Tag: Rondo Theatre

“Antony and Cleopatra” at the Rondo Theatre, Larkhall, Bath, October 18th 2025.

by Ian Diddams
images by Penny Clegg and Shakespeare Live


“Antony & Cleopatra” is one of Shakespeare’s four “Roman Plays”, and chronologically is set after “Julius Caesar” as the new triumvirs Mark Antony, Octavius and Lepidus between them oversee the Roman Empire. Basically we start with Mark Antony all loved up, and avoiding his duties until recalled to Rome by Octavius to help fight pirates whilst playing down their distrust of each other. The rest of the play concerns itself with political chicanery egged along by the inevitable soothsayer complete with prophecies of doom and gloom … Our eponymous hero should have considered Julius Caesar’s similar warnings – but this is Shakespeare so why would he do that? Keen eyed readers may already have spotted a pattern with Shakespeare and prophecies of course… He makes some pretty dashed poor tactical mistakes over battles and ends up killing himself, leaving Cleopatra to similarly despatch herself in grief … keen eyed readers may already have spotted another pattern with Shakespeare and lovers killing themselves over misunderstandings… Shakespeare Live bring this Shakespearian tragedy to life on tour, opening at the Rondo.

The play takes anything up to three hours to normally complete – but director Jacky Crosher has superbly trimmed the text to just a hundred minutes, concentrating on the juicier scenes and real plot developments while using extraneous introduced Greek chorus style narrators to fill in the more prosaic plot areas. The result is a rollocking production that keeps the audience entranced but her directorial influences don’t stop there. The great naval battles on which Mark Antony’s fate resides rather than being glossed over as per the text are brought to the fore in riveting scenes of their own, played out with two full navies on a tempestuous sea via choreography and music. Similarly the land battle is performed in stylised choreography quite superbly.

All of this also wrapped with various well known musical items from Rodriguez to Black Sabbath. Full kudos to Jacky for creating such a wonderful melange of art styles to tell this tragedy.

The cast are no less excellent. When you portray a pair of lovers it is important to have on stage chemistry – a belief that the two characters are into each other, so how better to cast such a couple than with a real life couple; so step forward Mr. & Mrs. Finlay, Rob and Maria as the wonderfully played eponymous pairing. Andy Cork’s Enobarbus is sublime, Lucy Upward’s deferential yet sister-like Charmian delightful while Naomi Miller as Iras shines alongside her as Cleopatra’s companions.

Liz Hollis cameos her way almost sprite like as the inevitable Shakespearian soothsayer, all melodramatic cloak waving, and as a messenger and finally as Eros, squire to Mark Antony. Jeremy Reece advises Mark Antony smoothly while many of the already mentioned also then wade in as a clown, Egyptian and soldier.

Naledi Withers almost surpasses her excellent role of Octavius Caesar in her presentation – its that narrator thing – of a newspaper reporter, while in her main role in Rome she is excellently supported by Jeremy Reece (again!) as Lepidus, the far more sensible member of the Triumvirate! Naomi Miller also doubles up just as splendidly as Octavia, Octavius’ sister who gets married off to Mark Antony, while the stalwarts of Shakespeare Live Gill Morell and Graham Paton as ever shone in their roles as Dolabella and Thidias, and Agrippa respectively.

Tech as ever is delivered by the ever dependable Alex Latham, with more back stage stalwarts of James Dennis and Connor Palmer stage managing it all. The costumes are sumptuous, the set perfectly simple… a black box with a settee, easy to tour with and never distracting on the eye.

For a roller-coaster ride through post Julius Caesar Roman history, a love story, political chicanery and a tragedy you can do WAY worse than catch Shakespeare Live on tour – tickets available at

https://www.ticketsource.co.uk/shakespearelive

“Travesties” at the Rondo Theatre, Larkhall, Bath, October 8th-11th 2025.

by Mick Brian
images from Lauren Arena-McCann


The playwright Tom Stoppard is probably best known for his work “Rosencrantz and Guildenstern Are Dead”, his absurdist comedy based around Shakespeare’s “Hamlet”. Equally absurd is his country house murder mystery “The Real Inspector Hound” which has no *cough* resemblance to Agatha Christie’s “The Mousetrap”. A lesser known work of Stoppard’s, though no less absurd, is “Travesties” which has more than large hints and homages to Wilde’s “The Importance of Being Earnest” that is set in Zurich in 1917 and features such prominent people of the day as Lenin, James Joyce and Tristan Tzara.

“Travesties” is to be performed by Bath Drama at the Rondo Theatre, Larkhall, Bath next week from Wednesday 8th to Saturday 11th at 7.30pm.

Henry Carr, a somewhat confused and muddled old man, relates his experiences as a British Consular official in Zurich 1917, kept abreast of current affairs by his butler Bennet, who it is clear has an interesting past of his own. Carr’s topsy-turvy memoirs interweave a social group consisting of the author of Ulysses, the founder of the Bolsheviks and the co-founder of the Dada movement set again the background of World War One and the Russian revolution. Amongst the turmoil we meet two young women keen on love in a confusing triangle of obfuscated names.

Jim McCauley directs this masterpiece in daftness, being a lifelong admirer of this play, more than ably abetted by Lauren Arena-McCann and the two of them have created a truly Stoppardian maelstrom – you’ll need to stay awake and concentrate to keep up as the characters deal with mislaid writings, revolutionary plans, mismatched trousers, library etiquette, court cases, Charleston dances and limericks.

Henry Carr is played by Andrew Chapman, wonderfully portraying a confused old man and a younger, somewhat bemused Consul with a wonderful delivery and brilliant comic timing; his acting is of course thoroughly ernest (no, not Ernest – the other one). Carr’s love interest, Cecily Carruthers is played by Amy Smith, all strict demureness until her passions are roused by a decadent nihilist. Amy totally nails Cecily’s prim but not-so-proper presentation and is another whose comic timing is sublime.

His Butler, Bennet, played by Ian Diddams is a gentleman’s not-so-gentle man who it seems has far more going on than his – mostly – calm exterior may indicate… Ian encapsulates Bennet’s complex history and presence excellently, and – three witches like – is seemingly omnipresent.

Cecily’s partner in crime as young women forging new socio-political paths is Sophie Turner as the Wilde-ly in love Gwendolen, but her pièce de résistance is as the straight woman to the most complex scenes which she effectively leads.

Gwendolen’s love interest, Tristan Tzara is portrayed by Jem Andrews, nonchalance and devil-may-care superbly louchely played, with and without monocle. Jem’s comic timing – again! – is superb and his interactions with Carr encapsulate multiple moods and attitudes easily.

Now, we mustn’t forget here James Joyce,
A man with an Irish voice,
Played here by Felix Byrne
Who gives us a great turn
As an actor in which we rejoice.

Which leaves us with Mr and Mrs Ulyanov. Also known as Lenin. Sam Fynn as ever pours his heart and soul into his portrayal, as shown by his dedication to learn the correct pronunciation of the Russian he speaks in his role. I’d put a quid on him. Imogens Notshaw portrays Lenin’s wife as narrator of their lives and dedicated partner… she too studied the Russian she speaks and whilst the “straightest” of characters in the play has a powerful presence throughout.

Tech as ever is provided by Alex Latham, with Connor Palmer as Stage Manager and Penny Clegg as his ever able assistant, with the ever brilliant Rich Canning as set design, costumes by Scarlett Hayler-King and Bath Theatrical with wardrobe support from Chloe Harris.

So come on along to the Rondo theatre to learn far more than you imagined about 1917 in Switzerland and Russia … or then again… not.

Tickets from https://www.ticketsource.co.uk/rondotheatre/travesties/e-pvmvgv


“The Taming of the Shrew” at the Rondo Theatre, Larkhall, Bath, June 18th-21st 2025.

By Ian Diddams
Images by Josie Mae-Ross and Charlotte Emily

Shakespeare wrote several plays that were termed in the late nineteenth century “Problem Plays”. These were some of his works that didn’t easily fall into brackets such as comedy, tragedy or history – usually covering at least two of those – but also dealt with uncomfortable social problems. When one looks at the basic plot of “Shrew” its difficult with our twenty-first century spectacles on to not include it in this classification. Unadulterated misogyny, gas lighting, and mental and physical abuse within marriage are not viewed as comedic obviously …  yet “Shrew” is universally billed as a comedy. The Rondo Theatre Company this week, however, sets to reflect these non-contemporary themes in a gender bent performance to highlight the inequalities and oddities of Shakespeare’s script.

It’s also a somewhat sumptuous treat – costumes (Harriet Hazelwood-Rose) are sublime with a red velvet theme running throughout, and the set whilst a very typical black box for Shakespeare nevertheless encompasses a balcony/second tier, an exciting addition at the Rondo.

Director Jazz Hazelwood-Rose had long planned this version of “Shrew”, using this gender-queered approach to (in their own words) “… examine how Shakespeare’s ‘comedy’ has a darker side that highlights how the gendered language we use affects how we see each other and interact with the world …”. That this is done so sublimely well is testimony to their vision, and the quality of the cast; very quickly the male v female “battle of the sexes” is forgotten, and the tale of bigotry and oppression just shines through. Alex Oliviere is simply phenomenal in her role as cock-sure (no pun intended!) Petruchio, wonderfully mirrored by initially surly and increasingly demure Toby Skelton as Katherine. Their stage chemistry builds throughout the play signifying not only Katherine’s submission to her husbands will, but also Petruchio’s adoration for her.

