See below our Young Reviewers’ reviews of Tara Arts’
recent production Macbeth:
When you think of Shakespeare’s Macbeth, you generally wouldn’t picture it
being set in India. However, thanks to the combined work of Tara Arts,
Queen’s Hall Arts and Black Theatre Live, the adaptation of the play works
very well.
Robert Mountford is wonderful as Macbeth, with Shaheen Khan’s impressive
Lady Macbeth. With the rest of the cast multi-roling brilliantly, portraying the
differences between each character fluidly and clearly, they each bring their
own flair to the performance. The work of the actors is supported throughout
the play by Rax Timyr who, using his vocal and drumming skills creates sound
effects, music and tension through the duration of the play. Director Jatinder
Verma has created a clever production, mixing the two worlds of Shakespeare
and Asia, taking elements of each to create a performance that works with
both the Shakespearean script and the more modern Asian setting.
Unlike Shakespeare, however, most of the fighting is not done with weapons,
but with the body, using brilliantly choreographed fight sequences that look
amazing thanks to fight director Kev McCurdy. Costuming is effective, ranging
from the bright and colourful saris of the Hijras (in place of the Witches), to
more modern clothing, including suits and long coats, the costumes showed
social status and also gave a visual representation of Macbeth and Lady
Macbeth’s growth in power but also their decent into madness, with their
clothes getting finer but darker as the play progresses.
Lighting and scenery are mostly kept to a minimum, which was effective as it
gives more focus on the action onstage. Props and scenery were interacted
with fluidly, in a more physical theatre way than the rest of the play. Small
amounts of song and dance interject throughout the play, bringing a more
upbeat tone to certain aspects of the piece.
Overall, the performance was powerful and brilliantly put together, the acting
was amazing and the effects were good.
Kim Hall, Harrogate College
The witches have made their prophecy, Macbeth is consumed by a desire for
power and guilt becomes ubiquitous in the shadowy world of Macbeth…
Shakespeare’s 400 year old play returns to the stage once more yet seems
newly written with director Jatinder Verma’s unusual take on the daunting play
as Eastern and Scottish cultures are united.
The audience follows the familiar yet enticing story of Macbeth (Robert
Mountford) who is told by some witches that he will one day be king. With the
idea of potential power planted in his mind, aided by the manipulative Lady
Macbeth (Shaheen Khan), Macbeth pursues a corrosive path that
accompanies the desire for power.
The play’s simple grey setting does not bore at all thanks to the constantly
moving mist that floats across the scene, drawing the audience down into the
ghostly world of witches. Musician Rax Timyr’s incredible on-stage sound
production adds to the eerie atmosphere with his self produced whispering
effects and drumming complementing the intensity of the cleverly crafted
fighting scenes, choreographed by Kev McMurdy.
The costumes likewise fascinate the audience as they hold elements of both
the Scottish and Eastern culture. In particular the glittering costumes of the
three witches (Ralph Birtwell, Deven Modha and John Afzal) help to bring a
surprising element of humour to the production.
It is easy to forget that there is only a small cast, all of whom portray their
characters in a compelling and captivating manner, allowing the audience to
immediately become enticed by events despite Shakespeare’s intense
language, which in other productions often makes comprehensibility difficult.
Whether you are studying Shakespeare’s famous play or a lover of the
playwright himself, this production excels, not only ensuring that the audience
leave very impressed, but also reminding everyone as to why Shakespeare’s
plays are the most renowned around the world.
Carly Jennings, Harrogate Ladies College
An eastern twist is given to Macbeth, "the Scottish play" renowned as one of
Shakespeare's darkest works. Embellished with glittering gowns and a
crimson turban, the dark tragedy was transformed by Tara Arts, unveiling a
modern day story of an Asian family and their path to destruction.
The three weird sisters dressed in sparkling saris and menacing beards
provoke Macbeth and give him the hunger for power that he has been starved
of for so long. Macbeth (Robert Mountford) and his ruthless wife (Shaheen
Khan) make a chilling pair, but equally as strong are the rest of the ensemble
who play a number of roles, creating this complex world leading to inevitable
destruction when the ungrateful are consumed by their greed.
Enhancing the atmosphere throughout is on-stage musician Rax Timyr who
adds to the ensemble's expressive movement and extremely convincing stage
combat. The stylised movement - choreographed by Kev McCurdy - is a huge
strength of the show and highlighted some very poignant and dark moments
of the characters' journeys.
Even in a tale as dark as this one, moments of light made their way through.
Shalini Peiris gave a fantastic performance with her humorous portrayal of the
servant, giving the audience a chance to relax into their seat before the neck
snapping and gore began again. It was these small moments of levity that add
depth to the stories horror.
Allowing a new cultural perspective, old words heard time and time again
were refreshed. Tastefully done, the eastern twist invited us to look with new
eyes at the ruins greed lies beneath and the destruction that accompanies
real ambition.
