Introduction to The Restricted Review

Hi! I am the Restricted Reviewer.
I am absolutely passionate about performances of actors, particularly on stage but also on screen.
I really enjoy writing about my experiences as an audience member and they include both my point of view on the performances but also the entire experience I have had around those performances.
You may find my reviews are restricted (enhanced) by OCD and walking disabilities ;). They are my own personal take and as such not reviews written in any standard or conventional way.
I very much hope you will enjoy reading and feel inspired to go see the performances yourselves.
Thank you and Best Wishes,
The Restricted Reviewer X

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'Curtains' - Wyndham's Theatre - Saturday 21st December 2019

(Rated 5/5 ) 

'Curtains' is a wonderfully sparkling fun murder mystery musical comedy, which incorporates elements of vaudeville, musical drama, comedy, farce, Shakespeare, Agatha Christie, spoof, play within a play and even a play within that! There's excellent song compositions with such poignant lyrics and catchy musical tunes as well as emotive subtext giving us powerful psychodrama between its characters in addition to skilful comedic turns. 

The show opens in 1959 Boston, Massachusetts on opening night of the play within a play etc, as the cast perform a wild west number for their production of 'Robbin Hood of the Old West' and their star Jessica Cranshaw (puts you in mind of Jessica Fletcher of 'Murder She Wrote') is murdered at curtain call. Enter Lieutenant Frank Cioffi - played for this set of performances by stand-up comic Jason Manford. His character is a fan of musical theatre and as he investigates what then become a series of murders - do they have a serial killer on their hands?! - gradually develops into the role of director and even producer. Will he raise the show's success and maybe even find love? We have a whodunnit as good as the best crime writers may produce with a detective getting to play a variety of the greatest fictional sleuths (hints of Poirot, Morse, David Tennant in 'Broadchurch' et al) and sing and dance onto the bargain. His dream come true!

The original concept is by Peter Stone with music by John Kander and lyrics by Fred Ebb - the latter pairing that gave us 'Chicago' and 'Cabaret'. Sadly during the writing of this show, Ebb passed away, leaving Kander to finish and write for them both. My personal favourite number is 'I Miss the Music' as performed here by Andy Coxon as Aaron, in which he sings about struggling to produce music without his writing partner Georgia - played by Carley Stenson - Oh, how life imitates art! 

We are given the classic set of characters you'd find on stage - divas, handsome leading men, rival performers craving the starring role, backstage support and stabbers!, those engaged in love trysts, a tough apparently unempathic producer Carmen Bernstein (Rebecca Lock) and her daughter the ingenue - Emma Caffrey as Bambi Bernet. Carmen comes across as fiercely critical of Bambi but what is really going on behind the scenes? Well actually so much! This piece works on so many levels and has far greater depth than might immediately meet the eye or even heart!

Highly entertaining as well as highly emotive with superb performances by all. 

Curtains – Review by TheRestrictedReviewer © 2019

‘Company’ – Guilgud Theatre – Saturday 22nd December 2018

(Rated 7/5 ) 

This was such a refreshingly fun and effervescent surprise. A re-imagined version of the original 1970 musical play by Stephen Sondheim – in this production directed by Marianne Elliot, the central singleton male Robert becomes female Bobbie, played beautifully by Rosalie Craig. It is Bobbie’s 35^th birthday, and in a series of dream-like sequences – which would be very much at home in Alice’s Wonderland if set in New York – we witness her struggles in and out of relationships. She is the best friend and support to five couples, who exhibit different kinds of relationship. Mel Giedroyc and Gavin Spokes play a couple in perpetual combat be it verbally or physically. Patti LuPone, whom I first saw as Fantine in ‘Les Miserables’ is the multi-married lady-who-lunches and drinks cocktails – happy to share her latest husband with Bobbie. Other couples experiment with drugs and discover divorce does a great deal for their love-life. And my favourites are the gay male couple, who have been together for a long-time, but faced with marriage and commitment Jonathan Bailey’s character is terrified.

