The Invitation Theatre Company

TITCO do Spamalot!

The Invitation Theatre Company at St.Mary’s, Devizes ~ a dress rehearsal review

England, 932 AD, and the country is ravaged by plague, purposeless, pestered by the French, and in need of a firm hand at the helm. Enter Arthur, King by virtue of the fact that once he was given a sword by a watery tart, and his hapless servant Patsy, coconut clip clopping across the land in search of knights to save the day, the funniest fart joke, and the nebulous Grail.

Such is the plot of Jemma Brown and TITCO’s production of Monty Python’s musical comedy Spamalot, loosely based on the film ‘Monty Python and The Holy Grail’ and first performed on Broadway in 2005.

There’s been a real buzz in town about this show, and I’m sure I’m not the only person to eagerly anticipate sinking into a pew in St. Mary’s and sighing with relief at having escaped from Britain’s current woes and impossible quests for a couple of hours.

I wasn’t disappointed. Apart from being unable to resist comparing the England of Spamalot with the country today and our own search for a nebulous Grail I was completely lost from the outset in the world of mirth, magic, and medieval silliness that TITCO had created with a little help from their friends (knights who scaled the walls to black the windows out, masters of the lights and smoke, knights with needles and an eye for fabric and design) in what has to surely be the perfect venue for such a show.

For all its silliness, Spamalot is a complicated and fast paced show involving a lot of physical comedy and choreography, and multiple costume changes for some of the characters (particularly Ian Diddams, who can’t quite remember exactly how many but was most memorable as Tim the horny Scottish enchanter). The cast did a great job of keeping up the momentum throughout, which bodes well for the rest of the run. Fish slapping and Finnish dancing, creepy monks and can can dancers, flying cows and Trojan rabbits, loose-bowelled knights and mystical misunderstandings – at no time did the action flag and if anyone fluffed a line there was far too much going on to notice.

Anthony Brown stepped out of his role as Musical Director to give a creditable performance as the idealistic but naive Arthur with Debby Wilkinson doing a fine bit of character acting as Patsy; Terésa Isaacson with her powerful voice was an imposing presence as The Lady of the Lake; all the knights were hilarious, although I have to say how much I enjoyed the performances of Chris Worthy as the not-so-brave-or-continent Sir Robin, and Matt Dauncey’s macho-but-underneath-it-all-totally-gay Sir Lancelot (steady with that lance, sir, you’ll have someone’s eye out – just saying); and Will Sexton as Prince Herbert was wonderfully wet.

Then there were the nicely played cameos – melodious mischievous minstrels, legless knights and dancing nuns, political peasants and obstreperous Frenchmen – the old songs (who doesn’t need to be reminded to ‘Always Look On The Bright Side Of Life’?) and familiar jokes, and – my favourite Python thing ever – the Knights of Ni (‘Ni.’ ‘Ni.’ Etc.).

The only negative in my view (aside from the obvious stereotyping of gay people and the French) related to the script, and that was the ‘We Won’t Succeed On Broadway If We Don’t Have Any Jews’ song. I’m still thinking about that and about what is acceptable in this day and age in the context of performance and historical record. It didn’t sit well for me at all, but I’m sure that TITCO thought hard about including it and decided to keep it in in the spirit of authenticity rather than racism.

There’s so much that is good about TITCO’s show but for me the best thing about it is that this motley group of people, many of who would not be out of place in professional productions, are one big talented dancing singing and joking happy family, and their wild enthusiasm at working together shows in both the energy they display and the quality of their performances.

And who doesn’t like a good fart joke?

The Invitation Theatre Company’s production of Spamalot, despite its archaic political incorrectness, is just the kind of silliness we need in these ridiculously serious times.

Now, back to looking for that Grail…

(‘Ni.’)

