THOROUGHLY MODERN MAN: Cinderella, Tabard Theatre

What a magical show! The Tabard Theatre in Chiswick has been journeying to exciting places over the past few years. At a time when many fringe venues are strapping down on budgets and sacrificing quality, the Tabard is continuing its steadily upward incline.

Recent shows such as 'Ruddigore' and 'You're a Good Man, Charlie Brown' have extended the capabilities of the small stage, and it is clear that designers and directors are becoming more strategic in their utilisation of the space. Their new production of Rodgers and Hammertein's 'Cinderella' is the finest I have witnessed at the venue, and is one of the best pieces of fringe theatre I can remember seeing in London.

The show itself is a real gem from Rodgers and Hammerstein, with a terrific score featuring songs such as 'Do I Love You Because You're Beautiful?', and 'There's Music in You', plus fast-paced and witty passages of dialogue which pose an entertaining and tongue-in-cheek slant on the Cinderella story, whilst never dumbing it down.

But why is it so rarely performed? Well, it wasn't actually written for the stage, but for a one-off live American TV broadcast, starring Julie Andrews (107,000,000 people tuned in to watch it). It was later adapted for the theatre but did not receive extended runs, and has not been seen on the London stage since 1958. Cinderella is a show with so many potential pitfalls: it has to avoid being seen as a cheap imitation of a pantomime, the key characters could easily come across as plastic versions of themselves: the Prince could be played as wet-flannel royal, and Cinderella as whiter-than-white plastic doll. And then there is the fact that everyone knows the story of Cinderella inside-out and backwards, and will bring pre-conceived expectations to the show. We all know, for example, that the transformation scene concludes the first act, and has to set hearts fluttering into the interval. How can a London fringe theatre above a pub possibly match the magic of major pantomimes with vastly disproportionate budgets?

But the director Alex Young, and designer Christopher Hone have pulled off a superb achievement. The set is sprinkled with wonderful ideas: a chandelier is surrounded by lit lanterns (later to become pumpkins), which rise and fall from the ceiling, a miniature emerald palace stands high up on a raised level, from which a curving staircase descends, thrones appear from behind fire-places, banners unfurl at the click of a finger, circular segments of wall swivel to reveal royal family portraits. Cats, mice and birds are expected to drift in and out of scenes, and this is done beautifully with effective and graceful puppetry: the transformation of the mice into horses is a moment of genius.

All this could have been wasted were it not for a strong cast who avoid falling into the pantomime trap of caricature. Cinderella (Kirsty Mann) is sparky, quick-witted, and not merely a dreamy wife-to-be of the Prince. In the garden scene (shortly before the clock strikes twelve) she isn't always overly-impressed with the heir to the throne, actually pulling away when he initially leans in to kiss her. She is less Disney princess, and more Middleton-esque girl-next-door, ready to break it off with a prince if he's not what she's looking for. The relationship between servant and Prince is beautifully done: there is warm and natural chemistry between Mann and Vlach Ashton (Prince Christopher). Matt Elson's choreography for the second act waltz is beautifully done, making light of the height difference between the pair.

Helen Colby ensures that the energy of the show never drops. She has a pivotal role, playing both Cinderella's Stepmother and the Fairy Godmother. Those familiar with Rodgers and Hammerstein's works will know that darkness is never far from the seemingly tranquil surface: the racial tensions of South Pacific, Nazi invasion in The Sound of Music, and the lecherous Jud in Oklahoma.

It is Colby's Stepmother who performs this role in Cinderella. Her comic touch in dealing with her frightful daughters is balanced with flashes of true, sinister venom towards Cinderella. Her stepdaughter is a victim of domestic abuse (Colby carries a whip for most of the opening scenes), and this adds an unexpected edge to a story we all thought we knew. The show is being sold as a family show by the Tabard and it helps that Colby switches into a breezy, motherly, cockney Fairy Godmother, in order to off-set any worried children in the audience - Colby's performance is both sides of a coin, helping to redeem the bitter widow so full of loathing for the girl who serves as a daily reminder of her late husband.

If any of this sounds a bit deep it is because I have barely touched upon the performances of Lydia Jenkins and Kate Scott as the two Stepsisters, Grace and Joy. From the start they put to bed the conception of 'the ugly sisters', for neither is remotely ugly in anything but personality and demeanour. They must have had such fun in bringing these quirky characters to life, developing almost reptilian walks, and spoilt 'Made in Chelsea' accents: their Act 2 'Stepsisters' Lament' is a gem of a number.

A mention must go to Josh Carter who is so convincing as the colourful Prince's aide, Lionel. He makes so much of a role which could easily have been forgettable: the early scene in the Royal Parlour between him and Vlach Ashton is so effective in its ease and simplicity.
Brendan Matthew and Sarah Dearlove make the most of their roles as King and Queen, particularly in their charming song, 'Boys and Girls Like You And Me' - originally written for Oklahoma.

A word, too, on the band, who bring a wonderful score to life with energy and a rich texture - impressive from such a small ensemble. Credit must go to Musical Director, Eamonn O'Dwyer and Assistant Musical Director, Jody Robinson.

This has raised an already high bar for future shows at The Tabard theatre. If you only see one piece of London Fringe theatre this Christmas, make it Cinderella!

Continues until 8 January 2012, book here.

Written by a Thoroughly Modern Man, Alex Knox.

Love Question Mark, Tabard Theatre

If, like me, you are a bit cynical about marriage then 'Love, Question Mark' might be a play for you. This quirky new drama is currently enjoying a run at the adorable Tabard Theatre in Chiswick. The piece addresses the all inclusive topic of LOVE, what it means and why it exists; it is a sad but witty comedy designed to make you think.