It is a light-hearted exploration of life and love, yet also with deep profound messages. As one song performed by the men in couples expresses ‘You’re scared she’s starting to drift away – and scared she’ll stay’. The performances are wonderful. The staging supports extremely well with Bobbie travelling between relationship scenes through doors and hatches in constantly moving and changing scenery. There is also a sense of her being trapped by the walls and yet longing to be free – reflecting the same struggles in her decision to become one of a couple or not – yet she loves company.

Rosalie Craig’s expression is delightfully sensitive and warm. She shows so much empathy and understanding to all with whom she interacts. No wonder they all love her and are so concerned for her wellbeing.

In such challenging times this is well-needed entertainment, which takes us back to the basics of what really matters in life – our relationships – of whatever kind – with others – and how being kind matters so much!

Company – Review by TheRestrictedReviewer © 2018

‘Wise Children’ – The Old Vic – Saturday 20th October 2018

(Rated 4/5 ) 

Back at the transformed Old Vic for this thoroughly enjoyable stage adaptation by Emma Rice of Angela’s Carter’s novel about twin sisters Nora and Dora - conceived, and then growing up in a heady world of theatrical drama with song and dance, comedy, hints of tragedy, Shakespeare, a little Burlesque and a pantomime feel at times.  We first meet the twins on their 75^th birthday, in their caravan, where they receive an invite to their blood father’s 100^th birthday party. They in turn invite us to join them in the story of their family dynasty from 1920s on when said father, Melchior Hazard, made his name as a renowned Shakespearean actor. He created them with the help of a maid to the woman who becomes their carer, adopted Grandma Chance. The maid is abandoned by Melchior and the twins disowned by him. Step in his twin brother Peregrine who is sometimes present, sometimes absent, but always makes sure money is sent to support them. The twins are unable to resist their inherited calling earning their living as show-girls and joining their dysfunctional stage family.

The tone of this production is very light-hearted yet there are some very serious undercurrents only hinted at – incestuous abuse of one of the girls by Uncle Peregrine as well as grief and struggles for anything resembling healthy relationships. Blood is thinner than water in this herstory, with family and those who love and really care being biologically unrelated to you. For me the almost brushing over of the more poignant elements is disappointing – then again I guess humour so often covers the darkness of real lives for performers. Commonly the best comedians suffer with depression. My other disappointment was that the production had an amateur feel at times – more panto (not in a good way) and line fluffing, than professional performance.

Nora and Dora are variously played by puppets, Mirabelle Gremaud & Bettrys Jones, Omari Douglas & Melissa James, and Etta Murfitt & Gareth Snook. As you may be able to detect there’s a lovely mix of gender swapping in there with some mistaken identity possible also a la Shakespeare. All Noras and Doras are very good but Omari and Melissa especially so – the former a superb dancer with a beautiful singing voice. The sisters’ key love interest – ‘the blue-eyed boy’ – is played by very pretty, very female Patrycja Kujawska.

Sam Archer as young Peregrine is also a stunning performer. His older self - Mike Shepherd - fine but less of note as, for me, are the two Melchiors Ankur Bahl & Paul Hunter.

Katy Owen was a very shouty Grandma Chance reminding me of Catherine Tate’s Nan – funny yes but a little too much somehow.

For me this was very good but not great enough to highly recommend. Good for an entertaining couple of hours.

Wise Children – Review by TheRestrictedReviewer © 2018

‘King Lear’– Duke of York’s Theatre – Wednesday 3rd October 2018

(Rated 6/5 ) 

Having seen Derek Jacobi’s Lear at the very intimate Donmar – and again at the cinema for an NT Live – and kind of not wanting to think about aging so much right now – I wasn’t sure I wanted to do Lear again just yet. BUT it was billed as Ian McKellan’s Shakespeare on stage swan song, and my companion for this one was keen so off we went. I also wasn’t sure about being in the back row (the only two seats left when I booked!) – back row cinema is one thing but at the theatre can you even see the actors’ faces – and without that – what’s the point? How wrong could I be?! The Duke of York’s had been converted into an intimate space with the removal of seats down the middle and I wound up sitting right next to where actors made their exits and entrances along the gangway in between. I felt right in the action and could see into the room backstage in which actors were preparing before or resting after a stint on stage.