© Gail Foster 25^th June 2019

TITCO does Queen

A review of The Invitation Theatre Company and Full Tone Orchestra’s Queen show in the Corn Exchange, Devizes

‘It’ll be alright on the night’ is a phrase often said following a dress rehearsal of dubious quality. As I watched TITCO perform their Queen medley prior to their sell out show I wondered if this would prove true on this occasion. Seems like a big ask, I thought as I watched the cast fumbling through the numbers and trudging round the stage with what seemed to be very little direction or enthusiasm. It’s rock, I thought, for goodness sake give it some welly! ‘Another one bites the dust’ it said on the back of someone’s tee-shirt. Indeed. It was so bad that I didn’t feel I could review it, so I decided to go back on the first night to see if it was any better. TITCO have produced some great shows in the past few years, and the Full Tone Orchestra are a class act. Both have reputations to keep up and fans to please, and both take pride in their work. A fail at this stage would not be good for either. What if, heavens forbid, TITCO didn’t pull it off…?

From the moment I walked into the Ceres Hall on Friday it was abundantly clear that TITCO had been on the glitter, and that all would be well. Energy levels on the stage and in Antony Brown’s orchestra were through the roof, and the audience were buzzing with excitement.

The format of Chris Worthy and Jemma Brown’s production was simple. A programme of iconic songs alternated with less well known tunes and short audio clips of interviews with Queen members, the entire cast dressed in black Queen tee-shirts in front of a plain black backdrop, a thirty piece orchestra and four guitarists to do justice to the music, solos and duets from Sean Andrews, Will Sexton, Chris Worthy, Simon Hoy, Paul Morgan, Lottie Diddams, Jemma Brown, Naomi Ibbetson, Mari Webster and Lucy Burgess, rousing altogether-now ensemble numbers by the whole company, and more glow sticks than you could shake a glow stick at.

The usual suspects gave good song, as is to be expected given their wealth of experience, but Will Sexton’s Mercurial ‘I Want To Be Free’, Jemma Brown and Mari Webster’s mellow and melancholy ‘Who Wants To Live Forever’, and Chris Worthy’s delightfully raunchy interpretation of ‘Another One Bites The Dust’ were the performances that did it for me on this occasion. And everyone loves ‘Bohemian Rhapsody’, and ‘We Will Rock You’, and (it was acceptable in the 70s, really it was) ‘Fat Bottomed Girls’…

The show wasn’t perfect, but on the Friday night the cast brought just the right amount of attitude and anarchy to the show to make any little slips irrelevant and unnoticeable, and their obvious enjoyment in delivering the songs and interacting with the audience was infectious. The choreography was a bit dodgy, but there had been no opportunity to rehearse in the performance space prior to the dress rehearsal, so I might let them off that one. And anyway, nobody cared…

Because on the night the Full Tone Orchestra upped the pace and TITCO upped their game, and between them they totally smashed it.

I’ve not seen an audience react quite that strongly to a musical show. They sang, they waved their arms, they clapped their hands (‘Buddy you’re a boy, make a big noise’ etc), they stood up and whooped in appreciation. Maybe it was something in the beer. Maybe they were blinded by the glitter. Maybe the dream combination of TITCO, Queen, and the Full Tone Orchestra tipped them over the edge. I know that people love TITCO, but I didn’t realise anyone still loved Queen quite so much. Maybe there is a little bit of Freddie or a Killer Queen inside us all.

By the end of the show the entire audience was up on its feet, singing and swaying and waving their glow sticks wildly to ‘We Are The Champions’, and demanding an encore.

Brilliant.

So what happened between the frankly dire dress rehearsal and the show, I wonder?

Someone really needs to check that glitter.

