Ben Jonson: Theatre Revolutionary

Jonson's reputation really rests on three plays, Volpone, The Alchemist and Bartholomew Fair. Even so, these are infrequently performed. His other later plays are much neglected, even thought unstageable. There are those who, not to put too fine a point on it, think that as he grew older, Jonson gradually lost his marbles.

Noel Coward: In or out of Society: he WAS Society

(Joe Harmstone is a freelance director.)

Length: 3100 words

In 1998, I was directing two Pinter plays at the Donmar warehouse when I was asked by a journalist to explain how you approach a Pinter? Before I could think of anything erudite, one of the actors responded, as befitted the question, 'With an upturned chair, a whip and a box of matches.'

I have been agonising about this talk for some time and it seems to me that the most useful thing I can do is to examine that very question How do you approach a Coward from a directors perspective. Though I do promise to give a slightly fuller, if less witty response.

Bollocks to the Pause, or, Relative Truth

(Joe Harmstone is a freelance director)

Since 1994 I have worked with and got to know Harold Pinter and in 1997 I directed the first revivals of The Lover and The Collection in London since the early sixties. Harold played Harry the homosexual. My association with Harold began at Chichester where I was his assistant when he directed Ronald Harwood's Taking Sides. Later, I assisted David Jones directing Harold in his own play, The Hothouse, before assisting Harold again when he directed Twelve Angry Men. So I am fortunate enough to have worked with him in his three roles of writer, actor and director.

'Oh no she didn't!' 'Oh yes she did!' 'Oh no she didn't!' Recognise this? Right . . . the sort of thing we expect and possibly enjoy in pantomime. Is it good seasonal fare but bad theatre? Not surprisingly at this time of year, Rod Dungate has been wondering just that.

Interview with JOAN COLLINS, talking about her forthcoming role in THE CIRCLE. Syndicated from Birmingham Hippodrome

THE CIRCLE (Alan Melville) is at the Birmingham Hippodrome from 5 -10 April and tours.

Her career has spanned more than five decades, 55 films, 50 TV shows, nine plays, 10 books, three children and five husbands. She was superbitch Alexis Carrington Colby for eight years in the TV soap of the 80s, Dynasty; took most of her clothes off for Playboy at the age of 49 and received the OBE in 1997 for her contribution to the arts and to charity work.

The following note by Rod Dungate is reprinted from Encore Theatre Company's programme for their 2004 production of THE IMPORTANCE.

In my play Friends of Oscar I have Oscar's son Vyvyan in conversation with a male prostitute, Jack Saul (I lifted him from an erotic novel of the period). Part of the conversation goes:

TALKING HEADS AND TALES
An Audience with Alan Bennett
University of Warwick Arts Centre 26.05.04

ReviewsGate reviewer John Alcock reports on a visit to Warwick Arts Centre by Alan Bennett

This week's guest in the Warwick Writers' series was Alan Bennett, not so much following the usual practice of reading from his work as talking about it a monumental task in itself as he dipped in and out of three decades of writing for theatre, television and film.

On 10 January, the Royal Court became one of the first London theatres to open its 2005 season, in the Theatre Upstairs, with a piece called Tim Fountain: Sex Addict. While this was undoubtedly spot-on in terms of the Trade Descriptions Act, it does seem to have limited qualities in some other departments. Mr Fountain, who has written several scripts and advised on many others, nightly recounts his, of necessity, one-night sexual encounter following the previous show.

He then proceeds to set up the next evening's (theatrical) performance by asking the audience to consider the offers made in real-time hits to his website and choose one for his next show's fodder. Alternatively, a member of the audience can propose themselves for this role.

Whether this is all as genuine as it seems has made at least one critic doubtful (though as Mr Fountain set up his own site after complaints from the established gay-site he'd previously used, some reality at least is suggested).

Leaving aside the potential argument between moralists who could surely be found to spout anything from homophobia to fears over AIDS etc. and folks who say a few dozen fun-lovers nightly should be allowed to have as much fun as they can, with or without their clothes on (not that the theatre itself becomes the scene of an orgy it's not that kind of royal court), there is the question of whether this is the best a new-writing theatre has to offer.

At one of the few times of year when reviewers have a bit of breathing space, and in one of the theatres that always attracts a clutch of copy, is there no playwright who deserves their own, dramatic, exposure? More than one review has called the show a waste of a space. But reviews there undoubtedly were.

