Thursday 19 October 2017

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Friday 7 April 2017

Theatre Review 1: The Verdict, produced by Middle Ground Theatre Company (2017)

Courtroom dramas are nearly ten a penny, in today’s media landscape, but few are as good, or as brilliantly characterised as The Verdict by Barry Reed. I confess The Verdict had passed me by up to this point, so when Hospital Radio Chelmsford asked me to represent them during Tuesday’s performance at Chelmsford’s Civic Theatre, I was very intrigued and excited to find out what this modern literary classic had to offer.

The Verdict tells the story of Frank Galvin, a Lawyer in his declining years, coming across a case of medical malpractice and potential cover-up, where a pregnant woman, Deborah Ann nearly dies and falls into a permanent coma, during a botched delivery of her child. After visiting Deborah, and receiving an attempted pay-out (bribe) from the Church responsible for the Hospital, Galvin is determined to give the poor Woman a voice, and stand up for what is right. Joined by his dear friend and mentor Moe Katz, Galvin takes on both the Church and the establishment, in a desperate fight for justice, in possibly his best, and last chance in his career to make a difference.

Barry Reed’s story is a very powerful and compelling one, where nearly every character is flawed, and nobody finishes the play emotionally unscathed. The Verdict is not unlike the more famous A Few Good Men, in that it’s almost as much of a Western as a Courtroom drama – a real David and Goliath story, where the stakes are high, and there’s tense standoffs in the Court. The key difference here, other than the setting, is that The Verdict’s characters are more recognisable as people we encounter in everyday life and closer to home. They also paint a brilliant picture and dystopian reflection of late 1970s Urban America (the play takes place in 1980). Everybody in the play is still living their life as they did in the 50s and 60s, only the hope, optimism and ideals have faded. The dream has become rotten, and the World is a very cynical place. This is also superbly reflected in the set design by Michael Lunney for Middle Ground Theatre Company’s production, which I’ll come on to later.

Amongst this cynicism enters Frank Galvin, perhaps one of the few Lawyers, who still believes in the goodness of people, but his tiredness of life, and loveless marriage gives him an easy excuse to indulge his staunch alcoholism. Galvin’s unerring faith in human nature, makes him susceptible to numerous deceptions throughout the play, but his faith, in the end is eventually rewarded.

Given the subject matter, the play is very emotionally-charged, and tense, but there’s also wonderful moments of dry wit, which lift the script in many of the right places. However, I confess I did find the structure of the narrative, slightly unbalanced in the second half of the play, with little respite between the weighty Courtroom scenes. Nevertheless, the authenticity of Barry Reed’s work is a huge strength, and makes its drama, all the more powerful. The strict facts of the Court case, are also nicely contrasted in their interpretation by the lively and larger-than-life Lawyers Galvin, and his uncompromising opponent, Concannon.

Despite the happy resolution of the Court case though, there remains a bitter reminder to the viewer, that despite justice having been done, there’s still little justice in the World of 1980. All of the Women characters in the play have their lives wrecked, neglected or manipulated, in this very male dominated landscape. Firstly, and most obviously, there’s the unseen victim, Deborah Ann; then there’s Galvin’s own unloved wife; the nurses who saw in Deborah’s child birth are either intimidated into silence or struck off, and even successful Women who try to further their careers, are forced into traps of vice and betrayal, by Men who control them for their own ends. It’s a final, unpleasant twist, but one that sadly rings true, even in some aspects of the present day.

Given how compelling a story The Verdict is then, it’s surprising that it has never been adapted for Theatre until now. Margaret May Hobbs adapted the script, and has very deftly condensed most of the action to three major locations, and also kept far more faithful to the original text, than the 1982 film version, which I viewed after seeing this magnificent Theatre production. To my mind, Middle Ground Theatre Company has produced the best version I know of to date, far more energetic than the Film, greatly entertaining, and with an outstanding cast.

Clive Mantle shines, portraying Frank Galvin as a sympathetic loveable rogue with a hidden steely resolve that breaks out as the case gets tougher. Mantle also brings great pathos, a welcome warmth and heart, and superb comic timing, to a role that could so easy have fallen into earnestness. Mantle is wonderfully supported by many expert hands, including one of Britain’s finest ever character actors, Jack Shepherd, who plays Galvin’s friend and Mentor, Moe Katz. Jack Shepherd’s Katz is both subtle and wily, played as the eternally loyal pragmatist. Katz is comic relief from time to time, but to describe him as such does him a huge disservice, because he’s also very intuitive, seeing through the mist of red tape on several occasions, and masterminding some of Galvin’s winning moves in the trial.