© Gail Foster 1^st July 2018

‘Last Night at The Conductor’s Arms’

The Invitation Theatre Company at The Bear, Devizes

It’s the early 1950s, and time for the very last pint to be pulled at The Conductor’s Arms. Business ain’t what it used to be, and even the Music Hall next door is closing down. As Albert the landlord (Ian Diddams) sits supping at the bar, he looks back over the history of his family; his grandparents’ escape from the Irish potato famine and their acquisition of the pub, meeting his wife, the birth of his children, the death of his son in the first World War, and victory in World War Two. So many memories. So many faces, come and gone. So many tunes…

Oh, The Invitation Theatre Company had a good time with this one! For one night only, sorry, three, the ballroom at The Bear became an informal and intimate old time music hall forward slash East End pub, with dancing girls, banging tunes, Pearly Kings, poignant tear jerkers, and cheese. Lots of cheese. A succulent smorgasbord of cheerful cheese, and the kind of sad songs that would have the stoutest customer weeping into their gin before closing time.

Devised and directed by Ally Moore and Liz Schorah, and ably compèred with alliterative acuity by Peter Nelson, ‘Last Night at The Conductor’s Arms’ was simply a good excuse to sing (‘Sing along!’ they said, so we did) all your gran’s favourites from ‘Danny Boy’ to ‘No Business Like Show Business’.

The problem with writing reviews for TITCO is that everyone is good, they get better each time they work together, the music is always spot on, and no one likes a sycophant. But really, other than the fact that perhaps the performance space was a little small for the lively choreography, it’s hard to pick fault with this show.

So I’ll go with highlights, which, for me, were as follows; Ian Diddams’ acting. Mel Coombs, Liz Schorah, and Viv Kyte‘s chirpy versions of ‘Boogie Woogie Bugle Boy’ and ‘Don’t Sit Under The Apple Tree’. All of the men singing ‘Let Me Call You Sweetheart.’ Paul Morgan singing ‘We’ll Gather Lilacs’ (the ladies I met in the churchyard today particularly liked that one). Mari Webster singing anything. And all of the ensemble pieces.

Moments of brilliance? The whole cast singing the heart-wrenching ‘Keep The Homes Fires Burning’, with its rich and complex harmonies (I cried, and I wasn’t the only one). Lottie Diddams producing a couple of notes of unearthly beauty in ‘Secret Love’. Ian Diddams again, with his heartfelt delivery of ‘Brown Boots’. And, for which she received the most rousing cheer of the evening, Jemma Brown, hilariously channelling Hyacinth Bucket, in a performance of the musically challenging ‘I Want To Sing In Opera’ that had some of us questioning our continence.

‘Last Night at The Conductor’s Arms’ was an uplifting, moving, and endearing show; no pretence at great art, just a wild ride through the music halls of memory on a pantomime pony, with the odd pitstop for a tear.

And cheese.

And the final verdict from behind the aspidistra?

Hit me with a feather boa, that was fun.

Nine out of ten.

© Gail Foster 19^th November 2017

In To The Woods at The Wharf

The Invitation Theatre Company’s performance of ‘In To The Woods’; a review

I was delighted to be invited to the dress rehearsal of TITCO’s production of Stephen Sondheim’s ‘In To The Woods’ at The Wharf, directed by Peter Nelson. TITCO are a quality act, and I always enjoy their shows.

I watched. Cute. Fun. Some great duets. Haha! Ian Diddams as the cow. Woah, Jemma Brown as a bitchy witch (be afraid, be very afraid!). Neat cape, Tracy Lawrence. ‘Scrumptious carnality’? Goodness me. Love the screen device, and the sepia film. Clever. Nice birches. Ooh, blood.

And then Happy Ever After.

As I rode off on my bike I couldn’t help but feel there was something missing. Something I couldn’t quite put my finger on.

That would have been Act Two. Thought it was a bit short.

So, Monday, opening night, and I’m back again. Ah, there it all is. The finishing touches have been put to the stage and it’s all pretty with birch and blossom and soft greens, with a backdrop that leads to…who knows. And someone has clearly been working hard in the Mojo department, because TITCO are bursting with a confidence and enthusiasm that I just didn’t see on Sunday…

It’s a moral tale of good versus evil, this, set in a dark and mysterious wood where anything could happen. It’s a mash up of Grimms’ Fairy Tales, starring Cinderella, Jack of Beanstalk Fame, Red Riding Hood, and Rapunzel. It’s a quest for a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold. If only we could find these things then the curse would be lifted and all would be well…

Be careful in the woods, and be careful what you wish for. ‘Nice is different than good’, after all.