More than ably supporting them are Alana Wright as Hortensio, Megan Robertson as Lucentio, Charly Nehan as Tranio, Helen Taylor as Baptista, Yvonne Pauley as Gremio, and Charlotte Howard as Vincentio, to complete the female/male flips. Freddie Oliviere-Davies as Bianca performs the reverse Kate as it were, all light and softness – until married of course. Chris Constantine as Biondello and Matt Nation as Grumio follow a traditional casting, and both provide strong characterisation as Lucentio and Petruchio’s servants respectively, Matt Nation especially in an almost slapstick, court fool role. Teasel Howell, Will Prins, Sophie Turner, Ed Hodgkinson, and Moray Macdonald complete the cast as various servants, merchants, tailor, and rich widower.

The set as previously mentioned uses a two-level approach which is used very effectively – Geoff Rennie step forward for your design and implementation. Alex Latham provides the usual excellent “Technical Wizardry” and Steph Hazell and George Fletcher keep the whole thing running seamlessly as stage management.

In a time now where the main plot contains universally unacceptable traits – clearly more acceptable four hundred years ago – The Rondo’s production handles the subject matter with care and respect. This may not be a “problem play” by the usual definitions, but the jarring aspects of Petruchio’s “killing through kindness” are laid bare all the more through the gender queered approach.

“The Taming of the Shrew” is showing at the Rondo Theatre, Larkhall, Bath until Saturday 21st June, and is a perfect opportunity to see a lesser performed play from the canon…  and if you aren’t that sure of the background plots in particular, you would do well, in advance, to “Brush Up Your Shakespeare” … 

Tickets from https://www.ticketsource.co.uk/whats-on/bath/rondo-theatre/the-taming-of-the-shrew/e-moayov



Gender-Queered Production of Shakespearean Classic at Bath’s Rondo Theatre Raises Money for Charities

Photo credit: © Rondo Theatre Company / Jazz Hazelwood

A gender-queered production of William Shakespeare’s classic play, ‘The Taming of the Shrew’, will be performed at the Rondo Theatre in Bath this June, as part of Queer Bath and LGBTQIA+ Pride Month, with all profits being donated to charity……

‘The Taming of the Shrew’ is one of Shakespeare’s more challenging plays. The story centres on two siblings: Bianca, who is surrounded by suitors, and the fiercely independent Katherine, whose sharp tongue and violent outbursts have garnered them a fearsome reputation. Bianca cannot marry any of their suitors until Katherine is married – enter Petruchio, who is determined to ‘break’ and marry Katherine.

In this production from the Rondo Theatre Company, which has been the performing arm of the Rondo Theatre since 1982, the play takes on a daring new life where comedy and discomfort intersect. In a world where Petruchio is a boisterous woman and Kate is a shrewish man, this bold reimagining explores the power dynamics at the heart of Shakespeare’s comedy while unpacking how language shapes our understanding of gender and control. The Rondo Theatre Company has flipped the script, and audiences are invited to laugh and reflect on the complexities of gender by re-examining the ways comedy can reveal uncomfortable truths about societal power dynamics.

‘It’s been a fascinating process to get under the skin of these characters in such a refreshing way’, says Alex Oliviere, who plays Petruchio in ‘The Taming of the Shrew’. ‘‘Historically audiences were intended to rejoice in the sight of an outspoken and fiery woman being cowed by a violent and domineering man, and it’s been really interesting to display that power when the positions are reversed. We’ve had a lot of thought-provoking conversations in the rehearsal room about why it feels so different, and we hope that audiences will be prompted to do the same.’

‘The Taming of the Shrew’ is the Rondo Theatre Company’s annual charity production, with all profits being shared between Not A Phase and the Rondo Theatre’s ‘Revamp the Rondo’ fundraiser.

Not A Phase is a trans-led, nationwide charity committed to uplifting and improving the lives of trans+ adults, through awareness campaigning, social projects and funding trans+ lead initiatives.

‘We’re really pleased to donate half of this year’s charity production profits to Not A Phase,’ said Director of ‘The Taming of the Shrew’, Jazz Hazelwood, ‘with everything that is happening in the world right now it’s more important than ever to protect marginalised communities. With ‘Shrew’ we’ve created a space that is inclusive and led from a place of respect and acceptance for all. Not A Phase is a brilliant charity, and the work they do for the trans+ community touches the heart of what we’re doing and the values that this production upholds.’

The Rondo Theatre’s ‘Revamp the Rondo’ fundraiser seeks to replace the auditorium seating, and make other building improvements, at the Rondo which has, since 1989, been a place for nurturing local talent, a home for community theatre groups, and a venue for the best touring theatre, stand-up comedy and music – including recent appearances from Nina Conti, Prue Leith, Andy Parsons, Joe Wilkinson, and Milton Jones.

‘We are one of many local community theatre groups who call the Rondo Theatre home,’ says Alana Wright, Chair of the Rondo Theatre Company, ‘it’s a truly special venue in the city and we’re delighted to be donating half of this year’s charity production profits to the Revamp the Rondo fund, and give this well-loved theatre the boost it needs.’

‘The Taming of the Shrew’ takes place during both Pride Month (1 – 30 June), and Queer Bath (26 May – 30 June), a celebration of LGBTQ+ arts, culture, heritage and history in museums and venues across Bath. Queer Bath is a new citywide campaign – the first of its kind – led in partnership with Bath Arts Collective, WIG, and Bath’s museum & heritage community.

‘The Taming of the Shrew’ will be performed at the Rondo Theatre, St. Saviours Road, Bath BA1 6RT, from Wednesday 18th to Saturday 21st June 2025, 7.30pm.

More information and tickets are available on the Rondo website HERE 

“Flatpack” at The Rondo Theatre, Larkhall, Bath, March 26th-29th 2025.

by Ian Diddams
images by Josie Mae Ross and Richard Fletcher

John Hodge is well known for his screenwriting of “Shallow Grave”, “The Beach”, “A Life Less Ordinary” and “Trainspotting”, as well as plays such as “Collaborators” which played at the Rondo Theatre last June. This week sees his latest play “Flatpack” appear at the same theatre with the same company, RTC, in a world premiere.

Director of “Flatpack”, and “Collaborators” last June, Matt Nation says “I directed Collaborators at the Rondo last year. It went very well, and John was kind enough to support the production. So when we jokingly asked him if he had any more scripts up his sleeves – we weren’t really expecting him to say yes. But here we are – a brand-new John Hodge play”.  And John himself says “Watching ‘Flatpack’ come alive for the first time has been a privilege and a great experience”.

But enough of the show’s program’s plagiarism as review padding! “Flatpack” centres on a young married couple David (Richard Chivers) and Hannah (Naomi Miller) who buy a run down flat with excellent views of the railway, who have best friends Fiona (Sophie Kerr) and Tom (Rob Finlay). The flat is sold by an estate agent Philip (Jon Thrower), and this is all more than ably supported by an unnamed police detective (Andy Fletcher), equally unnamed doctor (Verity Neeves) and kitchen designer and wannabe artist Ryan (Toby Farrow). David’s life is thrown into disarray when he received not a death threat but a death announcement – June 27th 2025 is his final day of life. His increasing fixation with his impending death somewhat glosses over his relationship with Hannah, who falls for the charms of another, and his volun-selected triathlon training. Not to mention him succumbing to a femme fatale herself finding the idea of his approaching alleged death erotic. The detective provides a narration/ Greek chorus role piecing the story arc together and used as a MacGuffin to tie up plot lines. David returns again and again to the Doctor, who themself flits between altruism, greed and compassion with his story-line. Ryan is an over confident kitchen designer feeding his own internal lack of self esteem aching for an alternative life to which he was never suited, and finally the estate agent is one of those annoying characters in life that you can never seem to get rid of and you are never really sure why they are there – we all know the type.

The writing is unsurprisingly absolutely superb. The story arc moves smoothly with no fat, incorporating clever – nay brilliant! – time line and intra-scene flips to create a seamless transition from the “now” to the future and back again at all times explaining and developing David and Hannah’s relationships. I particularly liked John Hodge’s little homage  to his own play “Collaborators”  with a  tiny reference to an unseen and barely mentioned work colleague of David’s with regard to the unforeseen effects of a rashly invented suggestion..  The set (Production team, Yvonne Paulley, Alex Oliviere and cast)  is simple but highly effective – itself used as the flat’s front room, cafes, restaurant, wine bar, friend’s dining room, street corner, doctor’s surgery, garret flat, police station and a bathroom all created impeccably with a sofa, armchair, dining table, a kitchen unit, street lamp and a hidden boudoir. Not to forget either the as ever excellent tech provision by Alex Latham all held together by stage management from Alana Wright and Maria Finlay. A mention must also go out to the costumes – which at least for Fiona were simply stunning, and for Tom an intriguing  stream on a set of shirts…  the cast all provided their own wardrobe and it proved to be a superb directorial touch.

The casting was simply perfect. The characterisation just exquisite. Not a single weak part – testimony to great writing, great acting, great direction. Richard Chivers excelled as the uncertain, distracted and overwrought David as his life begins to unravel around him as his fixation with flatpack kitchens increases. The connections are provided in the play itself but the analogies of his marriage and a uncompleted kitchen unit combined  with the juxtaposition of his social entropy  and kitchen improvements are clear and the perfect holistic encompassing of the overall story. Naomi Miller as Hannah was as sweet and loving as a wife can be but we see the cracks in their marriage early on and her falling for the louche charms of Toby Farrow’s Ryan is a natural result of David’s loss of focus on her; Ryan is wonderfully cringy and hilarious in turn.

Sophie Kerr’s Fiona and Rob Finlay’s Tom as their best friends are wonderfully awful. Self-centred to a tee, their portrayal of a couple blundering through life as social panzers is hilarious.  Tom is obsessed with triathlon and promotion, bung full of toxic masculinity and without an empathetic bone in his body. Fiona as catty as can be,  happy to see those around her fail – and never more excited (and jealous) of others’ misfortunes. Verity Neeves as the doctor shows great skills in presenting youthful compassion, with personal greed but eventually shows her caring side at one time being the only person that actually sees David for what he is going through and has become.