Completing Galvin’s extended family are Michael Lunney’s fun and down-to-earth bar manager Eugene Meehan (Lunney also doubles up as Dr. Daniel Crowley), and Cassie Bancroft’s kind, sincere, magnetic, but ultimately conflicted Donna St. Laurent. Donna, was originally written as a Fem-fatale, but I’m glad that aspect was played down in this production, even if Galvin ends up seeing her as such. Bancroft keeps Donna as a genuine, sweet soul, who becomes entrapped and torn apart by the machinations of others.

Peter Harding, is impressive as Galvin’s vain and ruthless opponent in court, Concannon; selling his cold World-view, and calculated tactics with a charming twinkle in his performance. Okon Jones goes one step further, providing the sharp-witted and no-nonsense Dr. Lionel Thompson, with a wry sarcasm that lifts many of the scenes he appears in. Once again, it’s a welcome dose of character in the interpretation, which seems seriously lacking in other variations of The Verdict. I should also give out additional praise to Nuala Walsh’s mournful and intense Mrs McDaid, and Eugenia Caruso’s nervous and troubled Natalie Stampanatto; both of whom leave huge impressions during their short time in the spotlight.


The set design is very convincing, and like all the best sets, gives the impression it’s been “lived in”, rather than constructed. The Court set in particular, is grand and imposing, and immediately sets the scene before any door is opened. The set combined with the atmospheric lighting, really helps to sell the play as an American period piece. The most beautiful, and surprising aspect of the whole production though, was the original music soundtrack, composed by Lynette Webster. So many American dramas, and courtroom dramas at that, fall into the trap of playing mournful, almost militaristic-like Brass music, which pigeonholes the production almost immediately. So when I heard the soulful, folk-inspired string themes played, I knew I was in for something special. My favourite pet theory, was that the music was the unspoken voice of missing comatose plaintiff, Deborah Ann, seeing over events. I digress though, the different folk sound, almost harks back to the traditional American music of the 1800s, like it was a call to arms, or a calling for Frank Galvin to make a stand.
All in all, Middle Ground Theatre Company’s The Verdict has been the best play, I’ve seen in years, and I feel immensely lucky to get the chance to see Theatre of this calibre in Chelmsford. Considering this is a World tour, I think the cast and crew deserve many plaudits for working so hard to provide first class Drama entertainment to so many people. So if the Civic Theatre are wondering whether to feature more drama productions, particularly of those by Middle Ground Theatre Company, I would say, sign them up!
Score: 9/10
P.S. Although the run at Chelmsford's Civic Theatre is now at an end, there is a further run of The Verdict at the Palace Theatre, Southend-On-Sea, from Tuesday 25th to Saturday 29th April 2017.
For more info visit:
http://www.middlegroundtheatre.co.uk/Wordpress/the-verdict/

Thursday 6 April 2017

Back in Action...sort..of?

Ouch, two years away. Well, hopefully future updates won't take so long. Be right back...

Monday 26 January 2015

Craig Greenslade at Hospital Radio Chelmsford

The last year has brought just as many trials as the last, but my main achievement over the last year, has been my work at Hospital Radio Chelmsford, stationed at Broomfield Hospital, Chelmsford, UK.

I first joined Hospital Radio Chelmsford, back in October 2012, and I've had the best time, with some of the best people, ever since; starting off small with a regular presence on the Friday Night Request shows for patients. In April 2014, I was given the wonderful opportunity to produce and lead a pre-existing show called, A Smooth Blend of Music Scores, the only show representing the music of Classical, and Film and Television soundtracks. Well it was a match made in heaven, as they say, particularly being two of my most favourite music genres. How could I resist?

The previous presenter of the show, Alain Heaysman has since returned in the autumn of last year, to continue to share in the production and presentation of the show, and we continue to steer the show into rude health to this day.