Move now to Friday, 21 January and some 175 miles north, where the New Victoria Theatre in Newcastle-under-Lyme opened its spring season with a brand-new play Kitty and Kate by Claire Luckham. This 3-hour drama is based on the early life of prolific novelist Cathleen Cookson, who becomes Luckham's Kitty.

I have never read a word of the many millions Miss Cookson wrote, assuming they belong to what, late in her long (1906-1998) life, became known as airport fiction. But her early life, the basis for Luckham's play, is far from romantic. An illegitimate Geordie who fled her mother and managed a workhouse laundry in Hastings, Cookson in this play is a strong, determined, independent spirit

Wagner's operas have been said to have magnificent moments and tedious quarters-of-an-hour. It's the opposite here. Luckham provides some excellent sustained scenes with a trio of memorable performances from Becky Hindley as Kitty's close friend, Michelle Newell as the dogged, drunken mother and, notably, Johanne Murdock as Kitty. But there are far too many brief in-fill scenes, not helped by Sue Wilson's old-fashioned production.

Yet it is a proper' play written by a dramatist with a good track-record. Luckham's work includes the once ubiquitous marriage-as-wrestling-match Trafford Tanzi and a fine play The Dramatic Attitudes of Miss Fanny Kemble whose Southampton premiere helped launch the careers of Joe Dixon (later in the RSC Jacobethan' season) and Josette Bushell-Mingo (The Lion King and about to be Shakespeare's Cleopatra at Manchester's Royal Exchange).

According to the listings in Theatre Record' there was no other show, in London or the regions, opening the same night. Yet only one national newspaper (The Times') seems to have made it to the New Vic.

Perhaps others will manage it later in the run. And north Staffordshire is a long, expensive way from where most national critics live. In a crowded theatre schedule it might be even a new play has to give way if it dares show its face so far from the capital.

But we are still, just, in the calmer New Year period where there is no obvious reason for the lack of coverage. Most papers have more than one theatre reviewer each. When Mr Fountain's metropolitan sex addiction is splattered across the review columns while Kitty and Kate can hardly find a nook from the Midlands, what when it comes to theatre - exactly does it means to be a national newspaper?

Timothy Ramsden

Maureen Lipman is going to Birmingham Rep in September to play the worst singer in the world! Peter Quilter's play about Florence Foster Jenkins premiers at the Rep 2nd September.

Birmingham Rep inform us that they're going to produce a new musical featuring the songs of Birmingham based UB40. It's called PROMISES AND LIES and till be performed in 2006. The musical is the result of a collaboration with young writer, Jess Walters.

RSC HOSTS THE FIRST EVER FESTIVAL OF SHAKESPEARE'S COMPLETE WORKS IN
STRATFORD-UPON-AVON

For more details of this enormous undertaking, read on . . .

Rod Dungate speaks with Joe Harmston Chief Executive of an innovative new-writing company THE IDEAS FOUNDRY. What's innovative about it? 'It's a business' says Harmston.

Stewart McGill looks back over the achievements of the Watermill's Jill Fraser and contemplates her lasting legacy.

Geoff Ambler FOLLIES Days 1 - 3

Geoff has been invited to attend all rehearsals in Northampton for the show. His fly-on-the-wall account gives an intriguing insight into preparations. Here's the start: days 1 - 3

A new gem in the West Midlands theatre landscape

Rod Dungate attends the opening of a new Birmingham theatre space.

Geoff Ambler continues his observations of Follies rehearsals at the Royal Theatre, Northampton

Geoff, our Musical theatre man, is sitting in on rehearsals. He's giving us a unique step-by-step account.

Les Misérables – Twenty-one years on and you can still hear the people sing.

ReviewsGate team member, Geoff Ambler, reports back on a very special theatre event. Read on . . .

Geoff Ambler continues his Fly-on-the-wall's eye view of the Follies Rehearsals at the Royal Theatre, Northampton . . . he has two more weeks to go.

His observations are in three parts. They are all held in the Features area of Reviewsgate.com; a unique record of a rehearsal process.

Geoff continues with his account of Follies Rehearsals at the Royal Theatre, Northampton.

Here he is from days 19 - 22. Run throughs and first visits to the stage . . .

Geoff Ambler completes his account of rehearsals for Follies at the Royal Theatre, Northampton.

He starts with the 'tech stuff' and completes his account with a note about the Press Night. Which is where Timothy Ramsden takes over - as ReviewsGate co-editor, he attended the press night to review the show.

Read on . . .