The estate agent, Philip, played by Jon Thrower does a great job of being the spare part in the whole play – the annoying character that keeps turning up for no real reason, not particularly impressive as an estate agent…  so why does he keep getting in the way of David’s life?

That just leaves the Detective played by Andy Fletcher. Andy does a phenomenal job – as mentioned before Greek chorus and MacGuffin combined. And a harmonica player to boot as well as a handy publisher of useful kitchen safety tips…

Overall a wonderful world premiere to get to see. How lucky are we all to have such a chance to see this at a community theatre performed by such an adept company with such great writing.


So does David actually die on July 27th 2025?  Far be it for me to spoil the ending – there’s one way to find out though!

“Flatpack” shows from March 26th to 29th at 1930 at the Rondo Theatre, Larkhall, Bath.

Tickets from https://www.ticketsource.co.uk/whats-on/bath/rondo-theatre/flatpack/e-vkmvkq

“A Streetcar Named Desire” at The Rondo Theatre, Larkhall, Bath, November 27th-30th.

by Ian Diddams
Images by Josie Mae-Ross and Infrogmation

Tennessee Williams’ quasi autobiographical drama “A Streetcar Named Desire” was first performed in 1947 as the world emerged from years of global conflict. That war had changed things for ever in many ways …  while in others, many things remained the same. Williams’ own family’s misfortunes and situations are threaded throughout the play, but while those may have been in reality based in the 30s and 40s the issues he raises – of misogyny, bigotry, domestic abuse, violence, homophobia, and social snobbery – are as obvious today as they were almost eighty years ago.

As titles go though, it may well have been simply named “The Fall and Fall….  And Fall of Blanche DuBois”

The eponymous streetcar ran on the line of that name in New Orleans until around the time the play was first performed. Its simple plot is that of Blanche DuBois and her fall from status, grace and finally sanity. Surrounding her is her sister Stella, who abandoned their cocooned life years before, Stella’s husband Stanley, a course, uncultured “Polak,” and their abusive relationship is mirrored by their neighbours Steve and Eunice.

A glimmer of light comes Blanche’s way in the guise of Mitch, seemingly gentler and more appreciative …  until he turns, showing his shared heritage with the other men. Blanche descends into madness as her airs and graces so vilified by Stanley slip away to expose her own seedy recent past, and her own bigotries, while exposing the other womenfolk’s tightrope walk through their marriages.

This is not a light play. It would come with plenty of trigger warnings – domestic violence, homophobia, rape, alcohol abuse, to name but a few of them. That the company present these challenging aspects convincingly without descending into casual titillation or merely seeking to shock is tribute to their acting skills, the direction of Heidi Street, and the set and technical wizardry on display.

There is another aspect to heighten the senses, and bring New Orleans’ Latin Quarter into this pleasant eastern suburb of genteel Bath, UK. The show’s very own jazz band of Tom Turner, Peter Tucker and Yvonne Paulley providing the appropriate Louisiana style soundtrack to complete this exquisite holistic production.

Not content with playing clarinet as above, Yvonne also appears as the Nurse and a rose seller with a fine command of Spanish, and in-between those two demands also produced the show. Accompanying her and is another clearly ridiculously talented man, Tom Turner swapping his saxophone to play the Doctor as the stranger whose kindness Blanche, for a final time, relies on. Toby Skelton is another all-rounder who aside from stage managing all of this also appears as the Young Man, while Riza Domi is obviously far more sensible, with just the one role of Pablo, one of Stanley’s poker playing buddies.

Neighbourly Steve and Eunice are subtly portrayed by Tim Carter and Sophie Kerr, all lovey-dovey and lustful – until the pans begin to fly. Tim Hounsome sensitively plays Mitch, Blanche’s almost love interest – until his urges almost overtake him and finally his own prejudices come through. Stella is sympathetically portrayed by the excellent Lauren Arena-McCann who as an American herself – albeit from New York State and not Louisiana also doubled up as unofficial voice coach! Her portrayal of an oppressed wife trapped in a caustic, abusive relationship in which she acquiesces easily to her own lustful urges, while protecting her sister from a world Blanche cannot comprehend is painfully perfect. Matt Rushton delivers Stanley cringingly well too…  his physical presence, large voice and overbearing character is full of unspoken menace the entire play; of course, to Stella but also to his drinking and poker buddies who he controls through fear.

Which simply leaves Blanche DuBois. Lucy Upward is the very essence of Southern belle – sophisticated, used to the finer things in life, seeking to move in the right social circles…  but exposing the cracks in that edifice as the story unfolds.  Delicious flirtatiousness, demure repose, increasing intemperance and the slide into insanity as her Walter Mitty world collapses around her. Lucy captures these airs, moods, and madness perfectly – she IS Blanche DuBois.

The set is a marvel – a perfect setting to portray a cramped two room apartment in the confines of a community theatre. Muslin roman blinds provide discreet views of more intimate – and jarring – moments while the rake of the stalls provides the upstairs flat from Stella and Stanley’s own. Costumes by Chrissie Fry as ever from her, capture the times and characters so well, from Blanche’s diminished trousseau to Stanley’s slobbish attire replete with hideous bowling shirt.

There is false hope, there is pain, there is self-delusion, there is despair. But overall, at the Rondo this week, with a sold out run, there is a Streetcar…  named Desire.







Cephid’s Sparks in the Darkness Goes Live at Bath’s Rondo Theatre

Best part of a year has passed since Cephid released the groundbreaking electronica album, Sparks in the Darkness. At the time I said of West Lavington’s musician and composer Moray Macdonald’s alter-ego’s masterwork, it was composed of “gorgeous complex structures and intense electronic textures,” and comparing it thus: “like Jean Michel Jarre came after dubstep, as if 808 State created Tubular Bells!” On February 8th 2025, Cephid is coming to life, live at The Rondo Theatre in Bath……

Yeah, so I waffled in the review, from Dadaist Art of Noises to Delia Derbyshire and onto Kraftwerk, but it was hard to describe this album, to convey how technically constructed it was, because while contemporary, we usually associate electronic music with dance music ever since the slapadash rave era. While it’s certainly danceable, it also relies heavily on the ambience of prog and space-rock soundscapes of yore, and creates this timeless classic impossible to pin down.

The show will likely be that rare and unmissable occasion, Moray said he’s “very excited and a little nervous to announce the first ever Cephid live show!” but that he feels, “lucky to have such a great space to perform in, and I’ll be using light shows, projections, and more to bring the album to life.”

Partner Charlotte is producing the show with Nick Beere on sound. Graham Brown of Grace and Fire and The Paradox Twin will be on percussion and keys, and there’s a solo support performance by ex-Enid’s That Joe Payne.

Since releasing Sparks in the Darkness, Moray has spent a lot of time explaining his thought processes while producing it, and remixing Kleptocracy, the new single from Orchestral Manoeuvres in the Dark which charted at number 1 in the Official Vinyl Singles Chart in May. If you’re an OMD fan, or just have the slightest interest in any subgenre of electronic music, this will be an unmissable show. 

Tickets are HERE.

Trending….

Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward “E”) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy…

Burning the Midday Oil at The Muck

Highest season of goodwill praises must go to Chrissy Chapman today, who raised over £500 (at the last count) for His Grace Children’s Centre…

For Now, Anyway; Gus White’s Debut Album

Featured Image: Barbora Mrazkova My apologies, for Marlborough’s singer-songwriter Gus White’s debut album For Now, Anyway has been sitting on the backburner, and it’s…

“The Real Inspector Hound”, at the Rondo Theatre, Larkhall, Bath, November 8th 2024.


by Ian Diddams
images by Playing Up Theatre Company

When is a mousetrap not a mousetrap? When it’s written by Tom Stoppard…
If you have seen “The Mousetrap” you may find elements of “The Real Inspector Hound” quite familiar. Or alternatively, if once having seen “The Real inspector Hound” you then progress to seeing “The Mousetrap” you may find elements of that show quite familiar…

“The Mousetrap” of course being a play by Agatha Christie that is the London West End’s longest running play, performed ever since 1952 with only a lockdown enforced break in all that time. Famously, audiences are asked not to reveal the solution.  Tom Stoppard, allegedly, found this requirement somewhat tedious and so set out to write his own, similar, play.  You would ideally want to see both however to fully understand what he created.

“The Real Inspector Hound” is also famously known for being a play-within-a-play; that is, a play in a theatre where the story is about a play. Stoppard though arguably takes this one step further especially as the surreal activities of the second half of the play unfold, as it becomes a play within a play within a play…  the complexities of what that entails are best learned by seeing Stoppard’s excellently bizarre play!

The Playing Up Theatre Company present this show this week at the Rondo, Theatre, Larkhall, on the eastern extremities of Bath. In it they take Stoppard’s already surreal comedy and add even more layers to it…  not only is their performance of Stoppard’s urine extraction of Agatha Christie, but they have added hilarious homages to “The Play That Goes Wrong,” “Acorn Antiques” and even “Monty Python,” especially in the first half – the second half is bonkers enough to not need any additional layers, but the surrealism is excellently portrayed with good pace and no blinking of an eyebrow – audiences need to stay awake and in tune and to have listened attentively to the opening fifteen minutes to get all the nuances going on!

