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Musically it is very proficient and successful, with a cast peppered with fantastic voices, bringing us carols both celebratory and haunting. There are a couple of sequences where the whole cast take to the floor for some rather charming and effective dancing, too; congratulations to everyone for cramming 21 people into a tiny space and not bumping into each other. Of course, a vital component of any production of A Christmas Carol is the character of Scrooge, here played by Chris Cutler. Like a cross between van Dyck and the early Mick Fleetwood, visually he really stands out and therefore, you would expect, would be perfect to play the outcast role of Scrooge.
When he was channelling his inner Pogue during the musical interlude, Mr Cutler felt really comfortable on stage. It would have been great if he could express even more vocal dexterity to really stamp his authority on the role of Scrooge. Nevertheless, he has a strong stage presence and is a nifty mover on the side; I sense he would really impress with physical comedy. I loved the beguiling and atmospheric performance of Lyric Impraim as the narrator, who really drew me in to her story — and who is also hilariously cheeky as the urchin who brings back the gi-normous turkey that Scrooge orders.
I was also very impressed with Tim Medcalf as Young Scrooge, and in his first scene with Belle I really believed that his heart was bursting for her. Sarah Awojobi has a natural authority as the Ghost of Christmas Past, calmly and clearly imposing all sorts of embarrassments and horrors on Scrooge without turning a hair in her determination.
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Harry Oliver portrays Bob Cratchit as to the manner born; the family man supreme, proudly engaging with all his little ones and running the house with as much kind nobility as his wife would allow — all very nicely done. Fiona Moreland-Belle and Shemelia Lewis also have very strong ensemble presences and the stage always brightens up when they come on.
But for me the two most impressive performers, and who I am really looking forward to seeing in future productions, are Amy Jane Baker, whose larger-than-life Mrs Fezziwig bubbles over with enthusiasm and who is also arresting with her story-telling delivery as part of the ensemble; and Michael Gukas, whose Jacob Marley is the epitome of cool despair and doom-laden warning. Mr Gukas can change the mood of a scene with just one exquisitely phrased sentence.
A very strong performance. This new production by the RSC would be the perfect way to rectify this omission.
Timon, a nobleman of Athens, gives generously to his friends, who in turn fawn on him with flattery in order to be bestowed with even more goodies. When we first meet him, he pays the debt of an unnamed, imprisoned man, so that he may go free. He makes up a dowry so his servant can marry the girl of his dreams. He buys a ghastly painting so as not to upset the talentless artist. But when the truth emerges that his money has run out, he assumes he can rely on those friends to whom he has shown such generosity, to give some of it back.
One good turn deserves another, right? He sends his servants out on a mission of mercy for some cash; but all to no avail.
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The moral of the tale? Faced with mounting debt and no way of paying it back, he finally realises how everything he has taken for granted, and on which he has based his existence, was all a lie. Turning his back on mankind, and wishing death and destruction on anyone who gets in his way, he flees for the forest.
Lear-like, he camps out and survives on a more vegan lifestyle, whilst continuing his war with his fellow man. Hamlet, for example, is liked by his family and friends, but, in return, is rotten to almost all of them. Othello is liked by everyone except Iago, and pays them back by being rotten to everyone except Iago. Lear is liked by most of his followers and family — so he banishes them. Macbeth is universally liked and universally evil. However, Timon is basically dis liked.
His so-called friends have no time for him in his hour of need, even though he has always treated them with overwhelming generosity, both in gold and in spirit. So when he finds buried gold in the forest as you do , he sees no value in it for himself; and, after using it to taunt and trick both thieves and followers, ends up giving it to his steward. The final acts, set in the forest, have Shakespeare written all over them. Gold chairs, gold table, gold wall-hangings; when guests start to arrive, they are wearing gold suits, gold pyjamas, gold coats. A gold sheet is draped across the front of the painting; the jeweller teases us with some magnificent gold bling.
Gorgeous Greek-style orchestrations from the musicians up above drift down and give you a vision of golden sunshine and golden beaches. The later arrival of the creditors, all dressed in harsh, comfortless black, announces an end to the golden lifestyle, and, indeed, when Timon next appears, her golden dress has been muted to a nevertheless still stunning darker creation with only some little highlights of gold flashing in it. Very nice work from designer Soutra Gilmour there. The Royal Shakespeare Company are never ones to shy away from a theatrical challenge — which is one of the things I most love about them — so this Timon has a number of roles which would traditionally be played by men, performed by women.
Not only Timon herself, but the revolutionary Alcibiades, whose forces discover Timon in the forest, and Apemantus the philosopher. In its original version, Timon of Athens is incredibly male-oriented, so these changes create a much more realistic environment of both rich and poor lifestyles today. Not only does it save time, it triples the impact. A question I must ask myself: A pocket-sized dynamo who lends herself so convincingly to the opulence of those early acts and the wretchedness of the later scenes.
She has an extraordinarily expressive voice, like a mix of yogurt and honey, that flows mellifluously until she peppers it with some staccato delivery that stops the audience in their tracks. She got a huge laugh for her one word: This production is a feast for the eyes and the ears, and features a stand-out lead performance. That requires some strong stage authority, which I guess comes with experience, but for the most part they managed to get us back on track with the show whilst still allowing that all-important audience participation, without which panto is merely some adults playing dressing up and silly sods.
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Total confession time — I am a complete sucker for a panto. This was my first opportunity to see this cast of students at work and I was tremendously impressed. Kieran Jones had the joint pleasure and challenge of giving us his Twankey en travestie ; a neat blend of the faux feminine and the wotcher mate that worked very well.
But for me the star of the show was Nafetalai Tuifua as the irrepressible Wishee Washee; he really got under the panto veneer to become the truly playful pal with whom all the kids in the audience would want to be best buddies. I laughed along with all his enthusiasm, and when he proposed to Soapy Sophie sorry, spoilers I genuinely felt an emotional pull. Above all, he made me forget that I was an adult, which I reckon is quite a rare gift.
Great promise from this likeable young cast — I look forward to seeing them perform in more shows during the course of the year! You must print out your confirmation email. You must bring ID we took passports. And you must bring the card with which you paid for the tickets. If your card has changed in any way, contact them in advance so they can update the details. You have been warned! A word about the Victoria Palace: