash of beliefs would be just right as a story for our times. In this case, the conflict is between children who believe an escaped prisoner (called The Man in the cast list) is Jesus and adults who think he is the devil incarnate. Yet, despite this, and Jim Steinman’s gothic lyrics, Whistle Down The Wind never made it to Broadway.

I suspect the fundamental flaw is that the leader of the children, Swallow, is not a child, as she was in the earlier book and film. Instead, she is portrayed as an adolescent and, really, too old to be so credulous. Maybe the decision was made so that an adult lead could be cast, maybe the authors thought it would be more interesting to include some sexual content. Whatever the reason, the wind never got into the musical’s sails.

Now Tom Jackson Greaves has been given a chance to resurrect this musical about a man mistaken for Jesus, and he has some radical ideas about how to make it work. So does his new interpretation solve the problem? I’m afraid not.

The show begins well. The set, a terrific design by Simon Kenny, is the interior of a building constructed of wide wooden planks, which merges with the auditorium and doubles as the church and the barn. The Watermill Theatre is an intimate space, so, from the start, it is as if we are part of the congregation and of the children’s conspiracy. And we feel the claustrophobia of this closed, deeply religious community, back in 1950s Louisiana. It’s a community that is wary of strangers and over protective of its children.

A spirited interpretation

So far so good, but, as I said, this is a major new interpretation. Tom Jackson Greaves has a long list of credits as a choreographer and, as director, he introduces a considerable amount of dance and stylised movement. This works well to enhance the emotional story and ratchets up the fraught atmosphere, as, for example, when the two sides circle to form impressive physical barriers against each other. And the clever use of dance as a metaphor enables The Man to move among them, right into the centre of scenes in which he would normally be hidden. This is done most notably in the powerful song Wrestle With The Devil in which the townspeople imagine The Man as The Devil.

The biggest change concerns Swallow’s dead mother. In previous productions, she has been an unseen presence, a catalyst in alienating Swallow from her father and therefore giving her greater motivation for wanting a parent figure in her life. In this production, her mother is an actual presence, watching over her shoulder and dancing with her. It brings grief to the forefront and therefore changes the balance of the musical, and indeed the balance of her mind. Grief seems to guide her every thought and deed. It may be an attempt to explain her irrational behaviour but there is, in my view, nothing in the script to justify this interpretation. In the end, it confuses rather than clarifies.

The Mother- beautifully danced by Stephanie Elstob– mostly gets in the way. In the A Kiss Is A Terrible Thing To Waste scene where Amos wants to kiss Swallow and The Man watches and comments, the Mother gets involved too and the tense musical trio becomes a muddled dance quartet. The stage is small enough as it is without squeezing a supernumerary.

Grief or Belief?

Much more than grief, Whistle Down The Wind is a musical about belief, particularly extreme beliefs. Its most well known song, the bland No Matter What, is an anthem for anti-vaxxers and climate change deniers. ‘What you believe is true’ is the essence of a divided society in which the two sides will not listen to a different point of view or accept evidence or be prepared to compromise. The children believe The Man is Jesus, the adults believe he is the Devil.

The musical is also about belief in people. We see that it can help redeem an individual, as in the moving scene between The Man and Swallow in which he sings Nature Of The Beast and realises that his life could have been different if someone had believed in him.

Robert Tripolino is outstanding as The Man. He has the right haunted look but also a powerful voice that moves up into a gorgeous falsetto. Lydia White as Swallow is also excellent. Her singing and acting display all the conflicting emotions of this adolescent girl and she plays the part of a grieving daughter with a convincing edge of anger.

Among the other actors, I liked Chrissie Bhima who gives a strong performance as Candy, cheated in love, and the only character with the willpower to leave.

As usual with The Watermill’s musicals, the hard working actors also play instruments. I noted particularly Emma Jane Morton, a one woman wind section including plaintive playing of a flute and saxophone. And she musters a wonderfully stern look as one of the townspeople. Alfie Richards plays his electric guitars beautifully, and sings well. Lewis Cornay as Amos, the rebel without a cause, could have stepped out of a boy band.

So, it’s a vigorous production but the problem of this musical is still to be solved.