Stoppard used to be a theatre critic himself, and uses this knowledge as a vehicle to extract the urine to that demographic. The two critics, Moon and Birdboot, played by Andrew Chapman and Simon Shorrock respectively, certainly portray two characters full of self-importance and one upmanship, though from opposite ends of the ethical spectrum and the two actors capture this interaction excellently. James Coy adeptly and gruffly spins his way around the stage in a wheelchair as the physically challenged brother-in-law Major Magnus Muldoon, overly protective of his sister-in-law and threatening dark retribution to any man displaying intentions towards her. But is he what he seems to be ?

The star of the show – if one may be permitted to pick any one actor out of a superb line out anyway – for me though was Anne Hipperson as Mrs. Drudge the housekeeper. Her self-confessed homage to Mrs Overall from “Acorn Antiques” is perfect – some exquisite comedic timing. The only thing missing from the portrayal was Stoppard failing, sadly, to provide her with a line of “Two sugars” during the painfully brilliant coffee scene.

Simon Gascoyne, smooth, suave, and sophisticated wooer of women was played by Jordan Phillpots, oozing self-confidence and smarm from every pore, while Felicity Cunningham, played by Leah Brine, the breathless, suspicious, doubly wooed young lady was suitably, deliciously aghast at the abhorrent menfolk in her life.

Then there was the almost obligatory femme fatale for such country house whodunnits – Sophie Brooks as Lady Cynthia Muldoon. Outwardly a devoted wife to her missing husband, but privately a hot bed of passion for passing fancies, Sophie mixed M’Lady’s brooding, sultry character in the farcical first act, and surreal second half to perfection, another actor with perfect comedic timing.


Which leaves just Inspector Hound himself – as ever perfectly played by the ever talented Richard Chivers. Or then again – is he the “Real Inspector Hound”?


That leaves just one more character on stage … mentioned several times, but hidden, then revealed – twice. No names, no pack drill, but the character never puts a foot out of place, and remains faultlessly in character and on stage for the entire show.

The set, by cast and crew, is a simple one as befits a typical country house murder mystery, with the use of the Rondo’s rear “cubby hole” option as the theatre seats used by Moon and Birdboot. Costumes fitted the period setting of 1930s upper class types, and technical design, operation and support was handled with aplomb by Darian Nelson and Emily Smith. This just leaves kudos for wonderful direction by Darian Nelson, abetted by superb stage management – also stepping into the fold of tech team for technical reasons – by Diluki O’Beirne.

I can’t praise this performance enough. From the pure delivery of Stoppard’s farcical surrealism, to the directorial tweaks and homages so well delivered by the cast, to use of Bluetooth technology to really sell on stage audio, everything gelled so well.

So all that remains now is to advise you all – go and see this play wherever you can and see if you can spot who is…  “The Real Inspector Hound.”





“Design for Living” at the Rondo Theatre October 2nd–5th 2024.

by Ian Diddams
images by Josie Mae-Ross

Noel Coward is probably best known for “Blithe Spirit” but he in fact wrote sixty-five stage plays over a fifty year period. Bath Drama this week perform his excellent “Design for Living” – a comedy about a menage-a-trois, complicated by a fourth relationship set in Paris, London, and New York.



What is the secret to a successful community theatre show? It’s quite a simple answer in many ways – talented actors, inspired direction, dedicated crew all working to a vision. Topped off with an intimate space to share it all in. Bath Drama and the Rondo Theatre deliver this equation sublimely…  from the wonderful sets, beautiful costumes, brilliant lighting, and the ability to be almost on stage with the action…  for those in the front row in particular one is sitting in Otto, Leo, and Ernest’s abodes.

Three of the principals – Gilda (Elisabeth Calvert), Otto (Toby Skelton) and Leo (Richard Watkins) share a turbulent three way relationship – viewed afar with some consternation by the fourth principal, Ernest (Iowerth Mitchell). Ernest is also friends with the trio, but far more platonically. The story moves between Gilda’s affections at any one period; firstly with Otto, then with Leo, then with Ernest, until the play’s dénouement when the three embrace their shared loves and Ernest disowns them all.


Elisabeth Calvert as Gilda drives the show – she is on stage for the majority of the two and a half hour show (with over a thousand lines!). The entire story in many ways is about her inability to commit and/or her easily swayed attractions; she is also the instigator of all the arguments with her lover at any time hinting at a lack of happiness deep inside.

The one relationship in the play that Coward had to downplay when it was written in 1932 was the homosexual one between Otto and Leo. Even in today’s far more liberated times the dialogue still lends itself to a demure portrayal and little more than heavy hints that the two chaps in Gilda’s absence have a thing going on. A few draped limbs here, a shared pair of pyjamas there, and a liberal use of the word “gay” as a double entendre (I only learned today the term for homosexual was first widely used in the 1930s amongst the gay community!). Toby Skelton and Richard Watkins portray this subtle yet intense relationship supremely well, infinitely comfortable in each other’s company and arms.

The supporting cast is no less excellent – Lucy Perry a blaze of door slamming energy on stage as her portrayal of the clumsy Miss Hodge the domestic contrasts superbly with the subtle, suave sophistication of the principals. Tim Carter doubles-up as a photographer and the monied New Yorker husband of Lauren Arena-McCann as the Carver couple, while Lauren also doubles-up Miss Birbeck a reporter. More double-ups as Lucy a.k.a. Miss Hodge also plays the rather more up market Grace Torrence, with her dee-lart-furl Southern drawl.  Segueing nicely in this review, Jim McCauley plays Matthew the somewhat stressed New York Butler to Ernest, as well as being Assistant to Gill Morrell as Director.

The set is delightful – simple yet elegantly portraying with not a little panache a studio in Paris, a flat in London and a suite in New York – step forward and take a bow to set crew Rich Canning (who else!), David Wood, Miriam Zaccarelli and Connor Palmer. The scene shifts between the three abodes are technical – which is a subtle way of saying they are long. However – this is not a negative; the choreography between the stage crew of Connor Palmer, James Dennis and Ellen Read is a delight to behold in itself more than ably abetted by the quite stunning 1920s soundtrack. Costumes by Scarlett Hayler-King and the cast were beautifully elegant …  and of course, there was Miss Hodge’s rather more prosaic home help clobber 😊 Finally, but by no means least, Alex Latham provided tech as smoothly on the outside as we have all come to expect.


This is an exquisitely written play, performed well and is more than worthy of your attendance.  “Design for Living” is performed at the Rondo Theatre from October 2nd-5th 2024.

Tickets from https://www.ticketsource.co.uk/rondotheatre/design-for-living/e-vllzbb

“Faith” at the Rondo Theatre, Larkhall, Bath, July 12th 2024.

by Ian Diddams.
photos by Ian Diddams and Luke Ashley Tame at Acadia Creative.

 
In the U.K. a one hundred and sixty-eight women and girls are murdered each year – almost one every two days. Eighteen percent of all recorded crime is domestic abuse. To the year end March 2022 police recorded 194,683 sexual offenses. Of which 70,330 were rapes, and of those just 3.2% were prosecuted, with a conviction rate of 62%. That is a conviction rate of under 2% of all reported rapes. “Reported” being the key word here.




“Faith”, devised by Uncaged Theatre and written by Meg Pickup and Taruna Nalini, explores this background in its story involving four long standing friends – Colly & Kaia a cohabiting lesbian couple, Mercy who has an off-stage lesbian partner, and Theo who leads a promiscuous, single gay lifestyle. They share evenings together drinking wine – and cider – and playing games where Uno is the safe game of common agreement over strife ridden Monopoly and the ownership of “Mayfair”. Their harmonious, loving and tight knit group comes under pressure when a close female friend disappears after one such night when she never reaches home after her Uber ride. Things never will be the same again.



Before the friend’s disappearance we witness small cracks in Kaia and Colly’s relationship, which love and partnership smooth over but it’s bubbling below the surface continually. The safety of Theo’s promiscuous gay lifestyle via Grindr is questioned by the three women, but he brushes it off – a foreshadowing of what is to come in some ways. Mercy is portrayed as the most on-the-level of the four.

The disappearance of their friend lifts the lid on all of these relationships and interactions. The women are connected by a constant fear and dread of male violence. Theo’s viewpoint is one of self-protection and public perception of himself as a male and these two sides of the coin are unable to fully appreciate each other’s position. As Colly opines, women are worried about BEING the next victim, while men are worried about being blamed. The cracks in Kaia and Colly’s relationship widen over differences in approaches to the tragedy; Colly’s solution is to protest and push the issues into people’s faces, Kaia’s is to hide away and not stir society’s pot.

The final monologue is stark.



“Faith” is a work in progress and the Rondo performance was its world premiere. As a work in progress there are areas to flesh out, I am sure – Theo’s story is ripe for this area both with his own vulnerability in his encounters and also as the closest male to the victim. The area around race of the Uber driver is hinted at – and could again be a sub-plot to expand on, though that may be a distraction for the overarching premise and theme of this play.



All four characters are clearly and perfectly drawn. Meg Pickup as strong willed, somewhat selfish Colly, Taruna Nalini as the loving, but insular Kaia, Billie-Jo Rainbird as the level-headed Mercy and Nicholas Downton-Cooper as Theo living his best unfettered gay life whilst overly sensitive and defensive to public perceptions.



The set by Uncaged Theatre is a simple one (I like a simple set me!) where the action all takes place in Kaia and Colly’s flat. Lighting and sound by Maria Hemming sets the tone and time and day, and Billie-Jo. There are clever uses of TV reporting voices – voiced by Ashley Kelberman and Max Baldock – to cover the news around the disappearance and eventual discovery; a very good directorial touch by the company.