For the Doctor Who fans out there, here's a mixcloud of the show I produced especially for Doctor Who's 51st anniversary, back in November 2014.

http://www.mixcloud.com/craigwgreenslade/a-smooth-blend-of-music-scores-doctor-who-hospital-radio-chelmsford/

Monday 4 March 2013

Classic Tunes of the Week: 9. Hit or Miss, by Odetta (1970)/Tom Jones (2012)

To continue the St. David's Day (St. David being the Christian Patron Saint of Wales) theme of the weekend, I wanted to choose a track from one of my all-time favourite singers, the legendary Tom Jones. However, rather than go one of his early standards that oft-repeated everywhere, I thought I would go with his most recent hit, a 2012 cover and re-arrangement of the Blues song, "Hit or Miss". However, I feel I cannot celebrate this, without first celebrating the equally superb and equally underrated original, by Odetta Holmes.

Odetta Holmes is to me without a doubt, one of the best folk and blues singers to have ever lived. However, while mostly famous for her civil and human rights campaigns, and her performance of traditional, usually Christian songs, Odetta was also a very talented songwriter. "Hit or Miss" was a track from one of her later albums, and probably overlooked in subsequent years as a result, having taken place after her big successful hit albums, as well as existing in a period where the musical genre of rock had been dominant for several years as the most popular with audiences. Although Folk and Blues have never really gone away, just like Classical music, they've been far from mass popular acclaim since the mid-1960s. Anyway here is a musical classic that deserves to be remembered.

9a. Hit or Miss, by Odetta Holmes (1970)




Given how great a folk song it is then, its only natural that someone will come along and want to cover it, maybe even update it for modern day tastes. With this particular cover, that's exactly what happened. Tom Jones was as much a fan of the Blues as he ever was of Rock and Roll, and over the last decade or so, he has delightfully experimented and performed his own versions of classic songs in the genre, including even some original work written for him. Tom's version of "Hit or Miss" is a classic in my mind too. Sure it doesn't have the raw and passionate soul of the original, but it greatly makes up for it with a more subtle moodier soul, as well as having a lovely bare bones rock twist, and Tom Jones' unique and sublime vocals of course. Enjoy!

9b. Hit or Miss, by Tom Jones (2012)




Wednesday 27 February 2013

Classic Tunes of the Week: 8. Daleks and Thals, by Malcolm Lockyer (1965)

In memory of the late Ray Cusick, the imaginative designer behind the iconic design and look of the Daleks, who sadly passed away a few days ago, I'd thought I would choose a Dalek-themed music track in tribute. Here's a wonderful theme composed for the Daleks by Malcolm Lockyer for the 1965 film re-adaption of the classic Doctor Who story, The Daleks, rather unimaginatively called Dr. Who and the Daleks and famously starred the renowned Horror and Science Fiction film actor, Peter Cushing as the Doctor.

This track is actually called Daleks and Thals, and features a very obvious musical rip-off of the James Bond theme, however, the melody and other sections produce a rather fantastic little piece. Film music fans will notice is that even though this is the theme Lockyer used throughout the movie for the Daleks, this particular recording is actually the released single version of the theme, neatly summarised as a nice little pop-like instrumental.

Enjoy.

8. Daleks and Thals, by Malcolm Lockyer (1965)

Sunday 17 February 2013

Classic Tunes of the Week: 7. The Pursuit of Happiness, by The Divine Comedy (1997)

I originally intended to put this up on Thursday (Valentine's Day), but I was sadly too busy. However, I think this track is good enough for any day of the year regardless, such is the moving positive upbeat simplicity of it. Plus I'm always a big softie for brilliant and big orchestra numbers. For TV trivia fans, some UK viewers may recognise the later instrumental section as being one of the later TV themes used for the now ended BBC Show, Tomorrow's World, at the end of the 1990s and into the early 2000s. The reason for this is because it was, The Divine Comedy, when asked agreed to re-arrange and re-record the music of the piece especially to fit for the opening and closing Title credits, as well as some shorter edited cues for cutaways. Sadly the Tomorrow's World version of this has never been released in any form whatsoever, but I would argue that this, the original song is a magnificent and superlative track on its own (terms) anyway. And it also works as a wonderful love song too.

Enjoy!

7. The Pursuit of Happiness, by The Divine Comedy (1997)