Michael Buffong

REVIEW: Guys and Dolls (Royal Exchange, Manchester)

kristobel
© Manuel Harlan
© Manuel Harlan
Upstaged Rating:⭐⭐⭐⭐⭐

The Royal Exchange have pulled a Christmas cracker of a show this festive season with their lively and glamorous interpretation of Frank Loesser’s Guys and Dolls. With Michael Buffong at the helm, the action is set in the heart of the Harlem Renaissance, encapsulating the vigour of Black America at this time – this is feel-good, toe-tappingly fabulous theatre from beginning to end.

The action centres around the gambling world – where a roll of the dice can settle even the most awkward of arguments. With every new day comes a new hustle – but will their luck stick when they try to gamble with love?

With arguably the most beautiful cast that I have seen on stage in some time, vibrant musical numbers and slick scene changes – Talawa Theatre Co’s Guys and Dolls is charming, witty and packed with sentiment. Capturing the swing and soul of Harlem in the late 1930’s and the sensual, eclectic vibe of Havana – Kenrick ‘H20’ Sandy’s choreography is a delight. With a roll of the dice, ‘Luck Be A Lady’ is a swinging, clicking sensation and a gospel style ‘Sit Down, You’re Rockin’ The Boat’ exudes energy and fun, led with vigour by Ako Mitchell, as a towering Nicely-Nicely Johnson.

In a suit as blue as his name, Ashley Zhangazha is hugely charismatic as the infamous Sky Masterson – exuding boyish charm, holding the audiences gaze from the very start. Abiona Omonua shows versatility in her voice and gives a wonderfully nuanced performance as Salvation Army Sergeant Sarah Brown – demonstrating control in her mission to convert the gambling sinners of Harlem while also revealing her adventurous side in Havana.

Ray Fearon as Nathan Detroit and Lucy Vandi as cabaret singer Miss Adelaide, who has been waiting 14 years for a marriage proposal – share some poignant comic moments. Vandi’s ‘A Person Could Develop a Cold’ is a highlight – revealing the humour behind the tragic realisation of her situation in love.   

Michael Buffong’s Guys and Dolls is the perfect celebratory Christmas production.  Playing out in-the-round on the Royal Exchange’s iconic stage, you’ll be left with a spring in your step and a smile on your face long after leaving the theatre. This is a performance that should not be missed.    

-Kristy Stott

Guys and Dolls HAS NOW BEEN EXTENDED and runs until 3rd February 2018.

 

REVIEW – King Lear (The Royal Exchange, Manchester)

kristobel
Don Warrington as King Lear and Miltos Yerolemou as The Fool.
© Jonathan Keenan
UPSTAGED RATING: 

Talawa Theatre Company has been making theatre since 1986 and to mark their 30th anniversary year, and to commemorate 400 years since Shakespeare’s death artistic director Michael Buffong returns to the play he first directed in 1994, King Lear.

In this co-production between Talawa Theatre, Manchester’s Royal Exchange and Birmingham Rep, Don Warrington steps into the royal breaches and takes on the title role. William Shakespeare’s story of a kingdom divided with devastating political and personal repercussions still remains highly pertinent to a modern audience. Striking a chord with a contemporary crowd particularly in the wake of Scottish Independence and the looming EU opt in or opt out discussion. Perhaps most poignantly, this production explores ideas around our aging society and dementia.

Entering to the single steady beat of the drum, Warrington appears wearing a heavy cloak and furs, every inch the look of a formidable leader. He traces the dominant character’s slow descent from greatness to confusion and shame.

“I have, so to speak, lost myself.”

Fists clenched desperately holding on to the sleeve of his robes indicative of his struggle to retain clarity in an increasingly murky world. There is some well-observed physicality from Warrington – his awkward gait and empty stare are all suggestive of a man battling with dementia. However, Warrington’s delivery of the text is lacking in fluidity which means that some of Shakespeare’s powerful rhetoric is lost at times and most particularly during the famous storm in the wilderness scene.

Signe Beckmann’s design is completely stripped back to an empty performance space with the characters dressed in period costumes, and the danger is that it all feels very habitual RSC and old fashioned. The combination of Johanna Tom’s atmospheric lighting design and Tayo Akinbode’s ethereal soundscape is a match made in heaven, especially during the apocalyptic downpour at the end of the first half.

The ensemble cast are all impressive and fearless throughout and all give remarkable performances. Miltos Yerolemou gives a well-balanced performance as The Fool, both humorous and touching; Alfred Enoch gives a mesmerising performance as Edgar – compassionate and honest, much in contrast to his brother Edmund, an ambitious opportunist, again played strongly by Fraser Ayres. Pepter Lunkuse shines as the good-hearted, youngest daughter Cordelia and Rakie Ayola and Debbie Korley give fully realised performances as bloodthirsty sisters, Goneril and Regan.

Philip Whitchurch as The Earl of Gloucester is outstanding with his gory ocular fate prompting the most audible response from the audience during the lengthy 3 and a half hour running time.

-Kristy Stott

King Lear is running at The Royal Exchange Theatre in Manchester until Saturday 7 May 2015.