The show is a hard watch, unsurprisingly, due to its core premise. But it’s a well told one written from unfortunate knowledge. At least one of the abuse stories related in the play is 100% true from one of the cast’s own experience, and all are based on real occurrences. It is something everybody should see; the writing is precise, pertinent and pulls no punches. The characters are well drawn – these are people we all know … normal, everyday people leading everyday lives just like ourselves. In a friendship group just like we all have. Yet we are lucky enough – mostly – to not face what happens to one of our friends. I hope for all our sakes. Because one day … it may be us. Maybe it’s us that takes that last Uber ride thinking we are nearly home… It will move you – it SHOULD move you. I cried when I reflected on the show.


In closing, we need also reflect that in the time between seeing the show and writing this review, statistically in the U.K. another woman has been murdered.



“Faith” can be seen at the Alma Tavern, in Bristol, on August 10th at 8pm.
Tickets from https://www.tickettailor.com/events/almatheatrecompany/1242658

“The Collaborators” at the Rondo Theatre, Larkhall, Bath, June 19th-22nd.

by Ian Diddams
photos by Richard Fletcher & Lisa Hounsome

The concept of historical brutal dictatorships and comedy is not necessarily one that one considers as workable. Yet the likes of “The Producers” and “The Death of Stalin” show that the right level of satire can over come any qualms that may exist. John Hodge’s play “Collaborators” continues this trend as an Stoppard-like surreal absurdist comedy about the relationship between real life characters Joseph Stalin and Mikhail Bulgakov, which the Rondo Theatre Company are performing this very week.

John Hodge may be better known for his scriptwriting on “Shallow Grave” and “Trainspotting” amongst other blockbuster films but here in “Collaborators” he ratchets up the satire and hinges his story on a Machiavellian plan by Stalin toward the dissident playwright Mikhail Bulgakov.

Director Matt Nation has created a demanding – in effect – two scene play into a smoothly choreographed storyline, as the simple set of the Bulgakov’s Moscow flat replete with huge Soviet red star also covers the Lubyanka, theatre, rehearsal studio, doctor’s surgery, hospital, kremlin basement & metro, all clarified by Alex Latham’s subtle lighting changes, The cast smoothly transition between these environments adeptly – such is the skill of particularly community theatre in  representing multiple arenas in a limited space.


Act 1 is pure absurdist comedy. Bulgakov is pressured into writing a play for Stalin’s birthday, that ends up being written by Stalin himself while Bulgakov ends up running the Soviet Union. Its silly, its surreal – action also happening in Bulgakov’s head at times but just on the end of Act 1 the plot twists darkly.

Act 2 is pure black comedy. Though as the end of the play approaches is not so much comedy as horror as the repercussions of Bulgakov’s well intentioned “decisions” as a proxy for Uncle Joe come clear and those chickens come home to roost. Tragedy would be as good a description as the show reaches its denouement.

Weaving this excellently crafted and delivered tale are the cast of fourteen. Principal characters are unsurprisingly Stalin – complete with swept back hair and bristling moustache – played by Andy Fletcher, and Bulgakov played by Jon Thrower. They portray this odd collaboration skilfully and sympathetically, Stalin as an almost genial and friendly Uncle figure, Mikhail as the distrusting and incredulous playwright.



Mikhail’s peer group is comprised of his loving wife Yelena (Lucy Upward) portraying her increasing desperation and concern as to his health, Vassily an aging Czarist (Jonathan Hetreed), Praskovya a history teacher (Verity Neeves) that cannot discuss history before the revolution, and Sergei (Charlie Bevis) who have been billeted in the Bulgakovs’ small flat – Sergei lives in the cupboard!  On this note the cupboard is superbly used as the entry and exit of Mikhail’s dreams/hallucinations and also the secret Kremlin door (!). Charlie’s portrayal of the enthusiastic young Soviet is touchingly naïve, and the group rub along despite their clear and evident differences in opinion and approaches to life under Stalin. Completing Mikhail’s peer group are Grigory (Toby Gibbs) a young writer struggling to get his work published due to its anti-Soviet content and his wife Anna (Elisabeth Calvert) reflecting the times’ oppression.

Bulgakov’s doctor is portrayed amusingly (in all the right ways!) by Tim Hounsome, all overworked, distant and slapdash until treating the elite, while “the actors” are just wonderfully performed by Josie Mae-Ross and Richard Chivers, floating in and out of Mikhail’s dreams as well as acting out the play Bulgakov is “writing” …  Richard’s homage to Ernst Stavro Blofeld is almost a show stealer in itself.

Last but not least we come to the menace in the play – the NKVD officers.
Vladimir (Tom Turner) is quite brilliant as the jocular yet disquieting secret policeman who becomes more luvvie and obsequious as the play develops. Its unfair to pick out individual parts as “show stealers” especially in community theatre, but it would be remiss of me to not to praise one particular performance in this play. Tim Carter plays NKVD policeman number two, Stepan. A silent, brooding presence he delivers the real – literally unspoken – menace throughout whilst being at the back of the stage mostly. Its not until the very end that he comes to the fore in his own right, but it’s a special skill to not be heard but be influential in the action and Tim really nails the requirements.



Vladimir’s wife Eva is played with an almost cameo performance by mainstay of the Rondo theatre company, Alana Wright, who manages to stave of the unwanted attentions of Stepan… mostly…




Aside from Alex on lighting, Dylan Jackson provided sound tech and as a team they had a busy time and completed everything to perfection – this is a tech heavy show so huge congratulations to them. Other crew aspects were indeed “collaborated” on (d’ya see what I did there? ) by all of the above – set design and build, stage management (including Toby Skelton), costumes and publicity which was aided and abetted by Lisa Hounsome and Richard Fletcher with photography.

“Collaborators” is a fast paced, thinkers play – although the allusions to modern day Russia are evident and lie not very far beneath the surface. Some genuine laugh out loud moments, some shocking moments and Stalin’s final words to Bulgakov sum up the regime’s totalitarian control in a nutshell.

“Collaborators” is showing at the Rondo Theatre, Larkhall, Bath from June 19th to 22nd at 1930 every night.

Tickets from https://www.ticketsource.co.uk/rondotheatre/collaborators/e-eqavlp

“The Incident Room” at the Rondo Theatre, Larkhall, Bath, May 1st-4th.

by Ian Diddams
images by Ian Diddams

I was born in 1962.

In 1975 I was 13 years old, in my second year at secondary school.
By 1981 was I was about to take A-levels that summer.

In that time Peter Sutcliffe, a.k.a. “The Yorkshire Ripper” murdered thirteen women and attempted to murder seven others.

I grew up in Kent, two hundred and forty-five miles away from the area of those crimes. I was – am – male. It didn’t affect my life. Not directly. Yet, in retrospect it did touch my life, peripherally. A female friend went to university in that area during half that time – another in another part of Yorkshire similarly. A best friend’s dad was a senior officer in the West Yorkshire Constabulary, though not attached to the police investigations. And it was a dominant, recurring news story, alongside the Northern Irish “troubles”. For six years.

“The Incident Room” by Olivia Hirst and David Byrne, tells the tale of the West Yorkshire police’s investigation, seen through the characters of five C.I.D. and one uniform officers, one civilian special constable, and a journalist. Adding context and background is a party girl and a taxi driver – one a survivor, the other a suspect. It’s a fairly no-holds barred expose of the misguided processes and investigative lines taken, of the egos and personalities that ultimately proved to be so disastrously wrong in the “Ripper Enquiry”. It is also a portrayal of the humans behind those decisions and the impacts on their lives. It carries an increasingly strong message of female suppression, misogyny and general undertones of constant rivalries threaded throughout the story. It is a story of ultimate triumph – but one that is hugely clouded by self-doubts, missed opportunities, ruined careers.

Platform 8 Productions have embraced all the above and delivered it, in spades. The Rondo Theatre’s intimate space works well with the short, sharp-scened focus of the play. Rich Canning has once again excelled with his set design encapsulating the increasingly oppressive and crushing confines of the Millgarth office with areas for external scenes as stage left and right. The design draws the eye into the very nub of the entire issue at hand …  the pin board where, as the death toll rises, the board gets filled with the stark photos of the victims, plus the attack survivor, Maureen Long’s. This is a tech heavy show and the tech crew of Will Ward, Alex Latham (who else at the Rondo?!) and Julie Dallimore have delivered director Nadine Comba’s wonderful visions to a tee – time slips with ticking sounds and flickering lights a constant thread as the scenes race through the years of the case, stark office lighting, subdued 4am paperwork and filing…  not to forget the disco and driving music of course.

As so the cast…  this is a character driven story as well as being a “history”, as opined previously. And the cast perform the characters SO believably.  As the play progresses each character grows stronger. There’s George Oldfield, in charge, played by Mark Hale.  All brusque and bullish at first, but the job wears him down of course and by the end he is broken, a spent and bitter man.  Mark’s mannerisms reminded me of somebody I knew, perfectly… Dick Holland, played by Rich Canning (of set fame!)  is Oldfield’s number two and he shows Holland’s devotion to Oldfield and …  interest…  in special constable and man-hunter Sylvia Swanson played deliciously by Alex Oliviere. PC then DS Andrew Laptew, played by Matt Rushton, grows from “Bradford Twat” to sure footed detective until being crushed by the weight of his realisations over his suspicions that were glossed over and he didn’t push. Steve Brookes came to the cast quite late to play Jim Hobson, the tyre specialist – forthright and convinced of his leads. It’s a small part in the overall play but Steve makes his mark in the opening salvos with Oldfield well. Louche and cocksure Jack Ridgway is superbly acted by Chris Constantine, all swagger and insouciance, delivering his barbed pro-Manchester, anti-Yorkshire remarks to perfection – he is the boyfriend you hope your daughter never brings home. Chris doubles up as sometime suspect, taxi driver Terence Hawkshaw with an interesting 1970s style beard! How does he shave it off so quickly and grow it back again every night ? Then there is conniving, ambitious, feminist Tish Morgan played by Leah Brine with her eye for the main chance and the big scoop and not caring who gets hurt en route, and the survivor Maureen Long acted by Jude Bucklow, capturing the loss of joie de vivre and ultimate depression so poignantly.



