home
|
about
|
news
|
contents
|
gossip
|
photographs
|
venues
|
brighton
|
dublin
|
edinburgh
|
film
|
features
|
interviews
|
awards
|
fashion
|
recipes
|
no more drinks
|
newsletter
|
links
|
contact
Latest items? Unedited? Fringe Report Uncut
Major Barbara
Verdict: Weapons, salvation, poverty, ideals
London - Orange Tree Theatre - 18 Oct to 9 Dec 06 - 19:30 (approx 2:30)
Weapons manufacturer Andrew Undershaft (Robert Austin) believes in gunpowder and money. His daughter, Barbara (Octavia Walters) is a major in the Salvation Army - she believes her father to be just another sad soul to be saved. But, being intent on saving the world from itself, she’s unaware that he is the source of the money which sustains both her and the work of the Salvation Army. They strike a bargain that each will visit the other's place of work - in the hope of discovering for themselves the true path of salvation. Andrew Undershaft needs to determine which of his children should carry on the family business. The options look grim.
Major Barbara is a delightful comedy about the conflict between idealism and practicality. Writer George Bernard Shaw (1856–1950) contrasts the extremist views of Andrew Undershaft with those of his relatives (representing the ideas shared by society). The writer suggests, through the play’s 3-act argument, that the 'greatest of our evils and the worst of our crimes, is poverty'.
It is not a visually imaginative play, but designer William Roberts cleverly uses 'Undershaft' cargo boxes to create apt chairs and tables - particularly as they are labelled 'explosives' from the outset. The challenging space (audience on four sides of the stage) works well as the differing locations: the library of Lady Britomart's house in West London; West Ham shelter of the Salvation Army; Undershaft factory at Perivale St Andrews.
Director Sam Walter is less to blame for the production’s pedestrian feel than the writer. The audience is expected too often to listen to George Bernard Shaw's ranting about repentance. Visual stimulation is limited by John Harris’s harsh 'natural' lighting – which lights up the audience as well as the action.
Despite spirited acting - particularly from Octavia Walters as Major Barbara, Jacqueline King (Lady Britomart Undershaft), and delightful Jan Carey (Mrs Baines) - the performances are too heightened, and deny either shifts of mood or realistic characterisations. The tone of the production is cheeky - if not bombastic - but it fails to engage when it verges on the ecstatic.
Cast Credits: David Antrobus - Adolphus Cusins. Robert Austin - Andrew Undershaft. Jan Carey - Mrs Baines. Stuart Fox - Bilton / Snobby Price. Mark Frost - Bill Walker. Nicholas Gadd - Stephen Undershaft. Matt Houlihan - Charles Lomax. Jacqueline King - Lady Britomart Undershaft. Geoff Leesley - Morrison / Peter Shirley. Sarah Manton - Jenny Hill. Charity Reindorp - Sarah Undershaft. Paula Stockbridge - Rummy Mitchens. Octavia Walters - Barbara Undershaft.
Company Credits: Writer - George Bernard Shaw. Director - Sam Walters. Designer - William Roberts. Lighting by - John Harris. Fight Director - Richard Ryan. Assistant Directors - Henry Bell & Helen Leblique. Assistant Designer - Robyn Wilson. Stage Manager - Stuart Burgess. Deputy Stage Manager - Sophie Acreman. Assistant Stage Manager - Rebecca Flisher. Production Technician & Show ASM - Leanne Simmonds. Production Technician - Dan Staniforth.
END
(c) Mike Miller 2006
Reviewed Friday 27 October 06 / Orange Tree Theatre, Richmond
Fringe Report (c) Fringe Report 2002-2012
www.fringereport.com