And then there’s that writer! However many times you have seen a Shakespeare play there is always more to get from it. Sir Ian giving us his Lear – and again of course there’s always something new a different actor can give to one of Shakespeare’s key roles. It’s so exciting to experience new insights illuminated before you. Ian is a natural – there’s kind of a calm and safety you feel watching him – he can do nothing else than deliver the goods. Incomparable yes but then we all are! He does reign effortlessly supreme though – switching from Lear’s strength of mind to the weakness of emotionally addled thinking with convincing ease.

Sinead Cusack as Kent was brilliant! Such an inspired novelty for Kent to be a woman - who then disguises herself as a man ;). Her devotion to and yet challenge of Lear was empowering.

Lloyd Hutchinson was a good fool though for me not outstanding. To my memory the fool usually makes more impact in this play but I wonder if his part was cut somewhat or my memory is misguiding me ;)

Danny Webb provided an excellent Gloucester. Goodness though that eye scene with Kirsty Bushell’s Regan screaming with ecstasy as she pranced around him. There was a nervy, almost annoying, craziness about her - then again maybe a very good choice – after all she isn’t played to be liked. Claire Price’s Goneril was calculating – a very cool performance.

Luke Thompson’s Edgar was my companion’s eye candy! He did look very nice with little to cover his modesty and the journey of his character I find so moving – saving his father Gloucester in more ways than one - from his dastardly bastard brother Edmund – James Corrigan – who played his part with humour.

Anita-Joy Uwajeh was a lovely powerfully sensitive Cordelia. As many know it is her ‘Nothing’ with her father’s ‘Nothing will come of nothing, speak again’ response, when she is asked what she has to say about her feelings for him, which catalyse the main drama of the play. I was struck in watching this performance by how that interaction occurs and from then on Cordelia appears very little. We get more of the son-father interaction between Edgar and Gloucester and I feel Shakespeare missed a trick there! Goodness, am I really saying that?! Criticising the master haha! Then again I am a daughter and not a son. As it is the other two sisters do feature large in this play. Maybe the good don’t need to say much or do much to have great impact. In fact ‘nothing’ needs to be said and just being there is all that needs to be done J

This is a suitably impressive production of a profound play, directed by Jonathan Munby.

And at his solo curtain call Sir Ian stood with a gentle smile looking around taking us all in. Such impact in just being – his quiet presence speaking volumes - saying nothing.

King Lear – Review by TheRestrictedReviewer © 2018

‘The Woods’ – Jerwood Theatre Upstairs – Saturday 22nd September 2018

(Rated 3.5/5 ) 

I have been to the Royal Court before but never to the extraordinarily intimate space of the ‘Jerwood Theatre Upstairs’. The audience waited up to maybe 10 minutes beforehand on a staircase and a tiny corridor, before the usher took down the barrier to another few staircases heading upwards and into… The Woods! The floor of the stage covered in wood-shavings and small sticks of wood, with a little hut-like structure in the middle.

‘If you go down to the woods today, you’re in for a big surprise…’ because you are one of just a relatively tiny number of audience members – far more up close and personal with the actors than even at the Donmar – and you get to choose your seat. Slightly amusingly my friend chose where she thought we’d be less in the action sitting by a tree, but it wound up being the focus of much of the action and exits and entrances ;)