That leaves just one character – that of Megan Winterburn, uniformed sergeant and controller of the incident room. Meg is on stage for the entire show – or if she isn’t I must have blinked and missed it. The play – though being a quasi-historical record and about one perpetrator in particular, is really about Meg. Of her struggles against a male dominated workplace and her self-doubt and blame of how she may have missed something along the way. Her in-the-future reflections with Holland frame the story throughout underpinning each section of the investigation. It’s a huge part and the core and crux of the performance and so chapeau to Alexia Jones for a bravado delivery par excellence. Absolutely super.

The play works on multiple levels. Yes, it’s about a famous police investigation. But its also so much more.  It’s a play about rivalries. Between different police forces, different counties, different regions, different sexes, different professions. Misogyny is rife, but so is distrust of others – whether they be from Bradford, Manchester, London…  or non-coppers. It’s a play about pig headed stubbornness, about detrimental devotion to superiors. About social bigotry. It’s the 1970s in a nutshell… 

Ultimately the police get their man. But not through the thousands of hours spent on the investigation – but a chance encounter by two uniforms in a red light district. Two years after Laptew had tried to file a report about the killer. The play thus is really about failure – individual’s failures because of stubbornness, or devotion, or misdirection. Oldfield loses his job, Holland his marriage, Megan her self belief, Laptew his career, Maureen her confidence. Ridgway and Hobson survive to fight another day but tarnished by association.

Its only Tish that “wins” – her career climbs from Yorkshire Post to Daily Mirror to Sunday Times. Whether we are left feeling she is a “winner” is open to conjecture.


And finally… Towards the end of the play Meg comments to Tish about a book to be published about the Ripper and the investigation, that it is isn’t journalism, but merely “entertainment” and “tittle tattle”. It’s a reminder maybe that what we are watching is in some ways “entertainment”. A play in a theatre. About the subject of the book that Meg is decrying. Though I’d suggest “The Incident Room” is far from tittle-tattle.

There are thirteen characters that haven’t had a mention in this review, in the cast list. But without them this story won’t ever have happened, this play never written. This top performance by Platform 8 Productions would not be showing. And its them that we should remember – the people that ended up as a photo on a pin board in … 

“The Incident Room”.


Wilma McCann   Emily Jackson   Irene Richardson   Patricia Atkinson   Jayne MacDonald   Jean Jordan   Yvonne Pearson   Helen Rytka  Vera Millward   Josephine Whitaker   Barbara Leach   Marguerite Walls   Jacqueline Hill

“The Incident Room” plays at the Rondo Theatre, Larkhall, Bath from May 1st to 4th 2024

Tickets from https://www.ticketsource.co.uk/whats-on/bath/rondo-theatre/the-incident-room/e-vqryvo

“Skylight” at the Rondo Theatre, Larkhall, Bath, April 24th-27th.


by Ian Diddams
images by Jim McCauley & Bath Drama

Its 3 a.m. You are tired. You are still going round and round in circles in a discussion with a partner, lover, friend about a lover, their lover, a friend’s lover.

Sound familiar? Flashbacks? We have all been there – well, anybody that has any friends and has reached the age of eighteen anyway.

David Hare’s play “Skylight” is all so reminiscent of those long, dark tea times of the soul (to paraphrase Douglas Adams). Over the course of this riveting two and half hour play we are witness to the post match analysis of two ex-lovers (their …  “love” … briefly rekindled over the course of half time a.k.a. the interval) exploring their previous, illicit, relationship and the potential for the future.

The play opens, set in the mid-1990s in Kyra’s (Phoebe Fung) flat in Kensal Rise as she returns from work, as a teacher. It is an unglamorous property, and that is being kind. She is soon joined as a total surprise by Edward (Samuel Elliot), a confident eighteen-year old on his gap year. We learn that Edward has had an argument with his father, Tom (Jeremy Fowlds), and has moved out…  that Kyra was part of his family household for years. That his mother, Alice, had died. That Kyra had inexplicably left one day. Then a while after Edward has left, Tom arrives. It transpires Kyra and Tom haven’t seen each other for three years. Were ex-lovers. That Alice had found out. And so, Kyra left.

And the talking starts.

“Skylight” is fundamentally a triple duologue, a play in three parts over two acts. Kyra is on stage aside from brief periods out of sight in her bedroom for the entire play. Tom is on stage for much of that too. Edward has what may be called a cameo role by some but still has a hundred lines to deliver, over the prelude (as above) and an epilogue.

The play’s title is derived from a feature from the bedroom of the play’s fourth character that we never see, Alice, who was dieing of cancer. The bedroom’s sloping glass roof is the “Skylight” … and its existence sums up succinctly Tom’s perception of life. Tom is an extremely wealthy self-made restaurant owning businessman (allegedly modelled on Terence Conran) where life is smoothed by the presence of the “Yellow Pages” (remember that?). Everything can be paid for and that’s all that matters. Kyra once lived in this bubble of financial ease but now chooses a life of social fulfilment – passionately too.

And so, to the set. What a set! Hare once apparently said he doesn’t write plays set in a room but as the exception (?) that proves the rule this one is – it is quite literally a kitchen sink drama. All the action is in Kyra’s kitchen/diner/lounge. Anyone reading this that lived in cheap rented accommodation in the 1980s and 1990s will recognise it immediately. Peeling and patched wallpaper, mould on the walls, gas boiler safety certificate so old its ripped mostly off the boiler, scratched lino floor, rusty doored fridge-freezer, grubby paintwork. You can SMELL the lack of upkeep. Delve deeper into the flat and the attention to detail is superb. Mixed library of books from Freud to Shakespeare to Phillip K. Dick to Salinger to Verne. A working sink. Yes. You read that correctly… a WORKING sink. Water comes out of the taps. Goes down a plughole. And the pièce de resistance, the cooking hob. That works. And on which Kyra cooks, on stage, in real time, a spaghetti and sauce dinner. (Incidentally, it smells divine – do make sure you have eaten before you go and see the show because you will be feeling hungry if not!)


Full kudos must be given to the set designer here. Rich Canning, take a HUGE bow, along with your build crew.  You could give guided tours of this set. I WANTED to be able to see the bedroom. I WANTED to see the flat’s front walkway and stairs. Absolutely amazing.

Which brings me onto sound and lighting.  Once against at the Rondo, Alex Latham has pulled out all the stops. From the “whoomphing” gas boiler to traffic sounds as doors and windows are opened, to running baths, day turning to night turning to day. Another sublime performance in the tech box.

Andy Cork directs, assisted more than ably by Stephanie Richards who also produced the show. Andy’s program notes expand on this, but he has perfectly helped the cast capture the societal divide post-Thatcher, pre-Blair that resonates so much with contemporary Johnson/Truss/Sunak 2020s. So much so that if we were told this was set in 2024 it would be as valid, as meaningful. Possibly even more so. Social bigotry, monetary divide, I’m-all-right-jack, anti-woke, no-lives-matter.

This is all encapsulated in the plot and characterisation, expounded so brilliantly by Phoebe and Jeremy. Tom is one step from the “smelly homeless should be fined” brigade – if that far even. Kyra has a social conscience – or has developed one once freed of Tom’s wealth when she was much younger. And that is the crux of their non-relationship. Despite each other’s strong love for each other still it becomes increasingly clear there is no future. They are poles apart – at one stage I even thought “Why/How do these two even get on? Like each other?” They are the antithesis of each other’s perspectives. Tom crashes though life with a plan that is so focussed he has lost focus on everything else; while he had provided a “Skylight” for his dieing wife he is just Gaslighting constantly. And mainly himself. Maybe even only himself. Kyra has no plan, is drifting, but cares. Passionately cares. About social injustice and Tom’s obvious lack of social conscience. At one point as Kyra rages against the unfairness of society, I was struck by the Jonathan Pie-esque rhetoric, delivery… quite superb. And let’s not forget Samuel as Edward. Edward demonstrates another side of his family. The lost nephew almost for Kyra that arrives in the epilogue, so to speak, to raise Kyra’s spirits, to display tenderness.  Tom makes a point that he, Tom, genuinely GIVES because his gifts are without ulterior motives. But in reality, he is not giving at all, he is gifting. Whereas Edward is giving of himself…  such that he isn’t really even giving, he is sharing. A sweet portrayal by Samuel.

I could continue in similar vein for pages. I won’t though. The best thing would be for you, dear reader, to grab a ticket and get yourself to the Rondo and see this amazing show. See David Hare’s words come to life through Andy, Stephanie, Phoebe, Jeremy, Samuel, Alex, and Rich’s creativity. We are so blessed with great community theatre in Wiltshire and Bath, but this may well be the best show you see this year.

“Skylight” runs from April 24th to 27th at 1930 each evening at the Rondo Theatre, Larkhall, Bath.

Tickets available from https://rondotheatre.co.uk/skylight/


“RENT” at The Rondo Theatre, Bath, March 13th-16th 2024

Ian Diddams

Written by Jonathan Larson
Presented by Maple Theatre Company

It’s always hard reviewing a show that one has seen multiple times before, performed by differing companies. It’s also hard reviewing a show that is one of one’s favourite shows EVAH. And if that wasn’t hard enough…  Its far too hard to review a show that one has performed in oneself. It’s wrong to compare – its unfair and meaningless…  differing companies, differing directors, differing theatres.  So, ignoring the seven other productions I’ve seen including the one I bummed around in (quite literally – if you know you know) ….  Here goes…..


