Author: Mike Whitton

SMASHER at the Wardrobe Theatre, Bristol

Following the sell-out success of Vanity Bites Back at the Tobacco Factory in October, Helen Duff was back in Bristol last night with Smasher. This new show has some similarities with its predecessor, as once again she tackles a taboo subject with a mix of clowning, story-telling and a great deal of audience participation . . . Duff is at her best once she allows her story-telling skills to come to the fore, using her many other skills to underpin a strong narrative line. She has a five-star personality and is a talented and original comic; I will certainly look out for her next time she’s in town.

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MEN IN THE CITIES at the Tobacco Factory, Bristol

Chris Goode and Company’s avowed intent ‘is to make space for unheard voices’ and ‘to think out loud about who we all are in the hope we might catch a glimpse of how we might live better together’ . . . It is forthright in its graphic depictions of gay sex and certainly provocative in its use of the murder of Lee Rigby as a metaphor for a society full of alienated, angry, lost men. But Goode’s negativity is so relentless and all-embracing than one becomes weary of struggling to find a meaning in the darkness.

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MARY POPPINS at the Bristol Hippodrome

Directed by Richard Eyre, co-directed and choreographed by Matthew Bourne and with book by Julian Fellowes, there can have been few musicals to beat this one for the quality of its creative team . . . From the high-speed fun and games of ‘Supercalifragilisticexpialidocious’ to the gentle sentimentality of ‘Feed The Birds’ this production never fails to deliver, taking older members of the audience back to their childhood and leaving younger ones wide-eyed in wonder. One song is titled ‘Practically Perfect’ – fair comment!

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DIRTY ROTTEN SCOUNDRELS at the Bristol Hippodrome

The stylish Michael Praed is wonderfully languid and vain as Jameson, masquerading as a prince from some Ruritanian backwater as he smoothly seduces wealthy ladies into handing over their jewellery. In comic contrast, Noel Sullivan is outrageously uncivilised as Benson, a Jack-the-lad who makes up for his lack of sophistication with formidable cunning. Much of the fun in this hugely entertaining show comes from the disguises they adopt as they try to dupe their chosen victims and outwit each other at the same time.

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RAYMONDO at the Bristol Old Vic

Marcus Hamblett’s clever music score augments the atmosphere, and shifts in mood are emphasized by skillfully placed changes in the lighting, but above all Raymondo is a dazzling display of unconventional story-telling. There will be those who find the language a little too self-consciously aware of its own cleverness, but I was totally absorbed by this strange and beguiling tale. Annie Siddons has described Raymondo as being about ‘resilience, adversity, fraternity and love.’ By delivering these themes through the medium of magical realism she has been able to let her imagination run free, to great effect.

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