With only two actors in the cast, it is certainly a direct and engaging production, the audience is often addressed and included in the drama. At times though, the action is so bizarre and aggressive that I was perplexed and confused about the message.

In brief, the play seems to be a loose comparison of marriage and prostitution, examining how society has shaped these conventions and stereotypes. The programme quotes Simone de Beauvoir: "the only difference between prostitution and those who sell themselves into marriage, is the price and length of contract". As 60-something year old Stuart Sessions loses his wife, after 32 years of marriage, he is forced to seek sex elsewhere and he believes hiring a Russian prostitute to come and live comfortably with him is the ideal solution.

The set is minimal - a standing screen saying LOVE is placed on one side of the stage, staring at us throughout so we can never forget its presence, or threatened absence. Michael Smith and Clare Cameron take on the massive task of delivering Robert Gillespie's controversial drama to us; quite how they remembered such vast monologues is still a mystery to me. Smith is frank and expressive but when onstage alone I found his speeches a little awkward, he insists on constant eye contact which is often unnerving. Cameron is a mistress of accents and manages the Russian well, throwing her weight around as the experienced lover though is never entirely convincing.

Robert Gillespie definitely has something to say with this drama and I admire his conviction with that, but no matter how engaging and energetic the actors make the narrative, it stretches credibility.

Love Question Mark continues until 23 November, book here.

The Last Five Years at The Tabard

I always enjoy visiting the Tabard Theatre in Turnham Green, Chiswick. It is small, easy to get to, and conveniently close to my house. This season they are staging ‘The Last Five Years’ by bright young composer, Jason Robert Brown. The production stars Wizard of Oz wannabe Lauren Samuels and Christopher Pym as the energetic young couple.

Jason Robert Brown’s music fuses different contemporary and pop styles with chirpy, clever, theatrical lyrics. I have always admired his music, in particular the revue ‘Songs for a New World’, and so was very excited about seeing this production. The musical requires a decent band, and this the Tabard has, full of life and soul, they seemed to be having a great time playing along. Musical Direction comes from competent Lee Freeman, who is obviously as passionate about Robert Brown’s music as the rest of us.

As one Dorothy clicks her heels at the Palladium, in the new Wizard of Oz, another hopeful from the TV show sings her heart out on the Tabard’s modest little stage. And with an intimate audience of about seventy this is certainly a whole other land of showbiz. I have previously seen Samuels in Grease, The Musical and was satisfied by her performance there, but in ‘The Last Five Years’ she transforms from a standard musical theatre lead to a real star, singing and acting to a very high standard. Performing alongside her, Pym isn’t as impressive, though does have a few sparkling moments.

The story in a nutshell: Cathy (Samuels) and Jamie (Pym)'s tumultuous five year relationship has sadly now reached its end. Both sides are retraced by the pair individually: Jamie remembers the relationship from the cautionary start to the bitter end, whereas Cathy travels back in time from the end of their marriage through to when they first met. For the best part of the show both characters are singing to a memory or ghostlike resemblance of their partner, they are strange and lonely roles. Cathy and Jamie meet in the middle of the show for their marriage, share a kiss then depart back to their own worlds. At one point another girl is shown in Cathy’s bed, representing the affair Jamie had, it is spooky and quite chilling to watch, but apart from that it is only these two actors on stage for the whole performance.

Both Samuels and Pym are like excitable teenagers, bouncing around naively. Cathy faces rejection as an aspiring actress, while Jamie’s ambitions to be a writer are slowly and successfully realised. Samuels sings ‘When you come home to me’ brilliantly and with a humorous twist she captures the audience’s imagination completely. Pym seems to struggle vocally, especially at the start, and compensates by over-acting. Though once he is properly warmed up he becomes more enjoyable to watch.

The Tabard has appropriately staged this American love story just over the Valentine period – now that’s what I call clever scheduling! This is a rare chance to see this brilliant, little performed show; ‘The Last Five Years’ continues until 5 March, book here.

Bent at The Tabard Theatre

I studied Bent at University so was prepared for the gritty narrative and shocking script. I went to see Martin Sherman’s play at the dinky Tabard Theatre in Chiswick, a theatre I have always wanted to visit.

Bent was written in 1979 and offers an insight into the persecution of gay men in Nazi Germany. The word ‘bent’ was the slang term some Europeans used to refer to homosexuals at the time. The original West End production starred Ian McKellen, and Richard Gere was in the first Broadway show in 1980.

The tiny Tabard is a suitable venue for this gripping play, and being so close to the action makes it almost unbearable to watch at times. Russell Morton gives the performance of a lifetime as the moody Max, he seems completely engrossed in the role throughout. Previously in the year Morton won a best fringe actor nomination with the same production at the Landor Theatre. Steven Butler is endearing as Max’s needy partner Rudy, although I did find myself getting irritated by his whiney voice. David Flynn is striking as Horst and works beautifully on stage with Morton. Flynn adds subtle nuances to his character that makes the two men's relationship even more believable.

The cramped space and dark set makes the whole experience terrifyingly claustrophobic. Barbed wire walls trap the characters on stage and two large Nazis trap the audience in their seats. Despite knowing the play I found this rendition deeply disturbing at times, sometimes almost having to cover my eyes. Director Andrew Keates has done an expert job on Bent bringing out the best qualities of Sherman’s play and adding more. I found the whole production deeply moving and thought-provoking and left the theatre teary eyed.

Although the Tabard is small it houses large talent, with this production of Bent fetching many glowing 4* reviews. With a lovely pub downstairs the whole venue has a friendly atmosphere. Throughout August you can see brilliant comedians like Alex Zane and Al Murray performing at the venue.

www.tabardtheatre.co.uk