For those that know the story of “RENT” – you can skip this paragraph. Otherwise, Jonathan Larson’s story – a glorious homage to Puccini’s “La Boheme” – revolves around a group of bohemians in the lower east side of New York City and deals with topics such as homelessness, drug addiction, betrayal, and AIDS… as well as love, friendship, recovery, and hope. All wrapped up with a stunning score of often poignant, sometimes funny, always beautiful singing with six-part harmonies. If you want to know more …  duck go go is your friend as ever.

RENT on stage is usually set in a quasi-industrial area – and Maple Theatre Company don’t buck that trend (I doubt RENT heads would allow it to be honest!). Scaffolding creates multiple levels which are used excellently throughout the show and frames several areas for the action. ON stage props and setting is minimal, but I raise my hat to the wonderful use of moveable music flight cases with wooden tops that represent beds, side tables and THE cafe table (if you know, you know). Quite brilliant also was the use of 40-gallon steel oil drums …  where “drums” covers two definitions of that word.  Chapeau to Luke Hocket, set designer (who also produced the show) and his set team of Tom Courtier and Milly Hayward.

Directing a show like “RENT” is no easy task (not as hard as reviewing it obviously 😉) as the show is basically “the same” whoever does it (as it is so iconic – maybe after 400 years, like Shakespeare, some aspects will be changed, and we will get a RENT set on a spaceship …)  but Dionna Kate-Hargreaves set her own stamp on it in subtly brilliant ways. I mentioned the use of multiple levels already but the piece de resistance of the show is in many ways …  the drumming.  (If you know you know).

And speaking of drumming that brings us to the music – a six-piece band led by MD Kris Nock rocked out the show hidden subtly off stage but in full view (once you know, you know). I wonder if Kris’ toughest task (not as arduous as reviewing obviously) was teaching three actors to hit a large piece of metal in time with two sticks for some considerable time (if you know, you know).


Tech is as ever hidden away where no one can see them up in the attic of the Rondo, and technical director Tom Courtier and his crew slid their sliders and pushed their buttons and  lit their lights to full effect. (I’ve got a deep and meaningful understanding of tech). Rule number one in a theatre is never hack off the tech guys – they have hammers, and saws, and unlimited access to 240v at all times (if you know, you know) so – GREAT WORK GUYS!!!

That’s about it then. Set, Tech, props, direction, music.  Yup. That’ll do.


Ah.

Yes.  That lot that cavorts upon the stage.  Nearly forgot them. Starting with cavorting…  choreographer and dance captain Grace Egginton and Grace Shobbrook whipped the cast into a frenzy of whirling limbs when they weren’t singing.  And often when they were come to that. It must be said the Rondo’s stage is quite….  Bijou… particularly when by necessity a good half of it is taken up by aluminium scaffolding poles that don’t bend if you collide with them (if you know, you know) so the tightness of choreography is impressive.

And so – the cast. I’ve used the line about “strutting and fretting his hour upon the stage” before so I won’t use it again.  Ooops.

It takes a dedicated cast to work “RENT” – it is emotionally draining (if you know, you know), taking its toll on the actors’ own emotions. And this cast did Jonathan Larson proud. The ensemble – they always get listed last so here they are first cos that’s important (if you know, you know) so bravo Daisy Wilson, Morgan Hames, Georgi pepper, Steven Hockett, Jasmine Lye, Sophie smith, Milly Haywood, and Sarah Easterbrook…  All of whom also starred in the all-important cameo parts that just make “RENT” simply “work”. Special mention must be made though for Jasmine, who stepped up to play the role of the harassed waiter in the café scene due to cast unavailability this evening.  Cometh the hour, cometh the Jas!

I suppose that leaves the principals. *sigh*.  OK. Well…  ummm…  errr…

Well in all honesty they weren’t good. Nope. Not at all.

THEY WERE BELTING!!!  FANTASTIC!!!  MAGNIFICENT!!!

and other superlatives.

In no particular order…  Bryan Houce played Mark…  his portrayal got stronger and stronger throughout the performance as the middle-class wannabe with no confidence (that’s Mark – not Bryan!). Mimi was played superbly by Grace Egginton who quite rightly as a choreographer played the part of a striptease dancer very well.  (Hmmm…  that maybe came out a bit wrong?) 😉Roger Davis, all angst, and anger was quite phenomenal played by Josh Phillips.  Absolutely fantastic. Liberty Williams probably stole the show for “most likely to break a wine glass at forty feet” with her incredible top note harmonising as Joanne, and Naomi Marie as Benny (déjà vu here – if you know, you know) as the brooding, mean turncoat-comes-good ex-flatmate.

If I appear to be rushing through these principals, it’s because I could write war and peace about them otherwise. Next up – in her first ever principal role (which is hard to believe, if not as hard as reviewing of course) playing Maureen was Sarah Askew.  Now Sarah is no mean belter of a top noted harmony as well, as befits a rock band vocalist (if you know, you know) but …  well.  If you need a top MOO-ERR then Sarah is your girl (if you know, you know).  And then we have Davey Evans as Collins. Another wow moment.  Collins is a complex character to play especially with the range of emotions demanded of it, and Davey perfected them all. Great voice too. Which leaves last, but of course NEVER least…  Angel. George Friend. I had the pleasure of speaking with George before and after the show – he is reprising the role he played in 2017 – and he claimed (yeah right 😉) he couldn’t believe he could still reach the high notes he needed but they were well reached, another great performance.

So that’s it. I’ve reviewed a show that’s hard to review. A show that for an opening night was quite wonderful. And let us not forget either the debut show for a brand-new Bath based community theatre company.  Top job.


“RENT” runs until Saturday 16th March at 1930 each evening with a 1430 matinee on the 16th. Tickets can be bought from
https://www.ticketsource.co.uk/whats-on/bath/rondo-theatre/rent/e-mdxlbz

and I urge you to go.

And – don’t forget to MOOOO!  (if you know, you know).

You always said how lucky you were that we were all friends. But it was us, baby, who were the lucky ones.

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Carrie at The Rondo Theatre, Bath, February 14th-17th 2024

Ian Diddams

As a child of the 70s I grew up with the new genre of horror films …  “The Exorcist” led the way in 1973 with its green vomit and spinning head. “The Omen” in similar demonic child plot followed in 1976, but also released in 1976 was a film featuring a less demonic but no less …  disturbed…  teenager…  “Carrie”. The screenplay was an adaptation of Stephen King’s 1974 novel of the same name about an outsider high school student of that name.

So having a horror story book, followed by a horror story film, what is the obvious next step to take with the overall premise?  That’s right – a musical. How obvious.  After all, its hardly lovely, fluffy, boy meets girl, boy and girl fall in love, unlikely misunderstanding occurs, boy and girl separate, boy and girl get back together, love blossoms, final curtain, all interspersed with some jolly rollicking show tunes, stuff. Oh no – its more everybody hates girl, mother suppresses girl, girl is awkward, girl’s peers humiliate girl, girl kills peers…   all interspersed with some … well… not so bouncy (but excellent!) show tunes.

If you aren’t aware of the story proper, and the above synopsis isn’t enough, then google is your friend.  Though in a bizarre happenstance of fate my poor typing skills initially wrote that as “google is your fiend”.  Which may be somewhat more apposite given the storyline.  Maybe.

Anyway…  I quite like dark musicals. And let’s face it …  musicals probably don’t come much darker than something that originated from the pen of Stephen King.

“Carrie” is performed by “Luna Theatrics”, a Bath based company at the Rondo Theatre this week. The cast is a young one as befits the story’s setting in Chamberlain High School and where the eponymous anti-hero is a late to puberty seventeen-year-old. The set is a simple black box with minimal props – it very much helps highlight the action with few distractions.

In attendance is the quite excellent live seven-piece band led by Alex Williams, tucked away but centre stage in the rear section that the Rondo’s stage allows for. Tech is provided by Alex Draper & Tony Giddings with specialist effects from Lazurus Molina and Jack Whittaker. Mollie Macpherson produced the show.

So what of the show I hear you ask? The book is by Lawrence D. Cohen, lyrics by Dean Pitchford and music by Michael Gore, but that’s the stuff that google can give you of course. It’s a fast-paced show which nonetheless pulls along the fairly simple story line in about an hour and three quarters – not that it ever seems to be taking long I hasten to add lest that appear a criticism.

There are three key partnerships in the story. Mother and child – Margaret and Carrie. Margaret is the overbearing, Old Testament god-fearing, benignly intentioned, oppressor of her daughter and is superbly played by Caroline Murray; it’s the smallest principal character yet without Margaret the story doesn’t exist, and Caroline ensures every nuance of the mother’s influence over Carrie is illustrated. Carrie – all shy angst and awkwardness, is played stupendously by Amy Goodspeed. At first Amy’s portrayal seems a little lack lustre – but this is me being slow …  as in fact she had encapsulated the persona of her character perfectly, which as the second act moves on expands into a more confident girl and burgeons with it…  until the final humiliation and the crushing of dreams.
These two have for me the most beautiful parts of the musical …  a duet in the first act (“Evening Prayers”) and Caroline’s stunning solo in act two (“When There’s No One”).

The second partnership is Sue and Tommy – the high school perfect couple – played by Ella Rodbourn and Ewan Wyatt. Both play their characters believably as the “in crowd” that become supportive of Carrie. Ella demonstrates Sue’s frailty and uncertainty in particular really well…  while Tommy’s prom scene with Carrie is done sweetly with compassion.

Then there’s the “nasty couple” of Chris and Billy…  where it’s better to strike than get struck better to screw than get screwed, better to punch than get punched, better to burn than get burned as Chris’ solo (“The World according to Chris”) explains. Chris is perfectly belligerently portrayed by the ever adaptable and strong stage presence of Naomi Marie. Jack Whittaker is absolutely perfect as Billy, all alpha male testosterone, and no brain cells.