I’m used to TITCO being good. One can’t enthuse enough really. These people work together really well, and they’re all worth watching.

As far as acting goes, however, a few performances stand out for me.

Lottie Diddams plays Little Red as Violet Elizabeth, or Queenie from Blackadder, all foot-stamping and pouty, with great comic timing. Paul Morgan as The Wolf is superbly sinister. Jemma’s Personality Disorder Witch is terrifying. Ian Diddams chews cud really well, the Victorian Ugly Sisters are witty, and there’s real tenderness shown in the performances of Naomi Ibbetson as Cinderella and Teresa Bray as the Baker’s Wife.

But TITCO shine brightest when they sing, and in this show it’s the duets that shine the most; The Witch and Rapunzel (Lucy Burgess), Little Red and The Wolf, and anything involving Princes (Mari Webster and Simon Hoy) in particular. As far as ensemble songs and choreography go, well that’s all good too, and it’s impossible to fault the complex ‘Your Fault’, in which Jack (Lewis Jackson) gets to find his voice.

It’s dark in The Woods, don’t you know. And it gets darker. People die. People reveal the worst and best sides of their natures. Some of it is positively Freudian. Just when you think it’s a Happy Ever After…it isn’t. There be giants and stuff, really good special effects and scary bits. And there be also, and perhaps most terrifyingly of all, randy Princes…

My award for ‘Man of the Match’ without doubt goes to Mari Webster, for her startlingly sexual thigh-slapping performance as ‘Cinderella’s Prince’ and her hilarious duets with Simon Hoy and Teresa Bray. Whilst ‘In To The Woods’ is not a pantomime, she plays the part in classical principal boy fashion. She’s well timed, hugely witty, great to look at, and utterly fascinating to watch.

In summary; In To The Woods, at The Wharf…

Slightly confusing, as plots go, but deliciously entertaining.

Looks cool.

Good performances all round.

Lots of laughs.

Great singing.

Mayhem. Magnetism. Mirth.

Moral tale? Fairy tale? Musical? Not-quite-a-pantomime?

You decide.

Call it whatever you like, but don’t miss it.

It’s a fun frolic.

And it is well good.

Nicely played TITCO.

Again.

PS And after this, if you’re hungry for more excellent Devizes entertainment, why there’s Devizes Arts Festival…

…and they all lived happily ever after 😊

Green Tears for Beauty

for jemma brown and the invitation theatre company
on the occasion of anthony brown’s production
of ‘war of the worlds’, at st. mary’s in devizes

a mellifluous light

cello ripe and butter sweet

slides through the silence

a river of silver

flute bright and sugar spun

streams through the shadows

forever the autumn’s

melancholy melodies

play on the heart strings

suddenly remembering

past loves and passion plays

men become young again

…

envious angels

up in the rafters weep

green tears for beauty

The War of the Worlds at St. Mary’s; a preview

The Invitation Theatre Company rock ‘War of the Worlds’ at St. Mary’s, Devizes

On hearing of this production my thought process went something like this; War of the Worlds, that’s that old 70s album, right? The Invitation Theatre Company, didn’t they make Jesus Christ Superstar kind of interesting? St. Mary’s, oh, visuals, now you’re talking. Steampunk? Sold.

It was the very end of the nineteenth century when HG Wells penned his tale. Men have a habit of fearing the apocalypse at these times, and Wells gave those fears form in this science fiction story of war between Martians and humanity. It took till 1978 for Jeff Wayne to pick up the ball with his album, and until now for Anthony Brown to take a chance and run with it in Devizes.

I’ve been to the tech rehearsal. I’ve been to the dress rehearsal. I have been playing the album all day. I want to go again. Sold to the barking poet. Utterly.