Whistle Down The Wind can be seen at The Watermill Theatre until 10 September 2022. Tickets from watermill.org.uk

Click here to watch this review on the One Minute Theatre Reviews YouTube channel

Paul received a review ticket from the producers

Changes made 29 July 2022: First sentence: ‘energetic’ added. Last sentence: ‘good effort’ changed to ‘vigorous production’.

February 2, 2022May 4, 2023

Spike by Ian Hislop & Nick Newman – review

An entertaining look at a comic genius but without his anarchic spirit

★★★

Production photo from Spike by Ian Hislop and nick Newman at The Watermill Theatre in Newbury UK — Spike at The Watermill Theatre. Photo: Pamela Raith

Spike by Nick Newman and Ian Hislop at The Watermill Theatre is a labour of love. Spike Milligan had a long association with Private Eye and the authors, both from the magazine, clearly feel great affection for him. However, they faced three challenges in conveying his comic genius, and weren’t entirely successful in overcoming them, despite devising an entertaining play

Firstly, I’m not sure that many people under 60 will know about Spike Milligan or remember The Goon Show. He was a brilliant comic writer and performer, best known as the writer of The Goon Show. Trouble is, the last Goon Show to be transmitted on what was then called the BBC Home Service was back in 1960, followed by a couple TV specials over the next decade or so.

It was Milligan’s surrealist and absurd humour that made The Goon Show a phenomenal hit. He was an acknowledged influence on future comedies and comics including Monty Python and Eddie Izzard.

After The Goons, Milligan continued to be a fountain of anarchic humour. He wrote poetry, plays, and books, and appeared in a number of TV programmes through the 70s and 80s. He died twenty years ago.

The Goon Show is still what he’s best known for and that’s what this play concentrates on. We see the early resistance from the BBC to the Spike’s revolutionary and rebellious style, through to the show becoming hugely popular. We also learn about Spike’s difficult personal life, his traumatic experience as a soldier in the second world war and his mental illness, and how the pressure of writing the Goon Show took its toll.

Secondly, the actors playing Milligan and his fellow Goons Peter Sellers and Harry Secombe cannot hope to recreate their genius: their voices, their timing, their understanding of each other, the way they perform as if they have just seen the script and are enjoying it as much as the audience.

Sensibly the cast don’t try to do impressions of the originals. Instead, they act out their own interpretation of these characters. Which makes it an interesting story about three friends but nothing like as funny as you might expect from a show about The Goons. The jokes are there, of course, particularly plays on words- a sign on Milligan’s door says ‘Do not disturb, I’m disturbed enough already’- but they cannot hope to deliver them with the power of the actual Goons. The voices can never be quite as ridiculous nor the irony as sharp.

Production photo of John Dagleish in Spike at The Wtermill Theatre in Newbury — John Dagleish in Spike. Photo: Pamela Raith

I’m not in any way denigrating the actors. John Dagleish as Milligan is an excellent comic actor with a great plasticine face and he plays his part with verve, giving a strong impression of a man on the edge. George Kemp as Sellers and Jeremy Lloyd as Secombe provide excellent support. Robert Mountford represents the stiff voice of authority very well. Margaret Cabourn-Smith, James Mack and Ellie Morris complete a talented cast.

The tortured comic genius is a familiar trope. Stories of artists rebelling against and being rejected by the establishment until they are finally embraced are familiar too. But, in the case of Milligan, it’s a tale still worth telling.

To beef up the laughs, the writers cleverly weave in an almost discrete story about the sound effects. Sound effects were an important part of The Goon Show. Spike Milligan set the challenge of producing surreal sound effects. Margaret Cabourn-Smith, in Joyce Grenfell mode, humorously explains how they were achieved. Perhaps because the audience has no ‘original’ to compare this with, she gets the most enthusiastic response of the evening.

Director Paul Hart, who is The Watermill’s Artistic Director, keeps up a good pace, so you won’t be bored. Katie Lias helps with a set designed to change quickly from a recording studio to various offices, a battleground, a pub and Spike’s home. She uses the back of the stage well. Often there are Milligan-ish cartoons telling us the location of the scene, and projections high up suggest the state of Milligan’s mind.