Yep I admit I was drawn to this one for Lesley Sharp, who played ‘Woman’. She did not remotely disappoint – exceptional performance of what was clearly some sort of psychological trauma/mental health issue with a performance involving several different accents and suffering painful depths of emotion. Yes that part was clear. What was not clear was why and what was the reality of her situation. Having deliberately wanted to avoid any spoilers I did not read much at all about this play and afterwards felt pretty stupid for not getting it. I suppose you could argue you can chose to get whatever you want from it. But I have my mother’s tendency to want to understand – not just what is going on but ‘what they are trying to tell us’ as she would have said. Robert Alan Evans’s script is jam packed with impressive metaphors and little snippets of scenes, interrupted by complete darkness – allowing the actors to move to the next one. But it is so nebulous that you don’t ‘get it’ til very close to the end - if at all. However, that said, it is arguably therefore very clever - perhaps ‘too clever’ hence turning some members of its audience off – because that is exactly the main problem with its subject matter – that of depression! It has no clarity and the sufferer drowns in clouds of non-feeling or confused feelings so that reality and fantasy become blurred. I realise as I write this I’m kind of arguing with my own opinion on this piece! I left the theatre feeling annoyed by my lack of comprehension, but having slept on it – and cheated by finding out what others made of what in the heck ;) was going on - I find it impressive. More on that in a little while…

This play has a ‘big bad wolf’ – very characterfully played by Tom Mothersdale – who presents himself to Woman torturing her in a number of guises – a wolf in sheep’s and many others’ clothings! Woman tries to run and hide from him whilst being drawn to some of his challenges for her. There’s attraction and repulsion going on. Meanwhile she tries to save a boy – Finn Bennett – whom she found in the woods after a storm. Desperately she tries to keep him safe and warm… but he is always cold…

One thing I did feel I ‘got’ was that Woman had been abused in some way – one scene at least hints at this with indications that she was sexually abused in a playground by Kid – Charles Furness – and his friends. Of course she was also apparently abused by Wolf and his wonderfully whacky roles. (Can’t resist also pointing out how similar Wolf’s tracksuit is to Uma Thurman’s character’s in ‘Kill Bill’ – he is also on a destructive mission.) So my sense is Woman – as a result – is suffering from split personality or multiple personality disorder.

Lesley magnificent. Tom a very able antagonist. Production and space superb. Accomplished direction by Lucy Morrison. Script very good but not great… though I’m changing my mind as I write this lol!

P.S. Okay spoiler alert coming up… please avoid the next/final sentence in smaller, lighter-coloured font, and some rows below, if you want to remain as confused as I was and see I you are cleverer than me by going to watch and sussing out…

Woman is in fact suffering from post-partem depression.

The Woods – Review by TheRestrictedReviewer © 2018

‘A Monster Calls’ – The Old Vic – Tuesday 7th August 2018

(Rated 5/5 ) 

This is a beautiful profoundly moving story of a 13-year old boy facing his mother’s illness. It was written for children and has so many messages for kids yet speaks to adults too. The key characters in this play are the boy Conor, his mother and a yew tree outside their home. At the same time every night the boy has nightmares of ‘darkness and wind and screaming’ and the tree calls to him telling him stories teaching him about the ways of people and how things are not necessarily back and white. Who is good and who is bad? What is right and wrong? And then the ‘monster tree’ asks him to tell his own story and ultimately show his truth rather than the façade he presents to the world.

This production immediately reminded me of ‘Curious Incident…’ in the way it is presented by an ensemble cast each taking on different characters from seats either side of the stage and interacting with the young boy in the middle. And the use of ropes to create the tree and other elements is so impressive. Coordination is key!

The story was the idea of Siobhan Dowd who was terminally ill with cancer and died before she could complete the novel. Patrick Ness completed it after being invited to do so by the illustrator of the story. At The Old Vic it was directed by Sally Cookson. Conor is played superbly by Matthew Tennyson with Marianne Oldham as ‘Mum’ and the tree monster a very powerful portrayal by Stuart Goodwin. The ensemble cast are all excellent seamlessly working together creating flow and mesmerising drama.

You feel as though you have been in a dream of fairy tales yet creating a stark reality of morals and emotional truths. Such a tremendous way to deal with probably the most difficult situation any child – of whatever age! - may have to face.

I highly recommend.

A Monster Calls – Review by TheRestrictedReviewer © 2018