Amelie Roch, Harrogate Grammar School
Jeeves and Wooster in Perfect Nonsense Reviews
Just three men and one set seamlessly transform the stage into the farcical
world of Jeeves and Wooster in Perfect Nonsense, as they re-enact the
absurdity of the previous, chaotic weekend. With Wooster’s priorities split
between matchmaking and the theft of a sought after silver cow creamer, their
stay at Totleigh Towers becomes increasingly eventful.
Deadpan butler Jeeves is depended on to hold the production together,
supplying props along the way and keeping Wooster in check. Hilariously
improvising all eventualities the trio successfully constructs the scene on the
go, ranging from the drawing room to the Turkish baths, a level crossing and,
with the help of Seppings, a full scale storm.
Discounting one instance of corpsing- in which Robert Webb (Wooster) and
Jason Thorpe (Jeeves) succumb to the audience’s hysteria, simply adding to
the authenticity of the performance and causing even louder roars of laughterthe acting is faultless. Christopher Ryan, mainly as Seppings, certainly
achieves the most costume changes and should be commended on
portraying, so convincingly, a vast array of genders, ages and personalities in
his characters. Thorpe’s comically straight face is a humorous contrast to the
mayhem and, a highlight that cannot go without a mention is his solo
performance of an entertaining conversation between Madeline and Watkin
Bassett. His half and half costume has the audience in stiches. Webb
maintains remarkable diction throughout his story-telling and brings the
necessary energy to successfully carry off P.G. Wodehouse’s iconic
character.
All three actors have impeccable timing, bonkers expressions and superb
stamina to guarantee you will leave the theatre grinning. The adaptation of
this West End award-winning comedy is extremely inventive and the
performance was thoroughly enjoyable from start to finish.
Anna Floyd, Ashville College
Striking the balance just right between the hilarious and the absurd, P.G
Wodehouse’s critically acclaimed story of Jeeves and Wooster in Perfect
Nonsense, adapted for the stage by the Goodale brothers, hit Harrogate’s
stage - and what perfect nonsense it was.
On a day like any other, Bertie Wooster (played by Robert Webb) is called
upon to act as a thief, spy and matchmaker. On a quest to please all, Wooster
creates chaos but his ever dutiful butler, Jeeves (Jason Thorpe), is there to
pick up the pieces, regardless of what those pieces may be. Assisted by the
elderly Seppings (Christopher Ryan), Wooster reenacts his trials and triumphs
as the story not-so-smoothly comes to life.
Though incredibly minimal at the play’s opening, the set impressively mutates
into the many manors of Wooster’s companions, as he leads the captivated
audience through his tales. The cast of three’s transformation into various
characters of all ages, sizes and genders is a clever and brilliant touch – and
the characters get more outlandish and outrageous as the story unfolds.
Things don’t always go to plan, despite the trio’s valiant attempts. However,
the bumps, the mistakes, the occasional moments of “what going on” are what
make this raucous comedy such a fantastic watch. The quick witted
characters ad lib when all fails, creating unique moments for each audience
and provoking roars of laughter within the crowd.
With rarely a dull moment during the play, there is laughter throughout this
outrageous journey, We become entranced by what could happen next, with
these outrageous and loveable characters. Allowing ourselves to be
completely absorbed into the story made for a thoroughly entertained
audience and a fantastic show.
Amelie Roch, Harrogate Grammar School
Who would have thought a small silver cow could cause so much trouble?
Well, in the brilliantly hilarious production of Jeeves and Wooster in Perfect
Nonsense it does just that after the events on a weekend away snowball into
absurdity.
The ‘production of a reproduction’, directed by Sean Foley, sees the wealthy
yet naïve Bertie Wooster (Robert Webb) retell the events of his visit to the
family country house where he attempts to mend a breaking relationship, steal
a silver cow and – unintentionally – cause a great mess, much to the
enjoyment of the audience. Thankfully, his solemn-faced butler Jeeves
(Jason Thorpe) acts as brains for both, all the while providing subtle and
hilarious one-liners.
Seppings, another of Wooster’s butlers, (Christopher Ryan) is also called in to
play, well, just about everyone else present at the country house including a
man 9 foot tall. At one moment we watch as he hobbles off stage in a black
and white suit, only to see him scramble back on not moments later in a bright
peach-coloured dress, drawing immediate laughter from the audience. This
not only highlights the great comedic movement featured throughout the
production, but also the fantastic costumes (although at one stage a
lampshade was used as a bonnet).
The ostentatious set movements become part of the laugh-out-loud comedy,
as does Bertie’s hysterical commentary and the sound effects which
accompany the comical actions of the characters – often generated Foleystyle by the character of Seppings using an old gramophone and various
props.
The fantastic production provides lighthearted jokes, amusing characters and
clever sets, which make for an exciting and enjoyable evening. Like everyone
in the audience, I found myself totally immersed in the ‘perfect nonsense’ and
was left wondering, as Bertie at one stage in the production asked himself; ‘do
trousers really matter?’