The rest of the cast all equally shine – unsurprisingly. Rebecca Paterson & Joe Gibson as the harangued teachers, and other students consisting of Joshua Phillips, Katherine Flint, Holly Dumper, Adam Evans, Sarah Coles and Louisa Naylor.  Ensembles are often glossed over but these eight keep the pace high and all take their opportunities to shine.

There’s one area I haven’t mentioned yet – and step forward director and choreographer Adam Evans. The dance sequences are crisp, sharp, and energetic – several cast members mentioned after the show how warm they still were after changing! The direction is spot on too…  there are parts of the show that are genuinely scary and disturbing. 

TL;DR? It’s a cracking show. The music is excellent. Choreography excellent. Drama spot on. Acting and singing top notch.

And so back to the film in 1976…  Those that have seen it may be wondering if the stage musical has the same…  surprising … ending. Well….. 

…  You’ll have to go and see the show to find out!  Carrie is showing at the Rondo Theatre until Saturday 17th February, at 1930 with a Saturday 17th matinee at 1430.

Tickets Here

Preview: Shakespeare’s Henry VI at The Rondo Theatre, Bath

Henry VI by William Shakespeare, Rondo Theatre, July 5th-Sat 8th, 7.30pm. A Preview – by Ian Diddams…….

Shakespeare wrote three plays about Henry VI – imaginatively entitled part1, part 2, and part 3. But in true George Lucas style, part 2 was written first, then part 3, with the prequel – part 1, written last.

So what is better than watching one Henry VI play? Watching all three, together of course! And that is exactly what the Rondo Theatre Company, handily placed, with nominative determinism, at the Rondo Theatre, Larkhall, Bath is doing in early July this year, as its annual charity performance.

Now – Shakespeare has a bit of a reputation for lengthy plays. Hamlet takes about four hours to perform, and certainly several of his output would take over three hours easily. All three parts of Henry VI performed back-to-back would last longer than a day’s test cricket, with no likelihood of finishing early for bad light. But fear not – Director Nic Proud has taken Occam’s razor (and Wilkinson’s sword, not to mention Mac’s knife) to it all and has whittled it down to just the length of a football match plus a half time for a cup of Bovril and a meat pie.

I can feel the Shakespeare aficionados quaking already. But all the real essence of Henry VI is there – Margaret, the scandalous queen and her naughty boy Suffolk, arrogant Warwick making at least one king anyway, Richard P fighting for his right to party – well rule at least – Edward who eventually comes fo(u)rth, and of course the arch villain of the whole piece eventually, towering over everybody, Richard (do you see what I did there?). Oh – and some bloke called Henry VI apparently, all limp wristed, cuckolded and basically a bit rubbish as a wannabe king.

Rest assured though, dear reader and Shakespearean buff. This amalgamation of Henry VI belts along at frenetic pace, with daggers, swords, and treachery at every turn. Dash out to the loo and you are likely to miss at least one murder and a heap of skulduggery. In true weeping angels’ fashion, don’t blink!

We begin with Henry V’s death and the crowning of Henry VI – then a whirlwind marriage arraignment of Margaret (with Suffolk as her bit on the side of course), Richard Plantagenet’s vocal claim to the crown, top soldier Warwick’s clear-headed countenance, and the Wars of the Roses. The battles of Wakefield and Tewkesbury enacted on stage with swords and daggers a-flashing, with their deaths of Richard P and Prince Edward to boot. And of course the slaughter of the play’s titular character by bad boy Richard, and the elevation as monarch to Edward IV…. and a final twist in the tale from tricky Dicky himself.

Nine actors, one director and an assistant, a tech crew and the Rondo theatre. Plus a few swords, a couple of daggers and some stunning costumes by Chrissy Fry. And for a particular Devizes’ interest, two Devizes based actors (editor’s note: yes, it’s you and Lucy Upward, isn’t it? Cheeky!) appear as part of this too, you lucky people! The Rondo theatre is located just a 30 minute drive from Devizes, with lots of free evening street parking, with a pub and Indian restaurant handily located within 100m of each other – so make an evening out of it!

What more could really you ask for?

Henry VI is performed at the Rondo Theatre, Larkhall, Bath between July 5th and 8th, 7.30 pm each evening. Proceeds from the performance will be donated to the Royal Osteoporosis Society, as this is the Rondo’s annual charity performance.

Tickets from
https://www.ticketsource.co.uk/rondotheatre/henry-vi/e-zqyvmv

See you there – if you’re Bard enough!

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The Rondo Theatre does Macbeth

Review by Mick Brian

Photos by Gail Foster

“It will have blood, they say; blood will have blood.” So says Macbeth to Lady Macbeth following his vision of Banquo’s ghost….

And audiences at the Rondo Theatre Company’s performances of the titular show last week were not deprived of that substance. From slit throats, gory locks and shirts, to bloodied faces, neckerchiefs and a finale of a trail of blood as Macbeth’s body is unceremoniously dragged from his home, there was no letting up of the blood (pun intended) throughout the riveting two hours of the show.

Directors Matt Nation and Will Jesmond de Clermont’s vision of a 1920s London organised crime gang setting delivered – Peaky Blinders meets William Shakespeare with a gritty, no holds barred presentation of violence inherent in the struggles for supremacy, whether over rival gangs, traitorous turncoats or internal seizure of power and the retributions to maintain power. But this was no pastiche of Tommy Shelby and Co. – this was full Shakespearian tragedy brought into the 20th century brilliantly. Chrissy Fryer’s costumery sublimely captured the era with tweeds, caps, flapper dresses and the ubiquitous used of orange gang colours throughout as neckers, ties, hair ribbons and pocket handkerchief. And no more so that the thoroughly perfect witches, played by Sophie Kerr, Tasha Bye and Anna McGrail, as drug addled opium den management resplendent in flapper dresses, overseen by the powerful Maria Finlay as Hecate.

Set design was simplistically excellent. Duncan’s gangland headquarters a timber merchants’ front – the Birnam Wood Co. of course – and a gauze separated backstage area for the opium den. Which brings further praise for the lighting from Andy Cork, with the dark, sombre mood of the play enhanced by subtle changes… accompanied by the brightness of the opium den to display the rich colours of the silks and drapes therein.

And so to the rest of the cast. Not a single weak member – all thoroughly convincing and believable, fronted by the perfect pairing as Sam Fynn as Macbeth, and Alice Grace as his scheming, power hungry wife. We all looked to the lady as she ensnared her uncertain husband, then dealt with the lecherous and seedy Duncan in turn and tidied up the mess left by Macbeth. Sam Fynn portrayed the slide into madness perfectly as his world collapsed around him, culminating in his torment when Lady M kills herself. I challenge anyone to find a more harrowing depiction of these power crazed lovers, one coldly calculating, the other increasingly crazed.

Rob Finlay played the jovial Banquo who realises oh too late that he is on the hitlist, then the battle hardened and focussed Siward – once he had shaken his gory locks and broken the good mirth at the banquet of course. Maria Finlay as well as Hecate provided wonderful comic relief as the porter cum cleaner – and invented a whole new scene as an epilogue swabbing the floor of Macbeth’s blood. To complete the family set, Freddie Finlay in classic casting style played Fleance, Banquo’s son, as a no mean wielder of a razor himself.

More double up casting saw Steve Brookes as the contemplative, pipe smoking Menteith and a murderer, enacting Macbeth’s violent requests with his fellow despatcher, Ian Diddams. Praise is needed here especially – the fight scene between these two, Banquo and Fleance left no holds barred with stabbings, slicing, punches, and the razored throat cutting. As well as murdering at the drop of a surly hat, Ian Diddams opened the play as Duncan – far from the oft played kindly benevolent leader, this was a nasty, lecherous characterisation fully deserving of losing his life – and fully fitting the gritty vision of the directors.

Thence to Ross, played by Becky Waters, and Lennox , Natalie Prescott, two increasingly disillusioned gang members, And Jack Strawbridge as Malcom, whose journey moved from uncertain, shy son of Duncan to assertive, and even nastier eventual victor, his metamorphosis highlighted by the wash of red light in his victory speech… all that was needed was unfurled swastikas to finalise the image portrayed. Lady Macbeth’s doctor was elegantly and eloquently portrayed by Julia Marshall-Wessendorf… all crisp and professional demeanour, not totally supressing the disquiet and concern beneath. Two further younger cast members joined Freddie Finlay in the show also – Dilan Minto as the brave but doomed Young Siward, hatred for Macbeth pouring from his every pore, and Scarlett Nation, the youngest cast member effortlessly working her way through servant, messenger and slaughtered pretty chicken of Macduff.

And speaking of Macduff… Lucy Upward played the angry Lady MacDuff, remonstrating against the ills of the world as an abandoned wife… and screaming her way to her death before brilliantly appearing as a west country maid to the Lady of the house. Which leaves the hero of the hour… MacDuff himself, silkily played by Chris Constantine exacting revenge for his family’s slaughter by seeing off the chief protagonist in a slashed throat and streak of blood left on set.

Two hours of non stop action delivered at a frenetic pace. Two hours of truly class acting and technical presentation – the piece de resistance being the genius portrayal of Banquo’s lineage of kings presented to Macbeth by the witches. And this is “amateur” theatre – some bloody amateur production that was I say (NOT!) … and bloody they were indeed by the end.

“It will have blood, they say; blood will have blood.”

And they did.

Macbeth, by The Rondo Theatre company, at the Rondo Theatre, Larkhall, Bath, July 6th – 9th 2022.