The visuals first. It’s a medieval church for starters. There are Martian lights in the lofty arches, soft reds and greens tickling the pinnacles, shimmers of Victorian velvet and shifting shadows on the walls. Above the main arch the conductor’s shadow moves like a demon possessed, and the Red Weed (just say no, kids) doth spill across the stone like blood. A lightfest, so it is, a delicious smorgasbord of colour. The set; minimal, just the narrator’s chair on high and a tall tower o’ drums on the other side of the stage. And cogs. Massive wooden cogs. No Martians. No one dressed as aliens. Thank goodness for that. All conveyed with lights, it is, with lights, and sound, and a well placed stare. Clever.

The band take up over half the stage. There are (deep breath) four keyboards, four guitars, four violins, viola, cello, a big fat double bass, percussion, drums, and a conductor. It’s a wonderful score, besides which everything else is mere illustration and tableau, beautiful but secondary to the sound. The band are great, despite the fact that they have played together less times than the fingers on my hand. Flutes from keyboards, sweet violins, drums, and old stone walls drowning in sound. Nice. Very nice indeed.

So nice in fact that when ‘The Eve of War’ kicks in I experience a sudden ‘wild trembling exultation’. I do hope no one noticed. Although one is prone to these reactions it is surely only a man with no soul or rhythm who would not shift a little in his seat at some point during this production. Or shiver at Jemma Brown’s voice. Or at some point during ‘Forever Autumn’. Or at the haunting ‘No Nathaniel, no’ refrain, so sweetly sung by the elegant Mari Webster, in ‘The Spirit of Man’. Oh dear, now I am listening to it again. I blame TITCO. Help me.

Opportunities for serious acting are thin on the ground in this show, but what parts there be are played very well indeed. There’s real talent here. Paul Morgan’s voice of the journalist is reminiscent of Burton and old wirelesses; perfect, archetypal. His reading provides the cues for the music so his timing has to be right. Safe hands, methinks, safe hands. Jonathan Paget; excuse me but is he actually from this century; great look. Chris Worthy as the Artillery Man giving ‘Brave New World’ everything he has…er, why isn’t he acting and singing professionally…just asking. And Ian Diddams, channelling the angst of all humanity with a look, a stance, a hammer and a melodious tone; presence, man, presence. All good. All really good. But my prize for best actor goes unreservedly to Sean Andrews, as the demented and religiously deluded Parson Nathaniel. His duet with Mari Webster is stunning. When he raises his cross and the light hits it…well, what can I say. ‘Tis a moment, to be sure. Well done, that man, take a bow.

What else? Oh yes, great backing vocals, particularly in the chilling ‘Ulla’ Martian song of death. And the women look gorgeous. When you’re done with the dresses, if you’re stuck for somewhere to store them, I might have a bit of cupboard space. Top hat and ribbons? Why thank you, I don’t mind if I do.

Tricky moments? The odd sticky mic. And, to call a spade a spade, moments in the choreography that could do with tweaking. It’s all so complicated, with so many factors to co-ordinate, and very little space. Fingers crossed it will be alright on the night. No, I’m going to stick my neck out and tempt fate by saying that it’s going to be more than alright on the night. It’s going to be glorious.

Special mentions? Anthony Brown, ably assisted by his partner in crime, Jemma, for being brave enough to direct and conduct such a complex production. You may have played a blinder here, sir. And behind the scenes, Tracey Lawrence and her crew; so much sourcing, so much sewing, so much work, and all so very beautiful.

And, finally, the band. That’s some sound you’ve got going on. Thrilling. But also rather challenging, methinks. So break a leg, bow, drumstick, whatever. For you and the sound guys hold this whole show in your hands.

No pressure…

War of the Worlds at St. Mary’s, Devizes, in a nutshell?

Just go.

For yea verily, it is seriously spot on.

gailfromdevizes

poetry, photography, prose