Carly Jennings, Harrogate Ladies College
Jeeves and Wooster in Perfect Nonsense is, without a single doubt, the most
hilarious and well performed comedy to hit the stage this year. Fast-paced,
witty, and slap-stick happy, this play induces tears of laughter within its first
scene and it only gets better as the chaos gets worse.
An adaptation of the original 1938 novel, The Code of the Woosters, the
Goodale brothers have created a masterpiece of a play that enjoyed a
successful West End run from 2013 to last September, when the cast began
its first tour. Perfect Nonsense follows the narration of Bertie Wooster (Robert
Webb), a cheerily foolish aristocrat, as he joins his troublesome friends and a
variety of eccentric characters at a country house. Despite having to juggle
matchmaker duties, the recovery of a stolen antique and mixing with some
very goofy schoolmates, Wooster is never too out of his depth thanks to his
trusty butler, Jeeves (Jason Thorpe).
Thorpe, armed with a deadpan face, causes laughter to erupt literally by not
moving a muscle. Due to the three man cast and the world of characters,
multi-roling is used throughout the play and to see Thorpe transform from the
stoic Jeeves to a blushing maiden is both admirable and side-splitting.
The other half of the titular duo, Robert Webb as Wooster, leads us through
the complex narrative with his vivacious personality and flair for improvisation.
There is no lack of minor stunts, either, and Webb tackles all of them: rolling
backwards out of windows, charging at walls, and a tricky maneuver out of a
bathtub.
The third and final member of the cast is Christopher Ryan, playing Seppings,
another servant of Wooster's who has a knack for doubling as Roderick
Spode, the main antagonist. His performance becomes increasingly funnier
and bigger (literally) as the play goes on and Ryan manages to smooth out
the dynamics of the trio, creating a magnificently creative and memorable
comedy.
Hannah Hancock, King James’s School
Jeeves and Wooster in Perfect Nonsense, the hit west end comedy adapted
from P.G. Wodehouse’s works by the Goodale brothers, is as funny as is
expected, being an award-winning show starring Robert Webb, Jason Thorpe
and Christopher Ryan.
When Bertie Wooster (Robert Webb) decides to put on a one man show (with
butler Jeeves (Jason Thorpe) and Seppings an aging butler with ‘a gift for
impressions’ (Christopher Ryan) stepping in to play everyone else) hilarity
ensues. Together they tell the story of a weekend spent at a country house
getting into all sorts of trouble, playing matchmaker and stealing a silver cow
creamer. Thankfully Jeeves is there to keep him out of trouble, provide the
props and scenery (much to Wooster’s wonder) and makes sure the show
stays on track. Comedic moments are extremely well-timed and are well
delivered.
Scenery and costuming are clever, amusing and nice to look at. The actors
were hilarious and worked brilliantly together bringing many different
characters to life with only the three of them. Their use of facial expression
and body language was lively and amusing and really brought the
performance together. Their portrayal of each character was clever and funny;
having each actor (except Webb) having to act out as several characters at
once while still being their original character underneath is interesting and
amusing. This results in hilarious costume changes in some very short times
and witty dialogue both on and off stage with the trio (mostly Wooster)
continuously need reminding that there is an audience. Wooster’s narration is
funny and well timed with scenery and costume changes, interrupting himself
to explain the obvious and just stopping the story, going off on a tangent and
having to be put back on course.
Kim Hall, Harrogate College
“Indeed sir” what a show! From beginning to end Jeeves and Wooster in
Perfect Nonsense had me in tears of laughter. From the subservient valet
Jeeves (Jason Thorpe), the dramatic, snooty Bertie Wooster (Robert Webb)
and the comical, little old man Seppings (Christopher Ryan). Directed by
Sean Foley, Jeeves and Wooster a three-person play is absolutely fascinating
to watch and the sheer hilarity of the multi-rolling Jeeves and Seppings is pure
brilliance; comic timing could not have been delivered better.
The performance of Jason Thorpe as Jeeves is downright impeccable; I could
not fault Thorpe in the slightest. Dry humoured, sophisticated accent, brilliant
facial expressions; Thorpe really captured the nature of Jeeves seamlessly. A
particular moment is where the character of Jeeves transforms into Madeline
has the audience howling with hysterical laughter. With the realisation that a
Madeline was needed on stage the three actors look at each other nervously,
Jeeves taking it upon himself to pull down the curtain and snatch the
lampshade put them on carelessly and suddenly become Madeline. My
stomach ached with the utmost pain from laughing. Jeeves whichever
character he multi-rolled throughout the show, is so convincing I felt it was a
completely different actor each time.
Despite such an extraordinary performance from Thorpe, Webb as “Wooster”,
gives a high quality performance and portrays the lively aristocratic “Wooster”
well, however only one factor lets him down; his speech. Simply and plainly
Webb speaks too quickly, so much so that I struggled to fathom the story line,
which was an absolute shame given that the show itself was such a joy to
watch.
Nevertheless “Jeeves and Wooster” is fantastically and innovatively
performed. The whimsical humoured script and talented trio of actors produce
a show that would brighten anybody’s day.
Bethany Agaoglu, Grammar School at Leeds