Which brings me to the third challenge. In a play mainly about Milligan’s mental state, how do you convey his exploding mind? Yes, John Dagleish sparks with happiness and crumples with despair, and yes, the story tells us how, in his mind, his battle with army officers becomes a battle with the BBC authorities. It’s an interesting observation of him but the play doesn’t get inside his head. It’s conventional in a way that Milligan would never have been. In producing a tribute to Spike Milligan, maybe Nick Newman and Ian Hislop should have injected their play with more of their hero’s anarchic spirit.

Spike is at The Watermill Theatre in Newbury until 5 March 2022

Paul received a complimentary review ticket from the producers.

Click here to watch this review of Spike on YouTube

October 1, 2019March 31, 2020

Assassins at The Watermill – review

Production of Sondheim’s musical hits the target

★★★★

Production photo of Stephen Sondheim's Assassins at The Watermill Newbury UK — Assassins at The Watermill. Photo: The Other Richard

Stephen Sondheim’s Assassins is one of his lesser known musicals. Having seen this production of it at The Watermill, I understand why. There’s no story, no engagement with the characters and, like the would be assassins, it’s hit and miss. On the plus side, you do get a fascinating look at men and women who attempted and sometimes succeeded in assassinating American presidents. You are also treated to some great music and amusing lyrics and, in the case of this Watermill production, an entertaining performance that hits the bullseye.

In this fantasy musical with a book by John Weidman, all the would be assassins get together at a funfair where they are given their own special guns and cajoled into going for the big prize if they shoot a president dead. The musical is an exploration of what that prize is. The answer, and this is not a spoiler, is fame.

We learn something about each of these would be assassins, first John Wilkes Booth who killed Abraham Lincoln, finally Lee Harvey Oswald who shot John Kennedy. It’s by no means chronological and the various stories intertwine. We see them as failures, mentally unstable nobodies who have been let down by the American Dream which promises that everyone can succeed.

Although we never sympathise with this unhinged bunch of people, we do hear some great tunes. Peter Dukes as Leon Czolgosz (who killed President McKinley) sings one of the best- The Gun Song which describes the number of hands involved in the manufacturing process. Generally Stephen Sondheim’s score offers pastiches of various forms of traditional and popular American music. It carries us and the assassins along with the joy of America while contrasting with the grubby truth revealed before us and through his lyrics.

Another National Anthem sums it up: ‘There are those who keep forgetting That the country’s built on dreams.’ Or as another song says: ‘Everybody’s got the right to be happy.’

It’s a fast moving, slick production from Bill Buckhurst. The Watermill has a small stage but the 15 strong cast manage to fill and move round it with military precision, choreographed by Georgina Lamb. They also play instruments, so to say they are talented is an understatement.

Production photo showing Eddie Elliott in Assassins at The Watermill Theatre — Eddie Elliott in Assassins at The Watermill Theatre. Photo: The Other Richard

I don’t like to pick out individual performances from this excellent ensemble, but I’m going to. Eddie Elliott is the delusional but hyper confident Charles Guiteau who expects to become ambassador to France and shoots dead President McKinley. Mr Elliott plays him with great pizzazz, jumping around the stage and shaking hands with the audience and rushing to the scaffold with a joyful gospel I’m Going to The Lordy. Lillie Flynn as the Balladeer, a kind of narrator, has the strong punchy voice of a classic musical singer. Sara Poyzer’s neurotic Sara Jane Moore gets a lot of laughs as her mind and her gun fire in all directions.

Inevitably on a stage as small as The Watermill’s, the set is minimal but Simon Kenny has cleverly created a fun fair feel particularly by showing the presidents’ faces like targets in a shooting gallery.

When it comes to the climax- the assassination of JFK- the back of the set spins round to become the windows of the famous Book Depository. All previous assassins led by Wilkes Booth (a chilling portrayal by Alex Mugnaioni) gather to nudge the suicidal Oswald to pick up the rifle.

The previously black comedy becomes serious and even sentimental which makes the end inconsistent with what leads up to it. Presumably Sondheim and Weidman decided this particular assassination was still too raw in their and our minds. Perhaps, unlike Oswald, they lost their nerve.

Assassins is performing at The Watermill in Newbury until 26 October 2019 and then transfers to Nottingham Playhouse where it runs from 30 October to 16 November.

Click here to watch the YouTube video review of Assassins

Paul Seven Lewis was given tickets to see Assassins by The Watermill Theatre

This review was amended slightly on 7 October for consistency.